| Dog Man Star | ||||
|---|---|---|---|---|
| Studio album by Suede | ||||
| Released | 10 October 1994 | |||
| Recorded | March–July 1994 at Master Rock Studios in London | |||
| Genre | Britpop | |||
| Length | 57:50 | |||
| Label | Nude | |||
| Producer | Ed Buller | |||
| Suede chronology | ||||
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| Singles from 'Dog Man Star' | ||||
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Dog Man Star is the second album by English alternative rock band Suede, released in October 1994 on Nude Records. It was the last Suede album to feature guitarist Bernard Butler, due to growing tensions between Butler and singer Brett Anderson ending with Butler leaving the band before the album was completed. Dog Man Star is more downbeat than their debut and chronicles Suede as they parted from the "Britpop pack".[1]
Although it did not sell on the same scale as their chart-topping debut Suede (1993), Dog Man Star reached number three on the UK Albums Chart. Released to an enthusiastic critical reception, it is considered by many to be Suede's masterpiece.[2][3]
Contents |
In early 1994, when Suede were about to release the standalone single "Stay Together"—their highest charting single, which reached number three on the UK Singles Chart[4]—the morale within the group was at an all time low. Butler's father had died just as the band were about to begin their second American tour. The first week of the tour was cancelled, and Suede flew back to London from New York. When the tour did resume, Butler distanced himself from the rest of the band far more than before. Recently bereaved and engaged, according to Butler, "they got really resentful of the fact that they were on tour with someone who didn't want to party".[5] He even travelled separately, either alone, by taxi, or on the tour bus of support act The Cranberries. Then in Atlanta, Suede suffered the ignominy of having to open for The Cranberries,[6] who'd been given a friendlier reception than the headliners and received the support from MTV as well.[7] By New York they'd had enough and the last few dates were cancelled. According to drummer Simon Gilbert, Butler was becoming unworkable and intolerable, and the band could not function together any longer.[6]
To record Suede's next album Anderson moved to Highgate, and began to write lyrics influenced by heavy drugs while living in a secluded Victorian mansion.[8] "I deliberately isolated myself, that was the idea," Anderson later explained.[9] The album was later described by one journalist as "the most pompous, overblown British rock record of the decade",[10] which Anderson puts down to his use of psychedelic drugs. "I was doing an awful lot of acid at the time, and I think it was this that gave us the confidence to push boundaries."[10] Anderson has said that he thrived on the surreal environment he lived in at the time; next door were a sect known as the Mennonites, who would often sing hymns during Anderson's drug binges.[11]
After the success of their debut album, Suede were hailed as the unwitting inventors of Britpop, something they were proud of for a short while. However, Britpop soon grew to be dominated by other musical forces, as Blur, Oasis and Pulp arrived on the scene. This disgusted Anderson, who called Britpop "horribly twisted, a musical Carry On film", and he began to distance himself from the scene.[10] "We could not have been more uninterested in that whole boozy, cartoon-like, fake working-class thing." the singer said in 2008, "As soon as we became aware of it, we went away and wrote Dog Man Star. You could not find a less Britpop record. It's tortured, epic, extremely sexual and personal. None of those things apply to Britpop".[12]
The album was recorded between 22 March and 26 July 1994 at Master Rock Studios, Kilburn, London. The rehearsals were very tense and would inevitably split the band into two separate camps, i.e. Butler and the rest of the band. Butler seemed to consolidate his separation when he appeared on the front cover of Vox magazine with the tag line, "Brett drives me insane".[13] The interview explained how Butler liked to improvise and how Anderson made this impossible because of his slow ways of working, and his obsession with rock stardom.[7] 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."[14] Butler apologised to Anderson soon after.
Musical differences over "The Asphalt World" triggered the next big argument. The version that finally made it on to the album clocks in at nine minutes 25 seconds, but according to bass player Mat Osman, Butler's initial creation was a 25-minute piece with an eight-minute guitar solo.[15] "Bernard was very determined", says Anderson. "He's always been quite stubborn and single-minded, he was determined that it would be long. I don't ever remember him saying, 'We'll edit it down.' It was always going to be eighteen minutes or whatever."[16] Osman, felt that Butler's compositions were too audacious and experimental, "Lots of the musical ideas were too much. They were being rude to the listener: it was expecting too much of people to listen to them."[15]
The arguments over "The Asphalt World" spilled over on to the rest of the album, as Butler became progressively more dissatisfied with Ed Buller's production. In a 2005 interview, the guitarist maintained his position on the matter, stating that Buller "made a terrible shoddy job of it".[17] Butler wanted Buller dismissed, allowing him to produce the record by himself, although it was later revealed that Butler had recommended Chris Thomas as their producer. Thomas was more experienced and had previously worked with punk rock bands The Pretenders and the Sex Pistols; however Suede's label Nude Records declined Butler's request, saying Thomas was too expensive.[18] Nude's owner Saul Galpern claimed that the guitarist became impossible to reason with and also made threats to him and Buller. Buller claims he received phone calls where there was the sound of scratching knives on the phone.[19]
Butler issued the band and their management an ultimatum: either they discharged Buller, or he would leave Suede.[15] The rest of the band, however refused to comply with Butler's demands and decided to let him walk out before the record was finished. Butler insisted he was kicked out the band, that when he turned up to the studio to find he was not allowed in. He went back the next day to pick up his guitar so he could record parts at home, though he was told that his guitar would be left in the street for him. "That was it, really. I didn't leave; I was kicked out. That's really obvious. If I'd just left, no-one would have let me leave, if I'd been wanted."[20] Suede's manager Charlie Charlton made a final attempt to reach consensus between the two parties, however during a tense phone conversation the final words Butler uttered to Anderson were along the lines of "you're a fucking cunt."[20]
On 8 July, Butler exited the sessions leaving Dog Man Star some distance from completion. Anderson had recorded little more than a string of guide vocals; several songs did not have titles; much of the music was still to be embossed with overdubs.[20] Buller and the remaining members succeeded in taking the record to its conclusion. Butler did finish some of his guitar parts, though according to Saul Galpern he refused do it at Master Rock and instead had to book another studio where he could work on his own.[21] Shortly after Butler left the band, he recorded an unrequested backing vocal on "Black or Blue", which Anderson recalls. "...I can't remember the exact words but it sounded vaguely threatening."[22] Among the post-Butler additions was a reworked ending to "The Wild Ones", an orchestral coda on "Still Life" and an electric guitar part, copied note for note from Butler's original demo of "The Power", which he strongly criticised.[23] Butler became a harsh critic of the album, not just from a production standpoint, but the overall musicianship. He cites lack of commitment in the studio, along with Anderson's partying antics, and the band's unwillingness to challenge his elaborate ideas as his main criticism, "I just heard too many times, 'No, you can't do that'. I was sick to death of it. I think it's a good record, but it could have been much better."[24]
| "British journalists wanted this album to be this standard-bearer for British rock, but I'm not anyone's pawn. People always expect me to write songs about council flats and corned beef and living in Leyton in 1945 and other very British stuff. I just decided, well, I'm going to write about James Dean and Marilyn Monroe, which are the last things anybody expected me to write about." |
| —Brett Anderson detailing his lyrical intentions on Dog Man Star[25] |
Writing for The New York Times, Neil Strauss said, "Dog Man Star looks back to the era when glam-rock met art-rock, with meticulously arranged songs sung with a flamboyance reminiscent of David Bowie and accompanied by anything from a 40-piece orchestra to an old Moog synthesizer."[25] The Bowie influence was still a major element of Suede's sound, however, unlike their debut, Suede focused on a darker and more melodramatic sound.[8] As they were on Suede, Anderson's lyrics were influenced by his heavy drug use, citing William Blake as a big influence on his writing style.[10] He became fascinated with his use of visions and trance-like states as a means of creation.[9] Anderson claims that much of the torn, fragmented imagery on songs like "Introducing the Band" and B-side, "Killing of a Flashboy" were the result of letting his subconscious take over.[9] "Introducing the Band" was a mantra he wrote after visiting a Buddhist temple in Japan.[26]
Anderson wrote the eulogy "Daddy's Speeding", about a dream involving taking drugs with the late American actor James Dean.[26] The song uses white noise and feedback effects in its finale. Lead single "We Are the Pigs" depicts Anderson's visions of Armageddon and riots in the streets.[9] The song also features horns that are reminiscent of those used in the theme music from Peter Gunn.[27] The track "Heroine", with the refrain, "I'm aching to see my heroine", also has a celebrity influence, paying homage to Marilyn Monroe, while evoking Lord Byron.[28] "She Walks in Beauty", the song's opening line, is the title of a Byron poem.
Dog Man Star explores themes such as solitude, paranoia and self-loathing.[1] The latter theme being reflected in the ballad "The Wild Ones", an ode to a relationship being slowly lost.[29] Anderson's girlfriend Anick was the inspiration behind the song, along with "The Asphalt World" and "Black or Blue".[30] The latter is a song about racial intolerance.[26] "This Hollywood Life" is the most aggressive song on the album, the NME wrote that "a record so couched in earth-shacking drama probably needs at least one spittle-flecked tantrum."[27]
"New Generation" is an upbeat affair and, according to The Independent, "a reminder that they can still play sleek rock'n'roll".[31] One writer noted that "few bands could make such a sexual, illicit poem appear to bounce like a pop anthem".[29] The melancholic piano ballad "The 2 of Us" explores similar themes of regret and doubt and features a bawu solo before the song's crescendo. David Sinclair of Q described how the sad, bored housewife from Suede's earlier song "Sleeping Pills" reappears in "The 2 of Us" as well as Dog Man Star's closing track "Still Life".[32] An early concept that was originally planned for Suede,[33] "Still Life" features the 72-piece Sinfonia of London orchestra.[34] It was notable for its premiere at the 1993 Glastonbury Festival,[35] though this rendition was a stripped down version consisting of vocals and acoustic guitar.[36]
Anderson spoke of the album's title as a kind of shorthand Darwinism reflecting his own journey from the gutter to the stars. Fans noted the similarity to experimental film-maker Stan Brakhage's 1964 film, Dog Star Man. "The film wasn't an influence but I obviously dug the title," the singer later confessed.[37] The title is intended as a proud summation of Suede's evolution. "It was meant to be a record about ambition; what could you make yourself into."[11]
The artwork, which features a naked man sprawled on a bed were lifted from one of Anderson's old photo books. Taken by American photographer Joanne Leonard in 1971, the front cover picture was originally titled "Sad Dreams On Cold Mornings" and the rear photo "Lost Dreams,"[37] Anderson says, "I just liked the image, really, of the bloke on the bed in the room. It's quite sort of sad and sexual, I think, like the songs on the album."[38]
Dog Man Star entered the charts two places lower than its predecessor, held off the top by R.E.M.'s Monster and Bon Jovi's Greatest Hits. "It didn't sell as well as I thought it deserved," says Anderson. "I felt that it didn't get the commercial success it deserved, it got the critical success. I think a lot of people thought the band had split up because Bernard had left."[39] Suede's lead single from Dog Man Star, "We Are the Pigs", peaked at a disappointing 18,[4] plunging to 38 the following week. The choice of single had been a subject of heated debate, with Sony wanting to release "New Generation" as the first single, which would have made more commercial sense, however, Anderson disagreed as he did not feel it had the drama and the power that represented Dog Man Star.[40] Even the release of "The Wild Ones", the ballad that Anderson still thinks may be the best song Suede have ever recorded,[41] did not seem to help, like "We Are the Pigs", it stalled at number 18. The third single "New Generation" charted even lower, peaking at number 21.[4] "The Power", the only song on the album Butler did not play on,[42] was the proposed fourth single, set for release on 1 May 1995, however this never happened.[43]
The British music press were more enthusiastic about Suede's new record. In his full page review for NME, John Harris gave Dog Man Star a rating of 9 out of 10, calling it "a startling record: an album surrounded by the white heat of something close to genius".[27] The issue also had a free 7" flexi-disc, in a sleeve that used the album artwork, mounted on the cover, which included excerpts of the album tracks "The Wild Ones", "Heroine", "The Power" and "Still Life". David Sinclair of Q magazine gave the album a full five stars; in his review he said. "With Dog Man Star the group has vindicated just about every claim that was ever made on their behalf...It will be hailed in years to come as the crowning achievement of a line-up that reinvented English, guitar-band rock'n'roll for the 1990s."[32] Nicholas Barber of The Independent complimented Butler's musicianship, "The follow-up to Suede's Mercury-Prize-winning debut is a larger-than-life blend of pop hooks and theatrical gestures. The music is a testament to the talent of its composer, Bernard Butler, whose lurid guitar curls notes into the mix exactly where they are needed." He added that, "at times Dog Man Star is messy and preposterous. But no record collection is complete without it."[31]
Despite Suede's problems in the US, such as the short-lived tour and the lawsuit over the band's name, Dog Man Star sold about 36,000 copies there as of 2008, per Nielsen SoundScan figures. However, this is about a third of the sales of Suede, which shifted 105,000 units in the US.[44] American music journalist Robert Christgau was keen on Suede's debut album, however he rated Dog Man Star a "dud" in his consumer guide review.[45] Other critics saw the album as a step forward from their debut. Simon Reynolds of The New York Times wrote that while Suede's "self-titled debut was too steeped in glam rock and mope rock [that] connected with only the most devout Anglophiles", on their second record "the group soars to new heights of swoony hysteria". He concluded by stating that "Dog Man Star deserves attention, if only for its absurd ambition".[46] In 1995, the Spin Alternative Record Guide had a similar view, saying that the album "...proved a massive flounce forward, ...Gone are the endless I'm-shocked-that-you're-shocked ruminations on sexual identity, drugs and decay". It also proclaimed "Still Life" as Suede's finest hour, calling it "...A string-laden showstopper, it spotlights Anderson's vocal evolution from drawling South London gutter-snipe to impassioned—and immaculately enunciating—crooner."[47] Stephen Thomas Erlewine of Allmusic awarded the album four-and-a-half stars out of five, writing, "while Suede may choose to wear their influences on their sleeve, they synthesize them in a totally original way, making Dog Man Star a singularly tragic and romantic album".[8]
With the exception of A New Morning, Dog Man Star is Suede's least commercially successful album, yet it is now widely considered their masterpiece.[48] Many critics are keen to emphasise the band's split as the main reason for their slow downfall. John Mulvey was the first journalist to write about Suede for the NME in 1991 at the ULU, when Suede were still relatively unknown.[49] Over a decade later and in sharp contrast to his emphatic review in 1991, Mulvey now of The Times wrote about Suede's final output, Singles. He felt that if the band "had split up in 1994, following the release of the majestic Dog Man Star album, Suede might now be celebrated as one of the great bands." He then added, "as the bulk of Singles proves, over the past nine years Suede have sounded like a parody of their formative selves."[50]
Jon Monks of Stylus Magazine said that "Suede will never make a record this good again, whether it is because Butler left or merely it was a such a perfect time for Brett to be writing, they have failed to make anything nearly so encompassing as this."[29] A significant review came from Nicholas Barber of The Independent, shortly after the release of their platinum-selling album Coming Up. Watching them perform live at Glasgow's Barrowlands with their new line-up, he questioned their forceful sound and reluctantly alluded Butler's absence. "When he left, he took with him the heart of the band, leaving behind the pelvis and the guts." He added, "Suede deliver the goods, all right. It's just that they no longer, as it were, deliver the greats."[51]
In September 2003, 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. Tickets sold fastest for Tuesday's Dog Man Star night,[52] and were selling for over a £1,000 a pair on eBay,[53] in contrast to A New Morning, which went for £100.[54]
Following Suede's 2010 reunion shows, an article appeared in the New Classics column in American music magazine Crawdaddy!. Written by Andres Jauregui, he wrote about Dog Man Star's legacy: "Despite the challenges Suede faced, Anderson achieved the anti-Britpop album he wanted in Dog Man Star, to the kudos of the hipper critical circle, and the detriment of the band’s mainstream appeal. For all its indulgence and Bowie-esque melodrama, it’s more literate, more tortured, and more ambitious than its peers. More substantive than a “woo-hoo”, brighter than any champagne supernova, Dog Man Star’s origins, theatrics, and sense of rebellion are the stuff of rock'n'roll legend."[55]
| Publication | Country | Accolade | Year | Rank |
|---|---|---|---|---|
| 1001 Albums You Must Hear Before You Die | UK | 1001 Albums You Must Hear Before You Die[56] | 2005 | * |
| Alternative Press | US | The 90 Greatest Albums of the 90's[57] | 1998 | 37 |
| British Hit Singles & Albums | UK | Poll: Greatest 100 Albums of All Time[58] | 2006 | 75 |
| The Guardian | UK | 1000 Albums to Hear Before You Die[59] | 2007 | * |
| Melody Maker | UK | All Time Top 100 Albums[60] | 2000 | 16 |
| NME | UK | 100 Best Albums[61] | 2003 | 78 |
| The 100 Greatest British Albums Ever[61] | 2006 | 58 | ||
| Q | UK | In Our Lifetime: Q's 100 Best Albums[62] | 1995 | * |
| Readers' All Time Top 100 Albums[62] | 1998 | 35 | ||
| Select | UK | The 100 Best Albums of the 90's[63] | 1996 | 17 |
| Virgin | UK | Poll: Top 1000 albums[64] | 1998 | 62 |
(*) designates unordered lists.
All songs written by Brett Anderson and Bernard Butler.
| No. | Title | Length |
|---|---|---|
| 1. | "Introducing the Band" | 2:38 |
| 2. | "We Are the Pigs" | 4:19 |
| 3. | "Heroine" | 3:22 |
| 4. | "The Wild Ones" | 4:50 |
| 5. | "Daddy's Speeding" | 5:22 |
| 6. | "The Power" | 4:31 |
| 7. | "New Generation" | 4:37 |
| 8. | "This Hollywood Life" | 3:50 |
| 9. | "The 2 of Us" | 5:45 |
| 10. | "Black or Blue" | 3:48 |
| 11. | "The Asphalt World" | 9:25 |
| 12. | "Still Life" | 5:23 |
| American release | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| No. | Title | Length | |||||||
| 13. | "Modern Boys" | 4:49 | |||||||
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