In the matter of a decade, Brit pop pioneers Suede have managed to cement their position in the hierarchy of musical history. Sure the band has had their fair share of ups and downs, but through it all they’ve managed to continue making decent music and live up to most expectations.

Suede was formed in England during 1989. The band was created by vocalist and writer Brett Anderson and friend Mat Osman, a bassist. The two today the only remaining original members. After discovering an advertisement in NME, guitarist/lyricist/vocalist Bernard Butler joined the band that would come to be known as Suede. Named after a Morrissey tune, the trio did a few demos before recruiting another guitarist, future Elastica muse Justine Frischmann. Soon thereafter, Suede landed a fourth member (after losing former Smiths drummer Mike Joyce), drummer Simon Gilbert. Frischmann left, and the band almost immediately signed a deal with Nude.

The foursome was awarded a great deal of attention even before they’d recorded a single note. Following an appearance on the cover of Melody Maker, critics jumped on the bandwagon despite in many cases not yet hearing one song from Suede. This kind of hype could have easily killed a career, but the band managed to triumph in Britain. Their 1993 eponymous debut sold very well, and critics supported the band every step of the way including through Anderson’s sometimes-eccentric behavior. Suede crowned their early success with the winning of the Mercury Music Prize for Best Album.

Butler didn’t last much longer than the excellent second album, Dog Man Star. Internal battles and Butler’s apparently stifled creativity were partially to blame for his departure in 1994. Butler was replaced by the green guitarist Richard Oakes and Suede plugged along amidst increasing criticism. While none of the subsequent releases (1996’s Coming Up, 1999’s Head Music, and 2002’s A New Morning) lived up to expectations they did manage to keep the band in the mainstream. But even with all of their early and late successes, the band has been almost completely unable to break through to America.

Suede’s 1993 debut is an immediately, immensely impressive effort. The band epitomized the spirit of a young, creatively free act while still coming off as refined, thoughtful, and intelligent. The style presented on this release is now ingrained in the souls of many listeners, but a decade ago the now popular Brit-pop was something relatively new. Suede took the ideas previously explored by acts like Manchester’s Stone Roses and The Smiths, tossed in a dash of David Bowie and expounded brilliantly. There is no question as to why this disc was so perfect and appealing from the start.

With just eleven tracks, Suede is a succinct offering. Of course it would have been wonderful to have another five or six tracks, but the band knew what they were doing. They recorded just enough songs to whet the appetites of listeners and to further impress a country of critics. Dramatic melodies, melancholic vocals, and expertly played instruments pervade the soul as you embark on the listening experience. Suede certainly made a remarkable splash on their debut.

From the first drum beats of So Young, the stage is set for an astounding effort. At this early stage in Brit-pop, Suede got away with blending elements from punk and glam. Anderson’s vocals sparkle uniquely; he has a richly textured quality to his voice. With a diverse number of instruments ranging from a wailing electric guitar to a piano, this song is a properly inspiring song to kick off this truly inspired album.

There’s almost nothing to speak harshly about here. Suede is well aware that their music is a new kind of pop, and as such the songs are pretty universally entertaining. Some songs are slow and plodding, and while not as fun as the upbeat offerings they emote in a manner later properly perfected by Radiohead. She’s Not Dead, Pantomime Horse, Sleeping Pills and The Next Life all fit tidily into this category. On these four songs, Suede proves that they indeed have hearts, as dark and strange as they might be.

As aurally pleasurable as the slower, balladesque songs are, the upbeat kinetic offerings best characterize this truly memorable LP. Animal Nitrate is perfectly representative of the louder, faster variety of Suede. Consisting of shimmering vocals and amazing guitar work, the song was an easy mid-album hit for the band. But there are better songs (believe it or not). Consider The Drowners among this debut’s best tracks. This single was the band’s first, and as such it is clear why critics waited in eager anticipation for the accompanying album. The song is arranged wonderfully with layered vocals, an uplifting melody, and gripping rock guitars and drums…not to mention the perfect lyrics:

So slow down, slow down, you're taking me over
And so we drown, sir we drown, stop taking me over

Other worthwhile upbeat songs include the relatively uncharacteristically, raucous Metal Mickey and Animal Lover. Suede is a band that can easily be appreciated, but unfortunately most Americans have yet to experience their music in the form of an album. Both Suede and the subsequent Dog Man Star are worthy purchases. Both are easily classics with the first as the critical darling and the second my personal favorite (I can’t help but adore Heroine). Since the departure of Butler, the band’s albums have become less innovative and as such it is important to first gain an appreciation for the early band before venturing into the more recent catalogue.

If you haven’t yet acquired Suede (1993) and have a taste for Brit-pop, what are you waiting for? It will soon become a cherished possession.

Rating: 5/5 stars

Track Listing:
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

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Suede – Dog Man Star [1994]
http://www.epinions.com/content_71164595844


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