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.
The 2 of Us
Suede Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
That song goes through my head the one we both knew
In each line lies another line full of sacred sound
But you're outside where the companies dream and the money goes round
Lying in my bed.
Watching my mistakes
I listen to the band they said that it could be the 2 of us
But you're outside making permanent love to the nuclear age
Two silhouettes by the cash machine make a lovers dance
It's a tango for the lonely wives of the business class
Lying in my bed
Watching my mistakes
I listen to the band
Lying in my bed
With nothing much to say so I listen to the man
He said that it could be the 2 of us
I heard you call from across the city through the stereo sound
And so I crawled there sickeningly pretty as the money went round
Lying in my head watching my mistakes
I listen to the band
And the drums beat in my head
Pianos chime the sound in this prison of the house
And as the illness comes again can you hear me through the rain
As I listen to the band?
As I sing the silent song
Mime each lonely word
Please listen to the man he said that it could be the 2 of us
Alone but not lonely, you and me
Alone but loaded
The song "The 2 Of Us" by Suede speaks of a sense of loneliness and longing for someone unavailable. The song is an introspection of the singer who lies in his bed reminiscing about a song that he and his beloved both knew by heart. As he listens to the song once again, he realizes that each line is full of a sacred sound; however, his lover is not nearby to enjoy it with him. Instead, she's outside, caught up in the rat race of the business world, where the "companies dream, and the money goes around."
The next verse talks about the singer's desire to be with his lover. He wishes the snow could fall and leave messages for her, while she's too busy making love to the "nuclear age." He watches two silhouettes swaying at the cash machine, and it's only then that he realizes he's alone. The tango is a show for the "lonely wives of the business class." The singer then goes back to his bed, where he listens to the band and his mistakes, reflecting on what could be with his lover.
The last verse, however, hints at his desire to escape this loneliness. He hears his lover's voice from the radio and heads towards her, hoping that somehow, they could start something together, even amidst the chaos that surrounds them. As the song ends, Suede leaves us in doubt, unsure whether his protagonist ever meets the person he longs for or continues to be "Alone but not lonely, and alone but loaded."
Line by Line Meaning
Lying in my bed I think of you
The persona thinks of their loved one while in bed.
That song goes through my head the one we both knew
The persona thinks of a song that is familiar to both of them.
In each line lies another line full of sacred sound
The song has a deeper meaning beyond the surface level.
But you're outside where the companies dream and the money goes round
The loved one is focused on materialistic pursuits.
Lying in my bed.
The persona is still in bed.
Watching my mistakes
The persona reflects on their errors.
I listen to the band they said that it could be the 2 of us
The persona remembers a band mentioning their potential as a couple.
The snow might fall and write the lines on the silent page
The snow could be symbolic of purity and new beginnings.
But you're outside making permanent love to the nuclear age
The loved one is focused on modern advancements despite its dangers.
Two silhouettes by the cash machine make a lovers dance
Two people share a romantic moment, but it is tainted by their focus on financial gain.
It's a tango for the lonely wives of the business class
The dance symbolizes the empty lives of affluent individuals.
Lying in my bed
The persona is still in bed.
Watching my mistakes
The persona continues to reflect on their errors.
I listen to the band
The persona listens to music to ease their mind.
Lying in my bed
The persona is still in bed.
With nothing much to say so I listen to the man
The persona is looking for guidance from someone else.
He said that it could be the 2 of us
The persona is reminded of the band's message.
I heard you call from across the city through the stereo sound
The persona imagines their loved one reaching out to them through music.
And so I crawled there sickeningly pretty as the money went round
Despite the corruption of pursuing wealth, the persona still longs for their loved one.
Lying in my head watching my mistakes
The persona is trapped in their own thoughts, overwhelmed by their errors.
I listen to the band
The persona listens to music to cope.
And the drums beat in my head
The music is so overwhelming that it feels like it's inside the persona's head.
Pianos chime the sound in this prison of the house
The persona feels trapped in their home and the music is their only escape.
And as the illness comes again can you hear me through the rain
The persona is struggling with their own mental health and seeks connection with their loved one.
As I listen to the band?
The music is a source of comfort to the persona.
As I sing the silent song
The persona is singing along to the music, but only internally.
Mime each lonely word
The persona is silently mouthing the lyrics to the song.
Please listen to the man he said that it could be the 2 of us
The persona still holds onto the hope that they could be with their loved one, as suggested by the band.
Alone but not lonely, you and me
The persona and their loved one are not physically together, but their love for each other still exists.
Alone but loaded
The persona is alone, but still carries the weight of their emotions and experiences.
Lyrics © BMG Rights Management, Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: BRETT ANDERSON, BERNARD BUTLER
Lyrics Licensed & Provided by LyricFind
@HelenaSurrender
Lying in my bed, I think of you
That song goes through my head, the one we both knew
In each line lies another line full of sacred sound
But you're outside where the companies dream and the money goes round
Lying in my bed.
Watching my mistakes,
I listen to the band they said that it could be the 2 of us
The snow might fall and write the lines on the silent page
But you're outside making permanent love to the nuclear age
Two silhouettes by the cash machine make a lovers dance
It's a tango for the lonely wives of the business class
Lying in my bed
Watching my mistakes
I listen to the band
Lying in my bed
With nothing much to say so I listen to the man
He said that it could be the 2 of us
I heard you call from across the city through the stereo sound
And so I crawled there sickeningly pretty as the money went round
Lying in my head watching my mistakes
I listen to the band
And the drums beat in my head
Pianos chime the sound in this prison of the house
And as the illness comes again can you hear me through the rain
As I listen to the band?
As I sing the silent song
Mime each lonely word
Please listen to the man he said that it could be the 2 of us
Alone but not lonely, you and me
Alone but loaded.........
@TheMegapenthes
This guy, Brett Anderson, is somebody else when he is before a microphone. He doesn't show off in interviews, allowing himself to hang loose, like a feather of no consequence. He knows where to weigh his ambition down...that's to music and to achieve excellence. True mark of ambition.
@cynzia_d
The perfect, total, alchemy between the immortal 2 ....Brett Anderson & Bernard Butler. One of the best things they composed together. Desperate, sad, intense, stunning, melancholic, painful, nostalgic..... I do love it since 1994 and I always will.
@pauloalbuquerque3367
Sublime vocals. Mr. Anderson.
@grandsampras
one of their greatest without hesitation!!intensity growing slowly until the final; majestic!!
@zilviamartinez
I think it's one of the best songs I've heard. Love it
@betnoir13
his voice passes through the entire me and leaves me with chills
I'm drowned and overtaken with his beauty
@clyderadcliffe1536
Anderson and butler are the lennon and mccartney for the 90s. dog man star is one of rocks best contributions
@axlerose4744
virgorouge Anderson is the surname of Suede’s frontman.
@TheFibtastic
I'll take Anderson and Butler over either, thanks. I've heard baby boomers rattle on about The Beatles enough that they've ruined them for me for my life.
@HelenaSurrender
Lying in my bed, I think of you
That song goes through my head, the one we both knew
In each line lies another line full of sacred sound
But you're outside where the companies dream and the money goes round
Lying in my bed.
Watching my mistakes,
I listen to the band they said that it could be the 2 of us
The snow might fall and write the lines on the silent page
But you're outside making permanent love to the nuclear age
Two silhouettes by the cash machine make a lovers dance
It's a tango for the lonely wives of the business class
Lying in my bed
Watching my mistakes
I listen to the band
Lying in my bed
With nothing much to say so I listen to the man
He said that it could be the 2 of us
I heard you call from across the city through the stereo sound
And so I crawled there sickeningly pretty as the money went round
Lying in my head watching my mistakes
I listen to the band
And the drums beat in my head
Pianos chime the sound in this prison of the house
And as the illness comes again can you hear me through the rain
As I listen to the band?
As I sing the silent song
Mime each lonely word
Please listen to the man he said that it could be the 2 of us
Alone but not lonely, you and me
Alone but loaded.........