Tous les "Chart Runs" des Albums classés depuis 1985" (in French). InfoDisc. Archived from the original ("Suede" must be searched manually) on 20 August 2008 . Retrieved 6 October 2008. It’s hard to explain how out of sync ‘Dog Man Star’ sounded during the era in which it was released. Sexy when guitar bands were far from it; unsettling when so many of the band’s peers were desperately trying to be booked for Saturday morning kids TV, it’s an album that would change British pop – let alone its creators’ career – irrevocably. Copsey, Rob (22 September 2020). "Mercury Prize: The best-selling winning albums". Official Charts Company . Retrieved 24 September 2022.

Aubrey, Elizabeth (23 May 2022). "Suede announce new album and series of intimate London tour dates". NME . Retrieved 16 September 2022.

Elements of Anderson's lyrics were influenced by his drug use, citing William Blake as a big influence on his writing style. [12] He became fascinated with his use of visions and trance-like states as a means of creation, and claimed that much of the "fragmented imagery" on "Introducing the Band" was the result of letting his subconscious take over. [45] The song was a mantra he wrote after visiting a Buddhist temple in Japan. [42] The uncharacteristic single-chord opening song's style and lyrics baffled critics; some were unimpressed, [34] [50] while Stuart Maconie felt the song had a "cryptic, disclocated ambience that makes it an ideal opener". [51] Lewis Carroll was an influence on the lyrics, who Anderson was reading at the time. There was also an Orwellian tone, which permeated into the second song and lead single " We Are the Pigs", [49] which depicts Anderson's visions of Armageddon and riots in the streets. [45] The song also features horns reminiscent of those used in the theme music from Peter Gunn. [52] [53] Anderson's lyrical subjects became exclusively tragic figures, such as the addicted teenager in "Heroine", and James Dean in "Daddy's Speeding". [54] Butler seemed to antagonise his bandmates when he appeared on the front cover of Vox magazine under the tag line "Brett drives me insane." [17] In a rare interview, in that he only ever would do press interviews on the pretext it was about guitars, he said of Anderson: "He's not a musician at all. It's very difficult for him to get around anything that isn't ABC." [17] A despondent Anderson remembers reading the article the same morning he was recording the vocals for "The Asphalt World": "I remember trying to channel all this hurt that I was feeling and the iciness I was feeling into the vocal." [18] Butler later apologised to Anderson over the incident. This is only partly true. Blur were also documenting Britain, just in a different way. The same can be said of Pulp, who shared so many qualities with Suede and navigated Britpop on their own terms. Oasis, however, dumped their quarter-pounder with cheese on the table and changed everything. Suede may have channelled Bowie and Blur may have channelled The Kinks, but Oasis channelled The Rutles.

And sometimes it suited the songs. 'Heroine's muddy mix, suggesting something that was once luminous has grown slightly mouldy, suited a song about pornography, the gleaming images of perfect skin and lonely, grubby desire. Its lonely youth yearning for pin-ups exists on that continuum of impossible love songs, somewhere along the line of Kate Bush's 'Idealized Man With The Child In His Eyes', The Who's masturbatory 'Pictures Of Lily' and the virtual sex prophesy of Tubeway Army's 'Are Friends Electric?' The big question is how does the Pure Audio blu-ray sound? I compared Heroine with the original CD and to be frank the 1994 CD sounded muffled and horrible in comparison although there was a lot of ‘splashy’ cymbals on the blu-ray. The Wild Ones, surprisingly, didn’t sound that different, but the more pertinent comparison between the 2011 remaster and the blu-ray revealed little audible difference to these ears. Scratch that – they sounded identical. As a fan of hi-res audio this was a rather disappointing although perhaps not too surprising since they do share the same remastering. a b Tangari, Joe (7 June 2011). "Suede: Suede [Deluxe Edition] / Dog Man Star [Deluxe Edition]". Pitchfork . Retrieved 8 April 2013. The DVD features song-films which were specially created for the Dog Man Star tour and previously-unseen footage of the band playing at the Casino de Paris and at the Fnac, Les Halles in Paris on 27 November 1993. The bonus DVD material features a 2011 interview with Anderson and Butler including contemporary film inserts from Simon Gilbert. The booklet contains all the lyrics, hand-written lyric drafts and previously unpublished photos of the band. There is also a specially-written note by Anderson; in it he says: "If I could choose to be remembered for just one musical document it would be this." [85] The reissue charted at no. 63 in the UK Albums Chart. [69] Many insist that the nine-minutes and 25 seconds of ‘The Asphalt World’ on side two of the record is ‘Dog Man Star’s’ shiniest jewel. Suede bass player Mat Osman has said that the song – largely conceived by the bands increasingly prog-obsessed guitarist Bernard Butler – was originally intended to be 25 minutes long, with an eight-minute guitar solo wedged into the mix. “ Lots of the musical ideas were too much,” says Osman. “They were being rude to the listener: it was expecting too much of people to listen to them.”

Both Anderson and Butler had immersed themselves in Scott Walker's largely Wally Stott-orchestrated Scott 1 - 4, records which moved further and further away from the top of the hit parade and deeper into an existential, self–penned loneliness. Walker's people sang silent songs and dreamt all day just like those in Anderson's. One album of Walker's was a particular Anderson favourite, his third, which included not only 'Big Louise' ("guaranteed goosebumps," says Anderson), but more interpretations of Jacques Brel songs, one of which, 'If You Go Away', would directly influence 'The Wild Ones'. a b c d Bernstein, Jonathan (December 1994). "The London Suede: Dog Man Star". Spin. Vol.10, no.9. p.103 . Retrieved 21 June 2013– via Google Books. Corio, Paul (29 December 1994 – 12 January 1995). "The London Suede: Dog Man Star / Blur: Parklife / Oasis: Definitely Maybe". Rolling Stone. Archived from the original on 8 March 2007 . Retrieved 21 June 2013. What follows is a journey up and down the terrain of Anderson and Butler’s scarred imagination, with lyrics that encompass James Dean’s death, JG Ballard dystopias and a crushing sense of romantic doom, all imbued with the Suede tropes of nocturnal avenues under street lamps and brooding offices. Dog Man Star fails quite a lot,” says bassist and founding member Mat Osman, “but it falls in a really interesting place. It’s a pretentious record, in the sense it’s reaching for something beyond its grasp. There’s something quite charming about that.”

Beautiful Ones: An Introduction to Suede (Digital)". Demon Music Group . Retrieved 5 November 2021. From the moment Brett Anderson and Bernard Butler started to hone their songcraft, the seeds of Suede's second album, Dog Man Star were being sown. "It was always an album we knew we could make," say Anderson now. Early compositions like 'Pantomime Horse' and 'The Drowners' B-side 'To The Birds' are supremely confident structures, swelling to operatic climaxes, shifting gears like mini-symphonies. On 'Where The Pigs Don't Fly', the stop-start intro has an almost regal sense of presence. This was music with poise and purpose, music that demanded to be heard by a band that demanded to be seen. Onstage and in song, the pair had forged an almost telepathic, brotherly bond. According to Butler's recollections in John Harris' The Last Party, they smoked the same cigarettes, dressed identically, the concerned Butler would accompany Anderson home on the tube. Above Anderson, hymns seep through the floorboards, sung by the Mennonites, a Christian sect that rejects the modern world just as his band have rejected recent musical developments. A stone's throw away to his right is the local library where he acquires all his current reading material. Further right, across the road and up the hill is Waterlow Park, where he penned the lyrics to 'Sleeping Pills' before he was famous. Highgate Cemetery contains Karl Marx, the corpse of revolution in this leafy, affluent North London enclave. But living, breathing anarchy bides its time down the hill in Archway, a sharp dose of urban reality, threatening to trample over Highgate's 'Village Green Preservation Society' idyll at any point. Or at least that's what Anderson thinks. Who knows? He's finding it hard to leave the house these days. As usual it will come down to how much of a fan of the band you are and how much enjoyment you’ll get out of the physicality of this set, but ironically the biggest Suede fans are likely to be the most disappointed.

These performances showed a total commitment to singing, to experimenting and matching his musical partner's, his co-star's audacity. In the studio Anderson would get in character, spending hours perfecting the intonation of the title in 'Daddy's Speeding' until the second word sounded like a "silver car accelerating". Even the singing was trying to be seen. Reforming in 2010 to play a concert for the Teenage Cancer Trust Foundation, [13] the band decided to start recording again. 2013 saw the release of Bloodsports. [14] An even more successful album followed in 2016 with Night Thoughts. Suede’s Dog Man Star (1994) is one of those albums and is very much a classic album. It is their finest work, it is by far and away the best British album to be released during the musical wasteland of the Britpop years and it easily stakes a claim to be one of the best British albums of all time. Musical differences arose over "The Asphalt World". The final version on the album has a duration of 9:25, edited from a much longer recording. According to bass player Mat Osman, Butler's initial creation was a 25-minute piece with an eight-minute guitar solo. [19] However, according to Anderson, the composition was 18 minutes long, and was a pre-production recording featuring only guitar and drums, that was intended to be edited down. Further north, in Sheffield, Pulp's Mike Leigh vignettes meet the steel city's synth heritage in increasingly poppier forms. In Manchester two brothers are fronting a band called Oasis. Noel Gallagher hears 'Animal Nitrate' on the radio and is galvanised to pen 'Some Might Say', a future number one. Oasis' logo is the swirl of the Union Flag; the Roses' abstract expressionism simplified to embody a new national pride. By the end of 1993, Anderson stares out from the cover of the NME accompanied by the quote/headline: 'England Drives Me Nuts'. There are no Union Flags behind him, and there will be no songs about chip shops on Dog Man Star