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Track List
01) Trash
02) Filmstar
03) Lazy
04) By the Sea
05) She
06) Beautiful Ones
07) Starcrazy
08) Picnic by the Motorway
09) The Chemistry Between Us
10) Saturday Night
01) Trash
02) Filmstar
03) Lazy
04) By the Sea
05) She
06) Beautiful Ones
07) Starcrazy
08) Picnic by the Motorway
09) The Chemistry Between Us
10) Saturday Night
4:06
3:25
3:19
4:15
3:38
3:50
3:33
4:45
7:04
4:35
Data Complete 80%
Total Rating
Total Rating
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Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1996
Alternative Rock
Dreamy
Britpop
---
Medium
Album
1,500,000 copies
Album Description
Available in:
Coming Up es el tercer álbum de la banda, publicado el 2 de septiembre de 1996 por Nude Records.
Otra vez con Ed Buller en la producción, fue grabado en los Master Rock Studios y mezclado en Townhouse. Tras la salida de Bernard Butler, todos dudaban de que la banda pudiera mantener el nivel. La entrada de Richard Oakes, un guitarrista adolescente que apenas había cumplido los 17, y la consolidación de Neil Codling (primo de Simon Gilbert) en teclados y guitarras secundarias, revitalizaron al grupo y lo lanzaron hacia un nuevo sonido.
El álbum se aleja del dramatismo orquestal del anterior disco para abrazar un pop glam de guitarras luminosas, directo y lleno de energía. La fórmula funcionó, es una colección de singles diseñados para conquistar tanto las radios como los escenarios. Anderson, en lugar de encerrarse en metáforas apocalípticas, se deja llevar por un tono hedonista, aunque siempre con un toque de ironía y melancolía.
Las canciones son casi todas himnos inmediatos: “Trash”, con su celebración de la marginalidad convertida en orgullo colectivo; “Beautiful Ones”, un retrato sarcástico y cariñoso de la fauna nocturna londinense, que se transformó en el tema más emblemático de la banda y “The Chemistry Between Us”, una de las composiciones más etéreas del álbum.
La recepción fue explosiva, entró directo al número 1 en Reino Unido, generó cinco singles en el Top 10 británico y convirtió a Suede en un fenómeno internacional, especialmente en Escandinavia y Asia, donde llegaron a tener estatus de superestrellas. La crítica, que había dudado tras la marcha de Butler, se rindió al ingenio de las canciones y a la química renovada de la banda.
Coming Up fue el álbum que demostró que Suede podían sobrevivir a la marcha de Bernard Butler y reinventarse con éxito. Supuso su pico comercial, el momento en el que dejaron de ser una banda de culto para convertirse en un grupo pop masivo. Al mismo tiempo, logró mantener intacto el espíritu glam decadente que siempre los caracterizó.
User Album Review
"Pick a fight with Suede, you gonna pick a fight with the Suede fanbase," warned Matt Lucas on Shooting Stars in 1997. Leave aside the fact that Lucas was then dressed as a menacing man-baby: the truly surreal thing about this pop culture nugget is its target. Suede, suburbia’s moodiest, druggiest misfits, were now so mainstream-famous that they could be knowingly mocked on primetime, thanks to their biggest album yet, the hit-rammed, melody-overloaded Coming Up.
Fifteen years later, it seems obvious that Britpop’s John the Baptists would rise from the grave to claim some of the rewards being lavished on lesser lights like Kula Shaker and Shed Seven, but it wasn't at the time. Despite their punchy 1993 debut generating a whirlwind of hype, the loss of wunderkind guitarist Bernard Butler and the sprawling darkness of 1994’s subsequent Dog Man Star read like a two-part commercial suicide note. Replacing Butler with a teenage fanboy and the drummer’s cousin was hardly encouraging.
Yet amongst the B sides, lost songs and demos lovingly collected in this third lavish re-issue from the Suede back catalogue (the compilers clearly taking Matt Lucas’ threat seriously) lies the first clue that everything was about to go magically right. Together, a 1994 B side, was the first collaboration between Brett Anderson and new guitarist, Richard Oakes: its shamelessly poppy ebullience, fizzy guitars and breezy bubblegum vocal created a blueprint for the album which followed.
And what a dazzling, spangly pop album Coming Up, remains, made shinier still by expert remastering. Anderson cites the surging outsiders anthem Trash as the pinnacle, but Beautiful Ones is more remarkable, the urgent, knotty wordplay of its verses giving way to an ecstatic chorus which embodies the album's title (the demo fascinatingly reveals that the song began life as Beatles-y whimsy). That these big pop beasts were interspersed with savage melodramas like She and swooning love songs like Picnic by the Motorway made Coming Up more alluring and enduring.
In retrospect, the seeds of the band's later decline were also planted here. The blandly anthemic Saturday Night paved the way for later FM fluff, while the B sides soon plummeted from air-punching (Every Monday Morning Comes) to scab-scratching (These Are the Sad Songs). But let’s dwell on Suede's sad decay when their last two albums are re-issued: for now, this fan-dream edition of Coming Up captures a band that still seemed capable of anything.
External Album Reviews
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User Comments
Available in:
Coming Up es el tercer álbum de la banda, publicado el 2 de septiembre de 1996 por Nude Records.
Otra vez con Ed Buller en la producción, fue grabado en los Master Rock Studios y mezclado en Townhouse. Tras la salida de Bernard Butler, todos dudaban de que la banda pudiera mantener el nivel. La entrada de Richard Oakes, un guitarrista adolescente que apenas había cumplido los 17, y la consolidación de Neil Codling (primo de Simon Gilbert) en teclados y guitarras secundarias, revitalizaron al grupo y lo lanzaron hacia un nuevo sonido.
El álbum se aleja del dramatismo orquestal del anterior disco para abrazar un pop glam de guitarras luminosas, directo y lleno de energía. La fórmula funcionó, es una colección de singles diseñados para conquistar tanto las radios como los escenarios. Anderson, en lugar de encerrarse en metáforas apocalípticas, se deja llevar por un tono hedonista, aunque siempre con un toque de ironía y melancolía.
Las canciones son casi todas himnos inmediatos: “Trash”, con su celebración de la marginalidad convertida en orgullo colectivo; “Beautiful Ones”, un retrato sarcástico y cariñoso de la fauna nocturna londinense, que se transformó en el tema más emblemático de la banda y “The Chemistry Between Us”, una de las composiciones más etéreas del álbum.
La recepción fue explosiva, entró directo al número 1 en Reino Unido, generó cinco singles en el Top 10 británico y convirtió a Suede en un fenómeno internacional, especialmente en Escandinavia y Asia, donde llegaron a tener estatus de superestrellas. La crítica, que había dudado tras la marcha de Butler, se rindió al ingenio de las canciones y a la química renovada de la banda.
Coming Up fue el álbum que demostró que Suede podían sobrevivir a la marcha de Bernard Butler y reinventarse con éxito. Supuso su pico comercial, el momento en el que dejaron de ser una banda de culto para convertirse en un grupo pop masivo. Al mismo tiempo, logró mantener intacto el espíritu glam decadente que siempre los caracterizó.
User Album Review
"Pick a fight with Suede, you gonna pick a fight with the Suede fanbase," warned Matt Lucas on Shooting Stars in 1997. Leave aside the fact that Lucas was then dressed as a menacing man-baby: the truly surreal thing about this pop culture nugget is its target. Suede, suburbia’s moodiest, druggiest misfits, were now so mainstream-famous that they could be knowingly mocked on primetime, thanks to their biggest album yet, the hit-rammed, melody-overloaded Coming Up.
Fifteen years later, it seems obvious that Britpop’s John the Baptists would rise from the grave to claim some of the rewards being lavished on lesser lights like Kula Shaker and Shed Seven, but it wasn't at the time. Despite their punchy 1993 debut generating a whirlwind of hype, the loss of wunderkind guitarist Bernard Butler and the sprawling darkness of 1994’s subsequent Dog Man Star read like a two-part commercial suicide note. Replacing Butler with a teenage fanboy and the drummer’s cousin was hardly encouraging.
Yet amongst the B sides, lost songs and demos lovingly collected in this third lavish re-issue from the Suede back catalogue (the compilers clearly taking Matt Lucas’ threat seriously) lies the first clue that everything was about to go magically right. Together, a 1994 B side, was the first collaboration between Brett Anderson and new guitarist, Richard Oakes: its shamelessly poppy ebullience, fizzy guitars and breezy bubblegum vocal created a blueprint for the album which followed.
And what a dazzling, spangly pop album Coming Up, remains, made shinier still by expert remastering. Anderson cites the surging outsiders anthem Trash as the pinnacle, but Beautiful Ones is more remarkable, the urgent, knotty wordplay of its verses giving way to an ecstatic chorus which embodies the album's title (the demo fascinatingly reveals that the song began life as Beatles-y whimsy). That these big pop beasts were interspersed with savage melodramas like She and swooning love songs like Picnic by the Motorway made Coming Up more alluring and enduring.
In retrospect, the seeds of the band's later decline were also planted here. The blandly anthemic Saturday Night paved the way for later FM fluff, while the B sides soon plummeted from air-punching (Every Monday Morning Comes) to scab-scratching (These Are the Sad Songs). But let’s dwell on Suede's sad decay when their last two albums are re-issued: for now, this fan-dream edition of Coming Up captures a band that still seemed capable of anything.
External Album Reviews
None...
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