No Distance Left To Run: Ten Break Up Songs in Honour of Vulnicura.

1.  Blur ‘No Distance Left To Run’

(from the album 13, 1999).

2.  Lush (featuring Jarvis Cocker) ‘Ciao’

(from the album Lovelife, 1996).

3.  Led Zeppelin ‘Babe, I’m Gonna Leave You’

(from the album Led Zeppelin, 1969).

4.  The Human League ‘Don’t You Want Me’

(from the album Dare, 1981).

5.  Lynyrd Skynyrd ‘Freebird’

(from the album Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd, 1973).

6. The Jam ‘The Bitterest Pill (I Ever Had To Swallow)’

(single, 1982).

7.  Bob Dylan ‘Most of the Time’

(from the album Oh Mercy, 1989).

8.  John Cale ‘I Wanna Be Around’

(from the album Jools Holland’s Big Band Rhythm & Blues, 2002).

9.  Joy Division ‘Love Will Tear Us Apart’

(single, 1980).

10. Marion ‘Your Body Lies’

(from the album This World and Body, 1995).

Killer Queen: Ten Songs About Royals. Prince Charles Marries Camilla Parker Bowles, This Day in History, 09/04/2005.

1.  The Smiths ‘The Queen is Dead’

(from the album The Queen Is Dead, 1986).

2.  Black Box Recorder ‘The New Diana’

(from the album Passionoia, 2003).

3.  Queen ‘Killer Queen’

(from the album Sheer Heart Attack, 1974).

4.  Rufus Wainwright ‘Rebel Prince’

(from the album Poses, 2001).

5.  Sex Pistols ‘God Save The Queen’

(from the album Never Mind the Bollocks, Here’s the Sex Pistols, 1977).

6.  The Stone Roses ‘Elizabeth, My Dear’

(from the album The Stone Roses, 1989).

7.  The Kinks ‘She’s Bought A Hat Like Princess Marina’

(from the album Arthur (Or the Decline and Fall of the British Empire, 1969).

8.  Primal Scream ‘Insect Royalty’

(from the album XTRMNTR, 2000).

9.  Bob Dylan ‘Queen Jane Approximately’

(from the album Highway 61 Revisited, 1965).

10. Manic Street Preachers ‘Repeat’

(from the album Generation Terrorists, 1992).

Television, One Nation Under A Drug: Ten Songs About Television. First Distance Public Television Broadcast (From Washington DC to New York City, Displaying The Image of Commerce Secretary Herbert Hoover). This Day in History, 07/04/1927.

1.  The Disposable Heroes of Hypocrisy ‘Television, One Nation Under A Drug’

(from the album Hypocrisy is the Greatest Luxury, 1992).

2.  The Stooges ‘TV Eye’

(from the album Fun House, 1970).

3.  David Bowie ‘TVC 15’

(from the album Station To Station, 1976).

4.  Dire Straits ‘Money For Nothing’

(from the album Brothers in Arms, 1985).

6.  A-ha ‘The Sun Always Shines on TV’

(from the album Hunting High and Low, 1985).

7.  Bruce Springsteen ’57 Channels (and Nothin’ On)’

(from the album Human Touch, 1992).

8.  The Buggles ‘Video Killed The Radio Star’

(from the album The Age of Plastic, 1980).

9.  Arcade Fire ‘Antichrist Television Blues’

(from the album Neon Bible, 2007).

10. Mansun ‘Television’

(from the album Six, 1998).

Song of the Day: Authors and Literature in Music (Day Seven).

History by The Verve, from the band’s second album A Northern Soul (1995) finds lyricist Richard Ashcroft using William Blake’s London from Songs of Innocence and Experience (1794) as a major influence, it is thought, to help convey his feelings regarding his break up with girlfriend Sarah Carpenter, following revelations that his girlfriend of six years had been having an affair with Verve roadie Andy Burke.  This is thought to be reflected in the lines “And one and one is two, But three is company”. Ashcroft has denied that History is about the breakup of his relationship but a cursory glance at some of the lyrics elsewhere on A Northern Soul would suggest that this is an album about somebody who has given up on love.  In the album’s title track, Ashcroft sings, “I don’t believe in love and devotion” and in So It Goes, he sings “I don’t believe that love is free”.  Whereas their previous album A Storm in Heaven (1992) could be seen as their Songs of Innocence, A Northern Soul is The Verve’s Songs of Experience.  As Ashcroft sings on the album’s title track, “This is a tale of a northern soul, looking to find his way back home”.  A Northern Soul is Ashcroft’s lyrical attempt to find his way back from an event that has happened.  On History, Ashcroft’s feelings towards love are at their most bitter and finds the newly experienced writer wanting to share his experiences:  “I’ve got to tell you my tale, Of how I loved and how I failed”.  The song took on a whole new poignancy when it was released as a single following the band’s first abrupt break up.

The opening lyrics of The Verve’s History are adapted from the first two stanzas of William Blake’s London.  London reads:

I wander through each chartered street,
Near where the chartered Thames does flow,
And mark in every face I meet,
Marks of weakness, marks of woe.

In every cry of every man,
In every infant’s cry of fear,
In every voice, in every ban,
The mind-forged manacles I hear…

In The Verve’s History, Ashcroft sings:

I wander lonely streets

Behind where the old Thames does flow

And in every face I meet

Reminds me of what I have for

In every man, in every hand

In every kiss, you understand
That living is for other men
I hope you too will understand

In every child, in every eye
In every sky, above my head

 Just as Blake manages to tap into the sadness of the Londoners he writes about, so does Ashcroft, ably assisted by History’s impressive string arrangement which rises and falls at exactly the right moments throughout the song.  As the song unfolds, Ashcroft’s Blakean view whilst wandering the London streets gives way to the singer thinking about his own life and about what he has run from (“Reminds me of what I have run for”), whether there is any hope of reconciliation (“Maybe we could find a room, Where we could see what we should do”) and whether hope is all he has (“The bed ain’t made but it’s filled full of hope, I’ve got skin full of dope”).

The Verve would be heavily influenced by William Blake again on the later song Love Is Noise from the album Forth (2008).  This time, the source of lyrical inspiration comes from Blake’s And Did Those Feet in Ancient Time, more commonly known as Jerusalem (1804).  In And Did Those Feet in Ancient Time, Blake writes “And did those feet in ancient time, Walk on England’s mountains green?”  In the lyrics of Love Is Noise, Ashcroft adapts Blake’s lines to ask “Do those feet in modern times, Walk of soles that are made in China?”  In Love Is Noise, Ashcroft also substitutes the “dark satanic mills” of And Did Those Feet in Ancient Time for “Bright prosaic malls”.

In an interview with Steve Lamacq for the BBC upon the release of Love Is Noise and its parent album, Forth, Richard Ashcroft said:

“Really, you know, lyrically in a way … the first few line is a kind of re-make of Jerusalem by William Blake. Rather than will those feet in ancient times, it’s the feet in modern times.  It’s ‘bright prosaic malls’ instead of ‘dark satanic mills’ and again, I think it goes back to that internal struggle of my own, you know, that search for the love and it’s what we’re all searching for, I think.  That internal battle is the battle that I will always have lyrically perhaps or with my songs.  It’s about my own internal battle”.

Therefore, we could see History and Love Is Noise as a modern day retellings of Blake’s London and And Did Those Feet in Ancient Time, respectively.  Does that then make Richard Ashcroft the modern day William Blake?  When asked about the influence of William Blake on his work by Tom Lanham for Music Saves in 1997, Ashcroft said:

“The last couple of centuries, we could’ve gone a completely different way, that’s why William Blake turned me on so much, because at a time when people discovered gravity, he was having his visions, off in his room writing and painting.  But if we’d gone a different road a hundred years ago, we wouldn’t have phones, we wouldn’t have computers.  If I wanted to speak to you in America, we’d know about it and I’d fuckin’ SPEAK to you in America, but in my head.  And if we needed to heal, we’d heal … And flying?  Sure, why not?  But let’s face it, for anyone who’s creating art, this is a pretty chaotic, insane time to be making music.  It’s like Life’s An Ocean from our second album, A Northen Soul: “Imagined the future, I woke up with a scream, I was buying some feelings from the vending machine”.

First Listen To New Suede Songs.

On a decidedly cold and wet but beautiful Spring morning in Bontddu, North Wales, after saying good morning to the dogs and my wonderful boyfriend, I switched on my computer and felt like listening to a bit of Suede to get the day off to a good start.  I have always felt an affinity with Suede.  I discovered them way back in 1992 when they were heralded “The best new band in Britain” by the NME and went on to collect every album and single they released.  From Suede, I also really discovered David Bowie in the same year and will always be eternally thankful to Brett Anderson, Bernard Butler, Mat Osman and Simon Gilbert for turning me on to a man who I would later write my university dissertation about.  My musical journey, save for the 80’s stars which dominated my pre-teen years, whom I also still love, started in 1992 with Suede, Bowie and a handful of other new bands who were then breaking such as Manic Street Preachers (but that is a whole other story and one I shall probably write about on this blog someday).  From these bands, I would trace back the origins of their sound and discover untold number of gems and in turn uncovering a whole new world which still enthralls me to this day and always will.

Turning on my computer, I chose ‘Suede – The Singles’ from YouTube and still felt the euphoria I felt in 1992 as the bombastic opening drum salvo of The Drowners blasted from the speakers across the front room of the cottage.

I had moved on from my early teenage years in suburbia, for which Suede provided the perfect soundtrack and was now listening to Suede’s paean to melodramatic and ambiguous love nestled in the beautiful countryside of Snowdonia National Park.  You can take Suede out of “the disguised suburban graves” and “ride from the bungalows, where the debts still grow each day” as they sung in the stunning The Wild Ones (from the band’s second album, 1994’s Dog Man Star), which is, in my opinion, one of the most beautiful songs ever written, but when you have finally escaped suburbia, these songs still have the power to take you back to the places that they wrote about and still write about to this day.

However, now, as I listened to Suede’s stunning collection of singles from those glorious early days, they took on a whole new meaning:  Suburbia was now just a distant memory in a music obsessed girl’s mind.  I had done exactly what Brett Anderson had sung about on The Wild Ones and had rode from the bungalows, those disguised suburban graves and I was one of “the wild ones, running with the dogs today”.

As I moved on through Suede’s back catalogue of singles, still taking in every word that Brett sung and every note that Bernard, Mat and Simon played as if my life depended on it, such was still the power of these encapsulations of urban Britain coupled with the glam sound that will always fill my mind, I typed ‘Suede’ into Google with the intention of seeing some of those glorious photographs of the band from the early days.  To my excitement, I discovered that a new Suede album is due this year.  Such is Suede’s influence on me that every time a new Suede album is due, I have to remind myself that I am a woman in my early 30’s with full bladder control.  As with every Suede album due to be released, the details were sketchy, with aspects such as the title still to be announced.  I still remember reading with high expectation the details of Head Music (1999), following the glam pop album Coming Up (1996), where Brett teased fans by announcing a letter of the album’s title every week in the music press.  The only details I had to go off were an assortment of interviews with Brett on the web.  On the 25th February 2015, Brett told The Daily Star that the new album is “a journey” with songs flowing into each other throughout the record and that: “It’s an album that needs to be listened to from start to finish. If I was being bloody-minded, I’d demand that iTunes list it as only having one song so that you couldn’t skip tracks on it.”

This started to really excite me as I have always enjoyed concept albums, albums with a start, a middle and an end and albums that feel like a realised piece of work rather than simply a collection of a few singles and album tracks that seem disassociated from certain record companies’ notion that albums must have a number of singles to sell the album and the work as a whole hinges on the ability to sell the product rather than producing a piece of art where every song should be as recognised as the next, as both a piece of art in its own right and also recognised as fitting with the concept of the album as a whole.  Contrary to this opinion, I am a big fan of the single and it genuinely pains me that in this digital age, where I still strive to buy my music from a record shop as opposed to downloading it, the single now seems quite obsolete as an art form.  Pretty much gone are the days when I bought a single with the excitement of wondering what would be on the B side or what the artwork would look like.  Suede were one of those bands where the release of a single was a big event, in a similar vein to The Smiths and Manic Street Preachers.  Nowadays, the single is more about multi-million selling megastars such as Beyonce and the like gaining as much rotation on television music channels as possible.  Back in the day when I was fully immersed in the, also now quite obsolete, Indie music scene, I enjoyed bands who had the ability to incorporate their singles previously released into an album with panache, making them as enjoyable to listen to as part of the album as they were when I bought the single and was still wondering what the album would sound like.  Suede always managed this effortlessly.  I am very interested in a Suede album where each track merges into the next. This idea of merging one track into the next to create an album which sounds like a fully realised work with a beginning, middle and end brought to my mind the Everything Picture album (1999) by the much maligned Ultrasound, a favourite of mine around that time.

If the two tracks from the new Suede album I have just heard, I Don’t Know How To Reach You and Tightrope, are anything to go by, I am on the edge of my seat with anticipation about the record. Bloodsports (2013) was a wonderful return to form for the band after the disappointing 2002 album A New Morning and a decade in the wilderness and I hope just a taste of what the band are still capable of.  If Bloodsports was the sound of a newly re-energised Suede starting with a blank canvass after a decade away, we could think of that album as being in parallel with their debut, Suede (1993).  So, could the new album be a magnum opus akin to Dog Man Star (1994) in the making?  We can only dream.

As I finish listening to every Suede single to date, ending with 2013’s For The Strangers,

I cue up I Don’t Know How To Reach You, perhaps with the anticipation of it being the next single or perhaps just still curious about how Brett’s obvious ambition regarding the new album or simply just longing to hear one of my all time favourite bands play me a song which I will be thinking of for years to come, just like they have often managed to achieve in the past.  The blustery weather sweeping across the beautiful countryside in Wales was the perfect backdrop for what I was about to hear.  Coupled with some powerful and erratic guitar work from Richard Oakes, the gorgeous half ballad and half foot stomper sounded as sweeping as the Welsh weather.  Brett can still sound as longing and lovesick as he did on songs such as The Drowners and the rest of the band are still as able to put a tremendously throbbing beat behind it but this is a band who have now come of age with a renewed sense of purpose and direction.  I am very interested in hearing the final recording of I Don’t Know How To Reach You but if the live version from The Teenage Cancer Trust benefit concert in 2014 is anything to go by, I doubt I will be disappointed.

Next up is the second new song, Tightrope.  Tightrope is a slow-paced acoustic strum-along which recalls some of Suede’s most beautiful moments such as those found on the second side of Dog Man Star and on those wonderful early B-sides such as The Living Dead (from the Stay Together single, 1994), The Big Time (from the Animal Nitrate single, 1993) and High Rising (from the So Young single, 1993).  In Tightrope, Brett still sings of ‘the high life’, “The high life is within you”, like it is a something from an ever occurring distant dream punctuated with gritty, kitchen sink imagery from a life where the only high life is the tightrope he walks upon with the love interest of the song.  Now that Brett has 23 years of highly acclaimed songs under his belt and is very much settled into suburban family life with his partner and children, can such lyrics still be credible or are Suede simply rehashing tried and tested themes?  Are the lyrics in remembrance of the days when the singer dreamt of the highlife in “disguised suburban graves … where the debts still grow each day”?  Is Brett now taking on a persona of somebody still living in a life that they wished to escape?  Were the songs that Suede have sung over the years ever about Brett or were they Brett adopting a character?  There is no doubt that Brett once felt this way and by tapping into the psyches of listeners, such as myself, who dream of escape from the situation or the place that they find, or once found themselves in, he struck a chord with millions.  Listeners to Suede are either still in such situations that Brett still sings about or have been in those dark places, so yes, I feel that the lyrics are still credible although perhaps slightly detached from where the singer is in his own life.  This is still the Suede I know and love and it would be very un-Suede if Brett started singing about how content he is with his partner and children.  I now look at Suede, what they stand for and the words Brett sings, in a different way, probably much as Brett does himself.

Suede, just like their forthcoming new album, is like a journey.  You yearn for escape from your life, you imagine the highlife, a different way of life and when you reach the point in your life where just as Brett sings in I Don’t Know How To Reach You, you think “I never thought it would happen to me”, you can look back on Suede’s impressive canon of work and trace your life up until that point through their songs.  That is the feeling that your favourite bands should evoke and why Suede will always be one of my favourite bands.  But are they still relevant?  Yes, because by rights, Suede should be out there influencing “a new generation calling”.

As I look across the rain and windswept countryside of Snowdonia National Park, I wonder if the journey in question on the new Suede album will lead to happiness and fulfilment?  Again, that would be very un-Suede.  Real Suede fans, wherever their own personal journey has taken them, will always be “real drowners” at heart.