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Track List
01) So Young
02) Animal Nitrate
03) She's Not Dead
04) Moving
05) Pantomime Horse
06) The Drowners
07) Sleeping Pills
08) Breakdown
09) Metal Mickey
10) Animal Lover
11) The Next Life
12) He's Dead (Rocking Horse demo)
13) Where the Pigs Don't Fly
01) So Young
02) Animal Nitrate
03) She's Not Dead
04) Moving
05) Pantomime Horse
06) The Drowners
07) Sleeping Pills
08) Breakdown
09) Metal Mickey
10) Animal Lover
11) The Next Life
12) He's Dead (Rocking Horse demo)
13) Where the Pigs Don't Fly
3:38
3:27
4:33
2:50
5:49
4:10
3:50
6:02
3:27
4:17
3:32
4:11
5:36
Data Complete
70%
Total Rating
70%Total Rating
(2 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1993
Alternative Rock
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Rock/Pop
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Album
340,000 copies
Album Description
Available in:
Suede is the debut album by English alternative rock band Suede, released in March 1993 on Nude Records. At the time the fastest-selling debut album in British history, Suede debuted at the top of the UK Album Chart, won the 1993 Mercury Music Prize, and is often credited with starting the Britpop movement. The sound of the album has been compared to The Smiths and the early David Bowie era.
Suede quickly attracted the attention of the British music press; in 1992 before they had even released their debut single, Melody Maker featured the band on its cover, dubbing them "The Best New Band In Britain." The following year Q magazine hailed them "The band of 1993..." The year leading up to the release of Suede saw the group dominate the music press, receiving critical praise across the board. According to a March 1993 article in The Independent, at the time Suede "had more hype than anybody since the Smiths, or possibly even the Sex Pistols." Critics supported the band during their early stages despite the often eccentric behaviour of singer Brett Anderson.
Suede was recorded at Master Rock Studios in Kilburn, north west London and cost £105,000 to make. In the studio, the producer Ed Buller's method of working was that he would form a close relationship with the band member whom he thought to be most important for the sound and creative input. In Suede's case it was guitarist Bernard Butler, which did not go down well with Anderson. Butler would be the band's closest musical collaborator for the years ahead. Anderson liked Butler as a person and for his enthusiasm for Suede. He endorsed his production on the first single "The Drowners"; however, he had different views on "Metal Mickey", feeling that Butler took the "metal brutality" out of the song. Instead of the song ending abruptly after the chorus, which the band demonstrated when performing live, Butler suggested an extended fade-out, which incorporated a key change. Butler would eventually clash with Anderson for similar reasons during the recording of the next album, which was an event Anderson could perceive early on. "I think as Bernard got more technically aware, because he always had a fine ear, he very soon saw flaws in what Ed was doing.
User Album Review
Feted as the ‘best new band in Britain’ before they’d even released a single, Suede must surely be the one band of the Britpop pack who had to endure the most fallout from press. Yet, they survived. A large amount of this was because their debut album actually did live up to the noise.
Always in with the right crowd, Brett Anderson and Bernard Butler’s band had, by the time this had been released, put up with their rhythm guitarist, Justine Frischmann, running off with a rival’s lead singer, an inability to find a drummer and a whole shed load of comparisons to other acts. To be fair Suede does carry its influences on its sleeve, but this was 1993 and post-modernism was the flavour du jour anyway. Frischmann’s next band, Elastica, certainly aped both the Stranglers and Wire, and Oasis’ slavish devotion to the Pistols and Beatles didn’t stop them coining it. Suede’s main sources were Bowie (in Anderson’s wonderfully fey delivery) and the Smiths. Ironically, Mike Joyce of the Smiths was a member for a short spell, but their bleak chronicles of urban dysfunction, modern love and sexual confusion were never a million miles away from Morrissey’s home ground.
Having said that, the band had enough chutzpah and originality to weather the comparisons with ease. Bernard Butler’s awesome technique was the ace in the pack. Propelling three-minute bursts of pop perfection like “Metal Mickey” and “The Drowners” into the singles charts, the bands’ sham-glam reeked of a new kind of decadence, laced with black humour. The key text here is “Animal Nitrate”. Despite its punning title it’s a thrill-seeking slice of cynicism that perfectly summed up what it was like to be young and chemically imbalanced in the nation’s capital at the time. This was a foreshadow of Blair’s Britain. The way it sold (the fastest selling album of all time and straight in at number one) showed that the public not only believed the hype; they wanted it. All wrapped in androgyny and attitude, Suede delivered everything that we’d hoped for and more. Their fortunes were never to be as good again.
External Album Reviews
None...
User Comments
Available in:
Suede is the debut album by English alternative rock band Suede, released in March 1993 on Nude Records. At the time the fastest-selling debut album in British history, Suede debuted at the top of the UK Album Chart, won the 1993 Mercury Music Prize, and is often credited with starting the Britpop movement. The sound of the album has been compared to The Smiths and the early David Bowie era.
Suede quickly attracted the attention of the British music press; in 1992 before they had even released their debut single, Melody Maker featured the band on its cover, dubbing them "The Best New Band In Britain." The following year Q magazine hailed them "The band of 1993..." The year leading up to the release of Suede saw the group dominate the music press, receiving critical praise across the board. According to a March 1993 article in The Independent, at the time Suede "had more hype than anybody since the Smiths, or possibly even the Sex Pistols." Critics supported the band during their early stages despite the often eccentric behaviour of singer Brett Anderson.
Suede was recorded at Master Rock Studios in Kilburn, north west London and cost £105,000 to make. In the studio, the producer Ed Buller's method of working was that he would form a close relationship with the band member whom he thought to be most important for the sound and creative input. In Suede's case it was guitarist Bernard Butler, which did not go down well with Anderson. Butler would be the band's closest musical collaborator for the years ahead. Anderson liked Butler as a person and for his enthusiasm for Suede. He endorsed his production on the first single "The Drowners"; however, he had different views on "Metal Mickey", feeling that Butler took the "metal brutality" out of the song. Instead of the song ending abruptly after the chorus, which the band demonstrated when performing live, Butler suggested an extended fade-out, which incorporated a key change. Butler would eventually clash with Anderson for similar reasons during the recording of the next album, which was an event Anderson could perceive early on. "I think as Bernard got more technically aware, because he always had a fine ear, he very soon saw flaws in what Ed was doing.
User Album Review
Feted as the ‘best new band in Britain’ before they’d even released a single, Suede must surely be the one band of the Britpop pack who had to endure the most fallout from press. Yet, they survived. A large amount of this was because their debut album actually did live up to the noise.
Always in with the right crowd, Brett Anderson and Bernard Butler’s band had, by the time this had been released, put up with their rhythm guitarist, Justine Frischmann, running off with a rival’s lead singer, an inability to find a drummer and a whole shed load of comparisons to other acts. To be fair Suede does carry its influences on its sleeve, but this was 1993 and post-modernism was the flavour du jour anyway. Frischmann’s next band, Elastica, certainly aped both the Stranglers and Wire, and Oasis’ slavish devotion to the Pistols and Beatles didn’t stop them coining it. Suede’s main sources were Bowie (in Anderson’s wonderfully fey delivery) and the Smiths. Ironically, Mike Joyce of the Smiths was a member for a short spell, but their bleak chronicles of urban dysfunction, modern love and sexual confusion were never a million miles away from Morrissey’s home ground.
Having said that, the band had enough chutzpah and originality to weather the comparisons with ease. Bernard Butler’s awesome technique was the ace in the pack. Propelling three-minute bursts of pop perfection like “Metal Mickey” and “The Drowners” into the singles charts, the bands’ sham-glam reeked of a new kind of decadence, laced with black humour. The key text here is “Animal Nitrate”. Despite its punning title it’s a thrill-seeking slice of cynicism that perfectly summed up what it was like to be young and chemically imbalanced in the nation’s capital at the time. This was a foreshadow of Blair’s Britain. The way it sold (the fastest selling album of all time and straight in at number one) showed that the public not only believed the hype; they wanted it. All wrapped in androgyny and attitude, Suede delivered everything that we’d hoped for and more. Their fortunes were never to be as good again.
External Album Reviews
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