Suede were formed in London in 1989 by bassist Mat Osman, singer Brett Anderson and his then girlfriend, Justine Frischmann, on rhythm guitar. They soon added guitarist Bernard Butler – who was recruited through an advertisement in Melody Maker. Along with a drum machine as percussion, Suede were signed to RML Records, a label from Brighton. Comedian Ricky Gervais (who later found fame with The Office) managed the band for a brief period before they were signed to a record label.
With Mike Joyce (formerly of The Smiths) famously filling in as drummer, Suede’s first record "Be My God/Art", was printed but never released due to a dispute with the label. The few surviving records out of a batch of 2000 are considered amongst the rarest of Suede collectibles. Simon Gilbert soon replaced the drum machine and Suede signed to Nude Records. Though still living with Anderson, Frischmann was ejected from the band around this time because of her failure to attend rehearsals while flaunting her new relationship with Damon Albarn of Blur.
The band’s first single The Drowners was released amid a media frenzy that began before Suede had released any actual music. The band was on the cover of Melody Maker, which proclaimed them as “the best new band in Britain” prior to any official release. The debut single created an enormous amount of excitement because of its sharp contrast to the dying Madchester scene and the grunge sound of the time. Suede were further distinguished from their contemporaries by Anderson’s flamboyant looks and noticeably unique vocals, combined with Butler’s melodic guitar playing.
Surprisingly given the amount of press exposure the band had received, The Drowners featuring two strong b-sides in My Insatiable One (later famously covered by Morrissey in concerts) and To The Birds - was only a moderate hit. Success would only come with the follow-up singles Metal Mickey (written about Daisy Chainsaw/QueenAdreena frontwoman Katie Jane Garside) and Animal Nitrate, both of which reached the UK Top 20 on release a few months later.
Their first album Suede became the fastest selling debut since Frankie Goes to Hollywood’s Welcome To the Pleasuredome and was catapulted onto the charts after a breakthrough performance on the 1993 BRIT Awards. Featuring heavily-layered production by Ed Buller, the album showed influences from The Smiths, David Bowie, and many other glam rockers, but managed to filter and blend them together, creating its own trademark sound. However, the fan hysteria that surrounded Suede in Britain would be shortlived, and never duplicated by the American public.
Their American success was limited, despite securing a tour slot with the Cranberries, who had support from MTV. Moreover, a lounge singer’s lawsuit forced the band to stop using the trademarked American name “Suede” (a fate also suffered by fellow UK band The Charlatans/The Charlatans UK). For the North American market, the band would release all of their future albums under the moniker The London Suede.
Some possible factors cited to explain the band’s lack of U.S. success are their quasi-androgynous look and distinct British sound, both of which might have alienated North American audiences. Despite this, the band retained a cult following in the U.S. Following the release of their debut album, the band began work on their highly anticipated follow up single and album in late 1993 and much of 1994. The hectic schedule the band was facing hinted the problems that were soon to come.
In February of 1994, the band released the single “Stay Together”, which as well as being a massive critical success, also became their highest charting at the time, reaching number three. Despite their growing profile, tensions within the band mounted as they began working on the second album. Anderson and Butler fought constantly; a major issue was the production of the album (again done by Ed Buller). Things reached a head when Bernard Butler quit the band altogether in the middle of the recording sessions, leaving behind tapes containing his ideas for the songs that had been written. The remainder of the guitar work on the album was reputedly completed (depending on the source) either by studio musicians or Brett Anderson himself.
When Dog Man Star (1994) finally appeared, its sales were generally sluggish, though the album was critically acclaimed. The record was vastly different sounding than the band’s debut. It featured a large sound, backed by strings and a horn section in much of it. The year that Blur’s Parklife and Oasis’ Definitely Maybe were fighting for pop supremacy, Suede explored darker territory with Dog Man Star. Their image, however, was tainted by the departure of Butler, as they searched for someone to fill his undeniably large shoes.
The vacancy was soon filled by 17 year-old guitarist Richard Oakes (initially nicknamed by the UK music press as “Little Dickie”) before an international tour to promote the album. Many critics and fans alike had their doubts about the ability of the band to move on without Bernard Butler, who was an integral part of the band’s songwriting. However, the band broadened their sound when they were joined by keyboardist and backing vocalist Neil Codling in the making of their third album, Coming Up (1996). This would be the album which gained the group their most mainstream success. The first single from the album, “Trash” was immensely popular and tied with “Stay Together” as the group’s highest charting UK single, reaching number 3.
The album was a hit throughout Europe, Asia and Canada, but still not in the U.S. It did, however, answer those who questioned whether Anderson and company could produce another hit without Butler. Suede had again changed sound drastically; Coming Up featured more of a glam tinted pop/rock sound, as opposed to the darker elements that the previous albums had showcased. Reviews were again mixed, but the album topped the UK chart and became the band’s biggest-selling release. The band was finally getting the mass video and radio play that they lacked during the Dog Man Star period and in many ways fulfilling the hype that characterized much of the early part of their career. The album brought the band five straight top 10 singles, a remarkable feat by any standards.
The band’s next venture was a collection of b-sides and rarities entitled Sci-Fi Lullabies, which charted well for such a compilation, reaching #9 on the UK chart. The band were well respected for their b-sides, which were often regarded by critics and fans as being equal to or exceeding the quality of the a-sides they backed.
By the time the compilation was released in 1997, though, the Britpop movement was noticeably waning in popularity, and the band had decided to split with long-time producer Ed Buller before commencing work on their follow up to Coming Up.
Despite being backed by the popular lead single “Electricity”, Suede’s fourth album, Head Music (1999) was something of a critical disappointment, though it once again took the band to number one on the album charts. A synth-infused album that focused less on guitar riffs and more on keyboards, it was produced by Steve Osborne, who had worked with Happy Mondays and New Order. Critical opinion was sharply divided; many felt the record was too shallow and lacking in substance, while others thought the album was the group again taking a different direction and charting new territory.
The next three singles released from the album failed to crack the top 10, breaking a run stretching back to 1995’s “New Generation”. The b-sides for the singles were also arguably not up to par with their usual standard, which hinted at the drying up of the creative well. Anderson also began being criticized more by fans for his often use of redundant vocabulary and limited lyrical themes. Despite this, even with their drop in mainstream popularity, the band still maintained a large core group of fans.
Not long after the release of Head Music, Nude Records effectively ceased to exist. Like many of their labelmates, Suede ended up signing to Nude’s parent company/distributor Sony to record their fifth album, A New Morning (2002). The long and troubled gestation of the album saw keyboardist Neil Codling leave the band, citing chronic fatigue syndrome, to be replaced by long-time band associate Alex Lee, formerly of Strangelove.
In concerts, Lee played second guitar, as well as keyboards, backing vocals and, at one point, harmonica. The album title, according to Anderson, referred to “a fresh start, a new band and a new fresh outlook” - the singer had reportedly been addicted to heroin and crack cocaine for a number of years by this time, which was having an increasingly deleterious effect on his health. He was quoted at the time as saying “we’ve all cleaned up our drug problems …which is nice.”
Despite the rejuvenation of the group’s health, the album was a commercial disappointment and failed to crack the top 20. Produced by “big name” Britpop producers John Leckie (who famously produced The Stone Roses’ debut LP, as well as records for Radiohead and Muse) and Stephen Street (most famous for his work with The Smiths and Blur), A New Morning was considered a solid enough outing by fans of the band, but critical reaction was decidedly lukewarm and the mainstream public interest had long disappeared. Only two singles, “Positivity” and “Obsessions,” were released from the album, the fewest singles taken from any of the band’s albums, and neither charted particularly well.
In Autumn 2003, after the release of their Singles compilation album and accompanying single “Attitude”, Suede played five nights at London’s Institute of Contemporary Arts, dedicating each night to one of their five albums and playing through an entire album a night – with B-sides and rarities as encores – in chronological order. After these shows, the band announced there would be no more projects under the Suede name for the foreseeable future – effectively announcing the end of the band.
Their last concert at London’s Astoria on December 13, 2003 was a two-and-a-half hour marathon show, split into two parts (plus encore) with the first part being “songs we want to play”. Brett made an announcement that “there will be another Suede album” to everyone’s delight, but added “…but not yet”. “See you in the next life” was their closing remark.
Following persistent rumours, the boss of the band's former label, Nude Records' Saul Galpern officially announced on 15 January 2010 that Suede would be playing together again. "It's [for] a one-off gig," he explained of the show, which featured the band's second incarnation. The band played London's Royal Albert Hall as part of the 2010 Teenage Cancer Trust shows on 24 March 2010. Despite the gig initially being billed as a one night only reformation, when questioned on German radio station MotorFM in early February, Anderson refused to confirm that the band wouldn't continue. The band subsequently announced two UK 'warm up' gigs prior to the Royal Albert Hall show, at the 100 Club in London and the Ritz in Manchester. The trio of gigs were very well-received by critics, including a glowing two-page review in the NME.
Appearances at the Smukfest festival in Denmark on 7 August, Parkenfestivalen in Bodø, Norway on 21 August, the O2 Arena in London on 7 December and a mini European tour covering Belgium, France, Sweden, the Netherlands and Germany have since been confirmed. Although the band have so far refused all media request for interviews and it is unconfirmed whether the band will work on new material together, it has been reported in the press that a new record deal with Warner Music Group is on the table.
On 22 September 2010 the band has announced a new compilation album The Best of Suede, to be released on 1st November.]
Suede continued to perform in 2011. After they had completed their biggest show ever at London's O2 Arena, Brett confirmed that Suede were in the mood for more shows. They have performed at various festivals all over the world, including Blackberry's Live & Rockin' Festival on 19 March 2011, the Coachella Valley Music and Arts Festival on 16 April 2011 and the SOS 4.8 Festival in Murcia, Spain on 7 May 2011. They played Latitude Festival in Suffolk on 17 July 2011. The Berlin Festival is the last date Suede were pencilled in for. They played Berlin on 9 September 2011. This directly followed the Asian tour in August.
In June 2011, following on from the success of the compilation album, the band released remastered and expanded editions of all five studio albums. They also performed their albums Suede, Dog Man Star and Coming Up at London's O2 Brixton Academy over three nights on 19, 20 and 21 May 2011,[92] and at Dublin's Olympia Theatre on May 24, 25 and 26.
Suede embarked on a full Asian tour where they played Jisan, Singapore, Taipei, Beijing, Shanghai, Hong Kong, Osaka and Tokyo. The band commenced their eight-date tour in late July in Jisan, South Korea and finished up at the Summer Sonic festival in Tokyo, Japan on 14 August 2011.
They then performed in Athens on 11 September 2011, and wrapped up their touring commitments in Russia on 16 and 18 December 2011 where they showcased new songs "Falling Planes", "The Only", "Someone Better", "I Don't Know Why", "Cold War", "Future Nightmare" and "Sabotage".
Suede began recording a new album with Ed Buller in 2012 and Brett Anderson stated that of the songs showcased in Russia, only "Sabotage" was thus far in contention. He also stated that the album sounding like, "...probably like some artist on some drug, engaged in a game of quoits with some other artist on another drug. You can adopt your own journalistic cliche if you haven't grown up yet."
On 3 December 2012 Suede announced on their official website a "Brand new album out spring 2013".
There is another artist with the same name:
2. Suede is a lounge singer from Baltimore, Maryland. She sued the British rock band in 1993, resulting in music from the group being released under the name "The London Suede" in the US.
Digging A Hole
Suede Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Feel so much older but I'm only 22
She said she was an artist when I met her on the street
She sleeps right through the afternoon and throws up on the sheets
She took me to a hotel where she watched the evenings end
And cried into her coffee swearing she was on the mend
Two tortured souls
Digging a hole when we need to climb
I took a night bus down to the park
I climbed over the gate and then I ran into the dark
He said he was an artist on his bench under a tree
He said he liked to see the stars but not on nights like these
Two tortured souls
Digging a hole when we need to climb
I wish I had your heart instead of mine
I've drunk too much to belong to you
I looked to all the people to help me make it through
And everyone's an artist and they've all got things to say
They know the words to say it all but just not what say
Just as night follows day
Everything alive falls into decay
That's why I wish I had your heart instead of mine
Yes I wish I had your heart instead of mine
The song "Digging a Hole" by Suede features a somber tone with its lyrics providing an introspective look into the life of someone who is struggling to connect with others. The lyrics suggest that the singer has lost control of their life and their self-destructive behavior is taking its toll. The line "I've drunk too much, to belong to you" implies that the singer has turned to alcohol as a means of coping with their life's challenges. They also express the desire to have someone else's heart, perhaps someone who is more resilient and stable.
The song highlights the struggle to find meaning and hope in life amidst all the chaos and difficulties. It reflects the inner turmoil of someone who is seeking answers and solace but cannot find it. The character they meet on the street is also struggling, and they both end up "digging a hole when we need to climb." This metaphor is a powerful reminder that sometimes we get stuck in our negative patterns and we need to break free to move forward.
The song is a powerful commentary on modern youth culture that highlights the pressures of conformity and the struggle for self-expression. It speaks to the universal human experiences of loss, isolation, and vulnerability. The lyrics are relatable and thought-provoking, and the melody is hauntingly beautiful.
Line by Line Meaning
I've drunk too much, to belong to you
I have consumed excessive amounts of alcohol and I can no longer be a part of your life
Feel so much older but I'm only 22
Despite my young age, I feel much more mature than my peers
She said she was an artist when I met her on the street
When I first encountered her, she claimed to be a creative individual
She sleeps right through the afternoon and throws up on the sheets
She spends the day sleeping and frequently vomits on her bedding
She took me to a hotel where she watched the evenings end
She brought me to a hotel where we witnessed the conclusion of the day
And cried into her coffee swearing she was on the mend
She wept into her coffee while insisting that she was in the process of recovering from something
Two tortured souls
Both of us are deeply suffering emotionally
Digging a hole when we need to climb
We are not taking the appropriate steps to move forward in our lives
I wish I had your heart instead of mine
I desire to possess your emotional resilience instead of my own
I took a night bus down to the park
I boarded a bus destined for the park during nightfall
I climbed over the gate and then I ran into the dark
I scaled the fence and then sprinted into the darkness
He said he was an artist on his bench under a tree
While sitting on his bench under a tree, he stated that he was a creative individual
He said he liked to see the stars but not on nights like these
He claimed that he enjoys viewing the stars, but not on evenings with specific characteristics
I looked to all the people to help me make it through
I sought assistance from others to survive my struggles
And everyone's an artist and they've all got things to say
Everyone considers themselves to be a creative individual and possesses their own opinions
They know the words to say it all but just not what say
Although they possess substantial knowledge, they are unsure of how to articulate their thoughts
Just as night follows day
As surely as day transitions into night
Everything alive falls into decay
Every living thing will eventually experience the deterioration of their physical state
That's why I wish I had your heart instead of mine
I desire to have your capacity to endure the inevitable decline of all living things
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@drscranchez8721
I've drunk too much, to belong to you
feel so much older, but I'm only 22
she said she was an artist when I met her on the street
she sleeps right through the afternoon and throws up on the sheet
she took me to a hotel where she watched the evenings end
cried into her coffee swearing she was on a mend
two tortured souls digging a hole, when we need to cry
I wish I had your heart instead of mine, instead of mine
I took a nightbus down to the park
I climbed over the gate and then I ran into the dark
he said he was an artist on his bench under a tree
he said he liked to see the stars but not on nights like these
two tortured souls digging a hole, when we need to cry
I wish I had your heart instead of mine, instead of mine
I've drunk too much to belong to you
I look up all the people to help me make it through
everyone is an artist, and they've all got things to say
they know the words to say it all, but just not what to say
just as night follows day, everything alive falls into decay
that's why I wish I had your heart, instead of mine
yes, I wish I had your heart instead of mine
@barrijillzahn444
Haunting lovely song- His voice caresses each word like a soft summer breeze- Just A gorgeous mix of Melancholy and wistful desire
@adalbertobelgardo6708
I remember actually being twenty-two (but feeling so much older) the first time I heard this song.
@carls7860
Me too..
@blobcity3591
@Carl S me too
@hyesungc
This song is SO GREAAAT! Lyrics are so beautiful. one of my top suede songs, really.
@BattyTrish
Need to hear this live!
@sadysady65
wow - that is really nice. love his voice. he should have done more
@chringo
Beautiful! Love the mood of this song.
@hyesungc
to me it's one of the best suede songs. they should have put this in sci fi and remastered albums.
@alehermida9254
Oh NEIL <3