In other news we now have six voters- so thank you all it's already exceeded my initial projection :lol:

 

Where is *Dandy when you need him?

Present sire!

 

(oh and the last time I saw them live was March 24th 1999 according to that site...)

 

Thanks to Dandy* we now have 7 voters- I'd like at least 10 though please- c'mon peeps you know you wanna! :D

I'll vote again if you like!

I'll vote again if you like!

:D I've reminded Suedehead and hopefully Grebo will oblige! 48 Hours to go for any folk thinnking about it!

I am doing it, just having a bit of a listen first.

ok anymore for anymore, closing tonight at 9 peeps!

predictions

 

1 Animal Nitrate

 

 

 

1 Dog Man Star

Done it!

Thanks to Grebo and Suedehead we have 9 voters! Three hours left if anyone else fancies it!

VOTING CLOSED:

 

I'll Start the results tomorrow night- Predict if you fancy!

I wish that I knew more about Suede, so that I could vote in this rate. :( I might find out more about them by following the results though! :D

Results will start at 6 tonight with the albums and also Buzzjack's LEAST favourite Suede single!........

A huge welcome to the RESULTS of our little SUEDE RATE!

 

A grand total of 9 folk voted- my thanks to all of you!

 

Without anymore ado we have the albums rate with no surprise which album you liked the least.......

06. A NEW MORNING (2002)- 40 POINTS

 

http://upload.wikimedia.org/wikipedia/en/a/af/A_new_morning.jpg

 

PEAK POSITION: 24

WKS ON CHART: 2

RUN: 24-56

HIGHEST VOTE: 9

LOWEST VOTE: 0

 

The only Suede album I don't own (such was the crushing disappointment of "Head Music") so I can't really comment on it- other than to say the votes you gave it don't inspire me to part with good money.

 

Wiki says (as I can't be bothered to write my own jazz)

 

The creation of Suede's fifth studio album A New Morning, was long and costly. Following the release of their 1999 album Head Music and subsequent tour, keyboardist Neil Codling announced his departure from the group on 23 March 2001, citing problems with Chronic fatigue syndrome. Singer Brett Anderson was furious at Codling's leaving, but understood the reasons behind his departure: "He couldn't help it, I know, but I did feel aggrieved. I felt let down. But more at the universe than at Neil." Codling was replaced by former Strangelove keyboardist Alex Lee. Anderson also had become sober for this record, overcoming his crack addiction and claiming that A New Morning was "the first ever Suede record that wasn’t influenced in its making by drugs". Anderson wrote lyrics isolated in a country house in Surrey away from the rest of the band, where he immersed himself in music and literature. He read Atomised by Michel Houellebecq and books by Albert Camus, Leonard Cohen and Paul Auster. Anderson says, "I created a deliberate vacuum so all these influences would flood in. I spent a lot of time walking in the countryside, sometimes for hours and hours, fascinated by nature and its battle with concrete and steel. I was living in Concrete Island by J.G. Ballard."

 

The band began recording demos at Stanbridge Farm Studios in West Sussex in July 2000. In October the band took a break from writing to perform their only gig of the year, which took place in Reykjavík, Iceland, where they premiered nine new songs. The group originally began working with American producer Tony Hoffer in 2001, and anticipated having a single released by Autumn. Hoffer and Anderson had originally met in a toilet at Paisley Park in Minneapolis, Minnesota, where the two hit it off, finding several common musical interests. The meeting led to Anderson asking for Hoffer's input on some of the group's recent work. In February 2001 the band took up residency at Rockfield Studios in Monmouth, Wales for a three-week trial run with Hoffer. The band were unimpressed with the trial run, especially Simon Gilbert and Richard Oakes, who both had strong opinions on the results. Nevertheless, the band decided to record the album with Hoffer and descended on Parkgate Studios, Hastings, in May with their new member Alex Lee, following Codling's departure. Although the group recorded ten songs with Hoffer that Anderson said were the "best we've written," most of the material recorded with him producing was scrapped. In September the group recorded two songs with ex The Stone Roses producer John Leckie. The versions of "Beautiful Loser" and "Positivity" were promising, however, Leckie had other commitments forcing Suede to reconsider their options.

 

The group ultimately decided to work with Stephen Street for the album, and recorded most of the released material with him in two months. Recording with Street began in January 2002, with the album finally being completed on 23 March 2002. Anderson had high praise for the producer, saying "Stephen has just turned this whole album around, he really has. Every song he's just taken and done something special with... From the millions of other sessions we've done for this album, there's just no comparison." Overall, seven different recording studios and four producers were used during the two year recording span for A New Morning, and costs estimated at around £1 million. Street stated that the album was a return to classic song construction, and bassist Mat Osman said that lyrically A New Morning is "Very positive and upbeat"

 

05. HEAD MUSIC (1999)- 58 POINTS

 

http://upload.wikimedia.org/wikipedia/en/6/67/Head_music.jpg

 

PEAK POSITION: 1

WKS ON CHART: 15

RUN: 1-7-21-27-31-32-36-31-44-39-52-53-59-74-73

HIGHEST MARK: 8

LOWEST MARK: 4

 

Bought this on the day of release- DISAPPOINTED 1 HR LATER. Ok it isn't awful but WAY too much filler....

 

After the release of the B-sides compilation Sci-Fi Lullabies, Suede decided to put themselves out of the limelight for over a year. Neil Codling spent most of the year in bed due to his illness and at the same time Anderson's increasing drug habits were becoming a cause for concern. Anderson began to associate himself with people outwith the band, who Mat Osman, seemed to dislike. "More than anything there started to be a whole load of people he was associating with who I just couldn't stand. They had nothing to do with the band, nothing to do with anything but drugs. They were drug buddies."

 

Suede decided to move on from Ed Buller as their producer. After demoing 15 songs with three different producers, wanting to go in a more produced, electronic-sounding direction, the group chose Steve Osborne to produce the album. According to Anderson, Head Music was Suede's most experimental album,[4] and Osborne's role played into the group's experimentation, "Steve was responsible for a hell of a lot of this album's sound. We chose him first of all because he did this f***ing brilliant job on 'Savoir Faire'... It just sounded really exciting and unusual." Osborne's involvement sparked rumours of Suede going in a dancier direction, which the band strongly denied. Osman said, "It's not dancey at all. It's certainly groovier and there's a lot of tracks that are just one or two chords. There's certainly a lot more tracks that work on the level of a groove than we've done before, but that's it."

 

Osborne was initially hired for one week of trial-run recording at Mayfair Studios, just to see how the process was going to work, or indeed if the two parties could work together.Suede's biographer David Barnett remembers the day when they did a test-run of "Savoir Faire" with Osborne at the trial sessions. He recalls being offered a crack pipe by two of Anderson's friends. "Naively assuming it to be a hash pipe, I took them up on the offer and was surprised to experience a sensation akin to inhaling several bottles of poppers at the same time. This was my first and last personal encounter with crack." Anderson was addicted to the drug for two and a half years, but stopped in late 1999 when somebody very close to him became ill. He has been clean since.

 

Head Music was recorded between August 1998 and February 1999, several studios were used including, Eastcote, Sarm Hook End, Master Rock and Eden Studios. For guitarist Richard Oakes, the rehearsals for Head Music were unpleasant. With Anderson's wayward behaviour showing no signs of draining, Oakes began to drink more to make rehearsing more endurable. "I remember for quite a few of them, having to make sure that I was semi drunk just in order to turn up." Oakes also found his contributions being regularly knocked back in favour of Anderson and Codling's electronic experiments. Anderson felt that because of his spiralling drug use, and Codling's illness, Oakes became isolated from the group further and that the only people who were still together were Osman and drummer Simon Gilbert. At one point relationships became so strained that Anderson demanded future member Alex Lee to be summoned to the studio presumably because no one else was willing to turn up.

 

The album is notable for being the first Suede album to have a title track. "Head Music" was one of Anderson's personal offerings, which Nude's Saul Galpern insisted should not go on the album. Osborne actually refused to record it, instead they got Arthur Baker to do a version, however they disliked it. Osborne eventually relented, but was not so flexible when it came Codling's next offering. "Elephant Man", which is the only song on a Suede album not written or co-written by Anderson

 

Favourite non single from album

04. SCI-FI LULLABIES (1997)- 74 POINTS

 

http://upload.wikimedia.org/wikipedia/en/6/67/Sci-Fi_Lullabies_by_Suede_album_coverart.jpg

 

PEAK POSITION: 9

WKS ON CHART: 3

RUN: 9-24-42

HIGHEST VOTE: 10

LOWEST VOTE: 6

 

Personal opinion: Good comprehensive round up of their b-sides half of which could easily made a better album than "Head Music"

 

The album spans two discs and displays the band in its most prolific era. The first disc is dominated by tracks written by the Brett Anderson/Bernard Butler songwriting partnership (the exceptions are "Together," "Bentswood Boys" and "Europe is Our Playground") while the second showcases the various intra-band songwriting variations (Anderson/Richard Oakes and Anderson/Neil Codling, plus Anderson solo and compositions contributed to by the whole band) that emerged following Butler's departure and the subsequent recruiting of a new guitarist, Richard Oakes and keyboardist Neil Codling.

 

The album is not quite comprehensive, missing out around half a dozen exclusive songs released as B-sides by the band during the period it covers. Missing Anderson/Butler B-sides are "Painted People" (from "Animal Nitrate"), "Dolly" (from "So Young") and "This World Needs a Father" (from "The Wild Ones" Disc 1), which was the last B-side of the Butler era. Tracks featuring Oakes and/or Codling omitted include "Asda Town" (from "The Wild Ones" Disc 2), "Sam" (from "Beautiful Ones") and "Digging a Hole" and "Feel" (from "Lazy"). Live performances released as B-sides (on "New Generation" Disc 1 and "Filmstar" Disc 2) are also not included, neither is Suede's cover of the Pet Shop Boys' "Rent." The track "Together" is included despite technically being a double-A side (with "New Generation") not a B-side, while the non-album single "Stay Together" is not present despite its B-sides being included and it not being available elsewhere. The track "Eno's Introducing The Band" (from "The Wild Ones" Disc 2) is also not included.

 

The album is considered an important one for fans of the band, partially because of the wealth of material and partially as many of the songs on the compilation are considered to be as strong or even stronger as the singles from which they came

 

 

Personal favourite:

 

I like Head Music, there's a few duds surely, (Hi-Fi and Asbestos), but it's still a decent album. I do think I'm one of the few people who likes Elephant Man.

03. COMING UP (1996)- 80 POINTS

 

http://upload.wikimedia.org/wikipedia/en/f/f9/Coming_up.jpg

 

PEAK POSITION: 1

WKS ON CHART: 44

RUN: 1-10-18-23-25-37-30-19-20-33-40-49-54-52-56-47-47-32-26-21-18-5-8-12-26-41-53-58-57-58-51-38-27-23-23-31-55-60-63-x-57-42-26-45-60

HIGHEST VOTE: 11 (X 3)

LOWEST VOTE: 5

 

Personal opinion- Yes a third of us voted this our favourite Suede album- I was almost tempted myself and around 1996/97 I almost certainly would have but tastes change and now I gave it a 10- still pretty amazing and an album that instantly says 1996 everytime I play it- GOOD TIMES

 

After the departure of guitarist Bernard Butler and the lack of commercial success with Dog Man Star and its singles, Suede were being somewhat dismissed by the British music press. Determined to bring Suede back into the mainstream, Anderson decided that the sound of the new album would be the complete opposite of Dog Man Star. "I think the next album will be quite simple, actually. I'd really like to write a straightforward pop album. Just ten hits."

 

The guitarist to replace Butler was the 17-year-old Richard Oakes, who beat 500 other applicants for the role. Instead of applying for the job like everyone else, Oakes was auditioned on the strength of an impromptu demo tape he sent to the Suede fan club. Despite Oakes's smooth integration into his new role and the band's rejuvenated spirit, Anderson was tired of touring and was keen to get back in the studio with his new songwriting partner. "...it was becoming really not much fun touring an album that wasn't made by the band."[6] This statement was an indication that Suede lacked enthusiasm, and were not content with being on tour, a feeling, which was reflected in the b-side, "Have You Ever Been This Low".

 

To prepare for its recording, the band had immersed themselves in T. Rex's 1972 album The Slider and its successor, Tanx. On the eve of the album's release, Anderson stated: "I wanted it to be a complete turnover from the last album, which was very dark and dank... I wanted it to be communicative and understandable. Pop music generally has to be pretty dumb, I think. And I've had my little affair with the avant-garde. It's not as exciting as pop music." Long-time producer Ed Buller would be at the controls once again. Bass player Mat Osman recalls how Buller was keen on making the album simple. "He was really keen on using all those devices: the big repeated end, the handclaps, the straightforward chorus, make it big and obvious."

 

Two songs which made it onto Coming Up had already been written in the early days of Suede. "Lazy" and "By the Sea" were two of Anderson's compositions, which had been written during the Butler era. "I pretty much knew Bernard wasn't going to be in Suede for the rest of his life and I thought it would be good to have a couple of things knocking about." "By the Sea" was actually written when Suede were recording their first album, which is why the songs opening line is almost identical to "So Young".

 

Unlike the tense and chaotic recording of Dog Man Star, which according to Anderson was written by post, the new material was far more celebratory in both its development and execution. "I kind of like working like that, because the whole of Dog Man Star was written by post pretty much,...There was no mutual exchange or anything like that." Songs such as "By the Sea" and "She" required the use of keyboards. Faced with the problem as to how to play them live, Suede recruited Simon Gilbert's cousin Neil Codling, who made his debut at a fanclub gig in January 1996.

 

The musical sound of Coming Up is more accessible than previous album Dog Man Star. Its singles were much more successful than those of their second LP, while the lyrical content concerns the band's disaffection at the mid-90s hedonistic, celebrity-obsessed culture; "Beautiful Ones" and "She" are caricatures of British yuppies, celebrities and heroin-chic models. "Beautiful Ones" was originally titled "Dead Leg" after Osman threatened to give Oakes a dead leg if he was unable to write a top ten single. According to Anderson, "The Chemistry Between Us" is about "the emptiness of it all" with regards to drug use. The album finishes with a note of optimism in "Saturday Night" - a straightforward, contented love song.

 

Favourite non single:

 

02. SUEDE (1993)- 83 POINTS

 

http://upload.wikimedia.org/wikipedia/en/e/e6/Suede.jpg

 

PEAK POSITION: 1

WKS ON CHART: 23

RUN: 1-2-5-10-19-28-29-28-25-23-29-41-57-59-54-65-x-60-37-34-47-66-71-x-74

HIGHEST VOTE: 11 (X1)

LOWEST MARK: 6

Personal Opinion: I basically bought this bacause all my mates were into them and I loved "Animal Nitrate". It's not an album I love, in places it rambles and lacks focus but it has some corkers of highlights! Mild controversy over disabled lesbians kissing on the cover

 

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. Buller would be the band's closest musical collaborator for the years ahead. Anderson liked Buller 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 Buller took the "metal brutality" out of the song. Instead of the song ending abruptly after the chorus, which the band demonstrated when performing live, Buller suggested an extended fade-out, which incorporated a key change. Butler would eventually clash with Buller 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

 

Favourite non single: