I've tried to get into the last couple but they haven't clicked yet. I should give them more time. Their first two number amongst my very favourites. 'Coming Up' is pretty ace too, but I think I tend to feel that their work from that period on lacks the same level of sincerity, and can be grandiliquent without hitting the same capital-R Romantic heights. Maybe I'm pining for that particular stretch of my youth. Dunno. I'll listen some more - I've only heard good things about these records

Further thoughts on that - I know Head Music isn't popular. Possibly it has a special place for me as it came out soon after I got into music, so was the first Suede record I had. (I started buying records in '98, DC was my first & TIH 3rd).

The first Suede album I bought, thanks to the budget price, was the b-sides collection "Sci Fi Lullabies", I had previously bought some of the "Coming Up" singles and just assumed I had got in lucky by getting some good b-sides but the first disc of "Sci Fi Lullabies" was something else altogether; it convinced me to save up and buy the rest of their albums.

"Head Music", I loved it at the time but looking back, it's kind of like their "This is Hardcore"... give or take the lyrics of "Savoir Faire", the first songs are great but after "She's In Fashion" it goes downhill then finally picks up with "Indian Strings" and "He's Gone" (the closing track really wasn't worth it, though).

As for "Coming Up", it's my least favourite Suede album. Yes, there are some great moments on there but it's as if they were playing it just a little bit too safe. Imagine if Pulp had released "Different Class" without "I Spy" and "FEELINGCALLEDLOVE". There were some decent b-sides that should have really been on the album. 

He wanted Chris Thomas as producer but Nude wouldn't pay for him. Hard to think less than a year later Island were happy to fork-out for him to do Different Class when Pulp were not yet seen in Suede's league commercially. I know Suede/Nude had backing from Sony internationally but who knows, their US tour in autumn '93 when they were usurped by support act The Cranberries, may have meant the purse strings being held somewhat firm when Suede recorded DMS in spring'94.
Musically, I think Bernard was listening to Dusty Springfield and Scott Walker a lot, whether that may have informed his sound preferences who knows. Can't imagine Chris Thomas' pop-sheen working well with the gothic-grandeur of the songs on that album, and Ed Buller's love of reverb actually suits the mood in a way, that echoey/underwater thing, well on some of the songs anyway. Like bits of His'n'Hers (though not all - his shortcomings there partially made Pulp ditch him after that album).

There's a fantastic article here on the making of Dog Man Star and the drama around it, probably my favourite piece of writing on any of the records I love: http://thequietus.com/articles/16540-suede-dog-man-star-reissue-anniversary-review

Funnily enough, I live just around the corner from where Brett did when he wrote his parts for that album. And my street is called Stanhope Road. It was density...I mean, destiny.

Had one listen full way through at work today. Some nice moments but almost every song has the same overwrought mood that has typified their comeback. Brett doesn't have the wit or humour of Jarvis which is fine but it can make his lyrics heavy-going and a bit ridiculous especially when he challenges himself so much with his vocal range.

Having said that, writing a pop song about his child had the potential to be awful, instead they knock-out their best chorus in 20 years imo and the lyrics are really moving (Life Is Golden - iffy verses/bridge though).

cutcopy wrote:

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I'm reading Brett's book at the moment 'Coal Black Mornings' - but have never taken to the suede 2.1 version. I tried - cause I love the idea of them being back and being a huge fan - well up until Head Music. I can live with that. Made 4 incredible albums - and those B Sides....wow...

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 It was a good read. Lead me to buy Barnett's book though, which I think I preferred overall; authorised, but he was clearly permitted to say it as he saw. 

Enjoyed his book. He was pretty matter of fact about things - and I liked how he emphasized that they had to work at it - working with Bernard to get to the level he was already at. Found him quite humble - which was conflicting with how I thought he might be. 4 stars.

One of my most fav things ever is 'She' going into 'Beautiful Ones' - Perfect music.