Suede ¦ Coming Up

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Veröffentlichung Coming Up:

1996

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Coming Up auf Wikipedia (oder andere Quellen):

Coming Up is the third album by English alternative rock band Suede, released on 2 September 1996 through Nude Records. It was the band's first album since the departure of guitarist Bernard Butler, who was replaced by Richard Oakes. Also added to the band was keyboardist (and Simon Gilbert's cousin) Neil Codling. The album was nominated for the 1997 Mercury Prize.[1] A commercial and critical success, Coming Up was the second by the band to reach no. 1 on the UK Albums Chart, producing five top ten singles and receiving a favourable reception at home and in the US. Coming Up was the album that introduced Suede to a worldwide audience, in places such as Europe, Canada and Asia.[2]

Background

After the departure of guitarist Bernard Butler and the lack of commercial success with Dog Man Star and its singles, Suede were being somewhat dismissed by the British music press with Oasis, Blur and Pulp taking the limelight.[3] Determined to bring Suede back into the mainstream, frontman Brett Anderson decided that the sound of the new album would be the complete opposite of Dog Man Star. "I think the next album will be quite simple, actually. I'd really like to write a straightforward pop album. Just ten hits."[4] The guitarist to replace Butler was the 17-year-old Richard Oakes, who beat 500 other applicants for the role. Instead of applying for the job like everyone else, Oakes was auditioned on the strength of an impromptu demo tape he sent to the Suede fan club.[5] Despite Oakes' smooth integration into his new role and the band's rejuvenated spirit, Anderson was tired of touring and was keen to get back in the studio with his new songwriting partner. He recalled: "it was becoming really not much fun touring an album that wasn't made by the band."[6] At the time Suede were fatigued with being on tour, which was reflected in the B-side, "Have You Ever Been This Low".[6]

Recording

After some hesitation over who was going to produce the album, the band decided to continue with long-time producer Ed Buller due to their strong working relationship over the years. Other candidates the band considered were Flood and Brian Eno, however they could not fit the band into their schedules.[7] Buller had in fact welcomed a parting of the ways due to the fractious relationship between the band members during the recording of the last album. However, in friendly discussions with Anderson, Buller found that his ideas about a possible new Suede direction tallied almost exactly with the band's own: to write less complex, more immediate songs; to use heavier drum sounds, play fewer guitar solos and only employ string sections on a couple of songs such as "She" and "The Chemistry Between Us."[7] The album was recorded between December 1995 and June 1996 at various locations. To prepare for its recording, the band had immersed themselves in T. Rex's 1972 album The Slider and its successor, Tanx; as Buller stated that his aspiration was to make "The Slider for the Nineties."[7] T. Rex became the blueprint of the recording process, as the band spent a month at The Town House just working on drums.[8]

Buller explained how the recording process worked: "Basically, what we did, is that every track started with acoustic guitar, bongos, tambourine and Brett [Anderson], so it all started life pretty much the same way that Marc Bolan recorded all of his stuff originally."[8] Bass player Mat Osman recalls how Buller was keen on making the album simple. "He was really keen on using all those devices: the big repeated end, the handclaps, the straightforward chorus, make it big and obvious."[9] In an interview on the eve of the album's release, Anderson stated: "I wanted it to be a complete turnover from the last album, which was very dark and dank ... I wanted it to be communicative and understandable."[10] Two songs which made it onto Coming Up had already been written in the early days of Suede. "Lazy" and "By the Sea" were two of Anderson's own compositions.[9] "By the Sea" was actually written when Suede were recording their first album, which is why the song's opening line is similar to "So Young".[4] Unlike the tense and chaotic recording of Dog Man Star, which according to Anderson was mostly written "by post", in a shift-like format, the new material was far more celebratory in both its development and execution.[9]

As opposed to the previous album which followed a stringent pattern of Butler composing music for Anderson's lyrics, Coming Up was a more collaborative project. Anderson stated: "Coming Up was more of a meritocracy – if something was good enough, it didn't matter what the source was."[11] Songs such as "By the Sea" and "She" required the use of keyboards. Faced with the problem as to how to play them live, Suede recruited Simon Gilbert's cousin Neil Codling, who made his debut at a fan-club gig in January 1996.[12] Buller has stated that the reason why the album has a much better sound than the previous albums is that he had minimal involvement in the mixing process, mixing only two songs.[8] Buller credits much of the album's success to Dave Bascombe, who mixed the majority of the songs. According to Buller, having an outside observer mix the record with "fresh ears" enhances the overall production quality. Bascombe's input on "Trash" was crucial, as it was his idea to speed up the vocals.[8] One of Suede's popular B-sides "Young Men" was left off the album, as Buller felt it was "too dark" and not as "poppy [and] in your face" as other songs on the record.[7]

Music

"It was a chance to do everything Dog Man Star didn't and make a bright, communicative album. It's like a pendulum: you go one way and then the other. I really wanted to make a straight-up pop record. We were listening to a lot of '60s pop at the time and were very much inspired by the classic three-and-a-half-minute singles."

 – Brett Anderson reflecting on Coming Up.[13]

The musical sound of Coming Up is more accessible than previous album Dog Man Star. Its singles were much more successful than those of their second LP, while the lyrical content concerns the band's disaffection at the mid-90s hedonistic, celebrity-obsessed culture; "Beautiful Ones" and "She" are caricatures of British yuppies, celebrities and heroin-chic models. "Beautiful Ones" was originally titled "Dead Leg" after Osman threatened to give Oakes a dead leg if he was unable to write a top ten single.[9] According to Anderson, "The Chemistry Between Us" is about "the emptiness of it all", when it comes to taking drugs with strangers who have no common ground other than being high on drugs.[10] The main refrain of the song is "Class A, Class B, is that the only chemistry between us."

Critical reception

Professional ratings
Review scores
SourceRating
AllMusic[14]
Entertainment WeeklyB+[15]
The Guardian[16]
NME8/10[17]
The Philadelphia Inquirer[18]
Pitchfork7.9/10[19]
Q[20]
Rolling Stone[21]
Select4/5[22]
Spin8/10[23]

Reviews were generally positive and seemed to respect Suede's new poppy and direct sound. James Delingpole of The Daily Telegraph wrote: "Coming Up is their defiant reminder of what made Suede so special [...] If Dog Man Star was Diamond Dogs, then this is Suede's Ziggy Stardust – extravagant, steeped in glam and unashamedly poppy."[24] Roy Wilkinson of Select called it: "a wondrous pop album, simultaneously immediate and full of scope, a lovely, charming mix of absolute beauty and the thrillingly awkward."[22] Caroline Sullivan of The Guardian felt that even despite the album's simplistic composition of "vibrant three-minute howla-longs", it still manages to avoid being too mainstream and incomparable to rivals Oasis and Blur.[16] Andy Gill of The Independent, however was a harsh critic of the album. In contrast to the band's earlier work, he wrote: "two albums and one guitarist later, they sound utterly mined out." He added: "in many ways, it's a step back from Dog Man Star – and their manner grows increasingly obnoxious."[25]

Despite its success in the UK and Europe, Coming Up did not win an audience in America, partially because of its later release in April 1997 and partially because Suede only supported it with a three-city tour.[2] Critical reception, however was generally positive stateside. Marc Savlov of The Austin Chronicle wrote: "Oakes more than fills the boots of his predecessor, and the new CD is a pure pop pleasure, thick and sinewy and terribly, cooly [sic] British."[26] Keith Phipps of The A.V. Club had similar views, saying: "The London Suede should, by all laws of musical logic, have disappeared by now. However, after surviving a name change, the replacement of co-songwriter/guitarist Bernard Butler with an obscure 17-year old, and more than a few changes in musical fashion, the band has returned with a third album that's more consistent and accessible than anything it's produced before."[27] James Hunter of Spin said that "the band pushes its case by ascending to heights of absolutely lucid songcraft that, in this often fuzzy era, feels exhilarating."[23] Rolling Stone critic Elysa Gardner noted their "concise melodies and taut, brashly energetic arrangements".[21]

Other critics were favourable, however with the caveat of highlighting the album's simplicity. In a retrospective review, Stephen Thomas Erlewine of AllMusic wrote: "The most striking thing about Coming Up is the simplicity [...] As a statement of purpose, Coming Up is unimpeachable. Though it doesn't break any new ground for the band — unless you count the new-found sense of optimism."[14] With similar views, Kevin Courtney of The Irish Times wrote: "Sometimes the songs seem a little too simple and throwaway, but Anderson tosses them aside with such aplomb, you can't wait to pick up after him."[28]

Suede embarked on a short tour of the US and Canada in May 1997 to support the album,[29] but fell upon bad fortune when their equipment got stolen after playing a sold-out show in Boston, Massachusetts on 17 May.[30]

Commercial performance

Coming Up was a commercial success. It spawned five top 10 singles in the UK and charted at number one on the UK Albums Chart.[31] The album was certified as platinum by the BPI in January 1997.[32] It had sold 425,000 copies in the UK as of July 1997.[33] Excluding the US, where Coming Up had a later release date, year-end worldwide sales were roughly 600,000, with the top markets being the UK, Scandinavia and Japan.[34] Worldwide sales reached 1.5 million by 1998.[12] The proportion of worldwide sales in the US, however was much lower than the sales of the first album. According to Nielsen SoundScan, Coming Up has sold about 40,000 copies in the US as of September 2008.[35] The record sold well in Scandinavia, with "Trash" becoming the band's first overseas number one single, topping the charts in Finland.[36] The album charted at number one in both Sweden and Denmark, and number three in Norway.[37] The album was also certified as Gold in Norway and Platinum in Sweden.[38][39] Anderson saw the funny side of their newfound popularity, saying: "They went mad for it in Scandinavia, maybe because they're all depressed sex maniacs or something."[40]

Legacy

In December 1996, The Face,[41] Melody Maker,[42] Q,[43] Hot Press[44] and Select[45] listed Coming Up as one of the ten best albums of the year, while Mojo[46] and NME ranked it 12th.[47]

In 1997, the album was listed at number 83 in Virgin Megastores' "Chart of the Century" poll of the 100 greatest albums. The poll was compiled from votes cast by the UK public during August and September 1997.[48] In 1998, Q readers voted Coming Up the 36th greatest album of all time.[49] In the book, All Time Top 1000 Albums by Colin Larkin, Coming Up was ranked at number 195.[50] In 1999, American music critic Ned Raggett, writing in Freaky Trigger, ranked Coming Up as the 42nd greatest album of the 1990s.[51] The following year, Q ranked the album the 96th greatest British album ever.[52] In 2014, The Village Voice ranked Coming Up at number 10 in its list of the 10 best Britpop albums.[53]

To mark the album's 25th anniversary, the band played a UK tour in November 2021. Coming Up also featured in an episode of the Sky Arts documentary series Classic Albums on May 7, 2021.[54]

Track listing

All tracks are written by Brett Anderson and Richard Oakes, except where noted

No.TitleWriter(s)Length
1."Trash" 4:06
2."Filmstar" 3:25
3."Lazy"Anderson3:19
4."By the Sea"Anderson4:15
5."She" 3:38
6."Beautiful Ones" 3:50
7."Starcrazy"Anderson, Neil Codling3:33
8."Picnic by the Motorway" 4:45
9."The Chemistry Between Us"Anderson, Codling7:04
10."Saturday Night" 4:32
Bonus track on the Japanese edition
No.TitleLength
11."Young Men"4:36

2011 remastered and expanded version

Disc One: Demos
No.TitleLength
11."She" (Greenhouse Demo)2:49
12."Lazy" (Greenhouse Demo)3:15
13."Dead Leg" (Beautiful Ones)3:16
14."Filmstar" (Church Demo)2:38
15."Pisspot" (Trash)5:02
16."Ballad Idea" (Saturday Night Church Demo)3:49
17."Tiswas" (Starcrazy)3:20
B-sides
No.TitleWriter(s)Length
18."Asda Town"Anderson3:08
19."Together" 4:34
20."Bentswood Boys" 3:14
Disc Two: The B-Sides
No.TitleWriter(s)Length
1."Europe Is Our Playground" (original version)Anderson, Mat Osman4:39
2."Have You Ever Been This Low?" 3:56
3."Another No One"Anderson3:52
4."Every Monday Morning Comes" 4:29
5."Sound of the Streets"Anderson5:01
6."Young Men" 4:37
7."Sam"Anderson3:38
8."Money" 4:06
9."This Time" 5:47
10."W.S.D."Anderson4:40
11."Jumble Sale Mums" 4:17
12."These Are the Sad Songs" 6:22
13."Feel"Anderson, Simon Gilbert, Osman, Oakes, Codling5:05
14."Sadie" 5:26
15."Graffiti Women"Anderson4:51
16."Duchess"Anderson, Codling3:52
Extra track
No.TitleWriter(s)Length
17."Motown" (Previously unreleased rehearsal room recording)Anderson, Codling4:42

Personnel

Charts and certifications

Bibliography

References

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External links

Quelle: https://en.wikipedia.org/wiki/Coming_Up_(album)

Artist(s)

Veröffentlichungen von Suede die im OTRS erhältlich sind/waren:

Beautiful Ones: The Best Of Suede 1992-2018 ¦ Coming Up ¦ Autofiction

Suede auf Wikipedia (oder andere Quellen):

Suede ist eine britische Rockband. Sie gilt als einer der Wegbereiter des Britpop.

Geschichte

Bereits 1981 gründeten Sänger Brett Anderson und Bassist Mat Osman eine Band. Später, als Anderson 1988 nach London zog, nannten sich die beiden Suave and Elegant („freundlich und elegant“). Mittels einer Anzeige in der Musikzeitschrift NME fanden und engagierten die beiden den talentierten Gitarristen Bernard Butler. Zuletzt stieß noch Andersons damalige Freundin, Justine Frischmann, dazu.

Man unterzeichnete bei RML Records, einer Indie-Plattenfirma aus Brighton und änderte bald den Bandnamen. Suedes erste Aufnahme war Be my God/Art mit Mike Joyce am Schlagzeug, doch diese Single wurde noch vor Veröffentlichung wieder eingestampft, weil es Probleme mit der Plattenfirma gab. Mit Simon Gilbert als Schlagzeuger unterschrieben Suede bei Nude Records. Etwa zu dieser Zeit schied Justine Frischmann aus der Band aus, um schließlich die Gruppe Elastica zu gründen und ging, was vor allem für die Yellow Press von Bedeutung war, eine Beziehung mit Blur-Sänger Damon Albarn ein.

Suedes erste Single The Drowners wurde unter einer „alternativen“ Medienekstase veröffentlicht und war ein mittelmäßiger Hit, deutlich übertroffen von den nachfolgenden Singles Metal Mickey und Animal Nitrate (eine Anspielung auf die Droge Amylnitrit) einige Monate später. Das Debütalbum Suede festigte die Beliebtheit der Band und gewann den Mercury Prize für das beste britische Album. Der Erfolg in den USA war, wie so oft bei neueren britischen Bands, begrenzt, und das, obwohl sie mit The Cranberries auf Tour gingen und massiv von MTV unterstützt wurden. Darüber hinaus wurde die Band durch die Klage einer Lounge-Sängerin gezwungen, in den USA unter dem Namen London Suede aufzutreten.

Die vorher bereits vorhandenen Spannungen innerhalb der Band kamen zu einem Höhepunkt, als man begann, am zweiten Album zu arbeiten. Anderson und Butler stritten sich unentwegt, so dass Butler schließlich die Band verließ, noch bevor Dog Man Star (1994) veröffentlicht worden war. Das Album wurde zwar von den Kritikern hoch gelobt, verkaufte sich jedoch nur schleppend.

Butler wurde durch Richard Oakes, einen langjährigen Fan der Band, ersetzt, bevor es auf eine internationale Tour ging, um das Album zu promoten. Während der Aufnahmen zu dem Album Coming Up (1996), mit dem Suede schließlich den größten Mainstream-Erfolg verbuchen konnte, stieß außerdem der Keyboarder und Backgroundsänger Neil Codling zu der Band. Das Album war in ganz Europa, Asien und Kanada überaus erfolgreich.

Das nächste Album, Head Music (1999) wurde von Kritikern und Fans als Enttäuschung quittiert. Suede verabschiedete sich von Nude Records und unterschrieben stattdessen einen Vertrag bei Sony, um ihr fünftes Album A New Morning (2002) aufzunehmen. Während der Aufnahmen zu diesem Album verließ Neil Codling die Band aufgrund eines Chronischen Erschöpfungssyndroms. Er wurde durch Alex Lee, einen langjährigen Freund der Band, ersetzt. Dieser übernahm den Hintergrundgesang und spielte bei Konzerten die zweite Gitarre oder Keyboard, sowie gelegentlich Mundharmonika.

Nachdem eine große Retrospektive ihrer Arbeit veröffentlicht worden war, spielten Suede im Herbst 2003 an fünf Abenden in Londons ICA (Institute of Contemporary Arts) jede Nacht ein anderes Album in chronologischer Reihenfolge – mit B-Seiten und seltenen Songs als Zugaben. Nach der Veröffentlichung ihres Singles-Albums und der zugehörigen Single Attitude, verkündete die Band, dass es in der näheren Zukunft keine weiteren Projekte mehr unter dem Namen Suede geben würde.

Das zunächst letzte Konzert fand am 13. Dezember 2003 im Londoner Astoria statt und war ein zweieinhalbstündiger Auftritt, der in zwei Teile geteilt war, dessen erster unter dem Motto „Suedes Lieblingslieder“ lief. Anderson machte die Ankündigung, dass es „ein neues Suede-Album geben“ würde, fügte aber hinzu, dass es „...noch nicht jetzt“ erscheinen würde. Mit Andersons Schlussbemerkung „See you in the Next Life“ verabschiedete sich die Band aus dem Musikgeschäft.

Im Mai 2004 bestätigte Anderson Gerüchte, dass er und Bernard Butler wieder zusammenarbeiten würden. Unter dem Bandnamen The Tears veröffentlichten die beiden schließlich im Juni 2005 das Album Here Come the Tears mit 13 Songs. Es erreichte keine nennenswerten Verkaufszahlen.

Am 23. März 2007 erschien das selbstbetitelte Soloalbum von Sänger Brett Anderson, das im Großen und Ganzen textlich introvertierter und musikalisch weniger gitarrenlastig als die Veröffentlichungen von Suede oder The Tears daherkam. Der Stil an sich blieb jedoch weiterhin unverkennbar, nicht zuletzt wegen der Anderson-typischen Signalworte wie „asphalt, plastic, flow, breeze, pillow, etc.“, die immer wieder in seinem Gesamtwerk auftauchen. Es folgten drei weitere Soloalben des Suede-Sängers.

Im März 2010 meldete sich die Band mit Konzertauftritten im Londoner Club S 100 und der Royal Albert Hall zurück. Auch Neil Codling war wieder dabei. Motiviert durch großen Zuspruch, sagte die Band schließlich einige Konzert- und Festivaltermine in diversen Städten Europas für den Zeitraum August–Dezember 2010 zu.

Im Dezember 2011 spielten Suede zwei Konzerte in Russland (Moskau, St. Petersburg), dabei wurden sieben neue Songs live getestet. Am 24. März 2012 erschien zum 2. Jahrestag des Comebacks eine gemeinsame DVD und CD des Konzertes in der Royal Albert Hall.

Am 7. Januar 2013 veröffentlichten Suede den Titel Barriers als freien Download. Im März 2013 erschien das Album Bloodsports. Am 22. Januar 2016 erschien das Konzept-Album Night Thoughts. The Blue Hour folgte im September 2018.

Bedeutung

Die Band eroberte Anfang der 1990er Jahre die Charts und Herzen der Engländer mit jeder Menge Glam und ihrem exaltierten Frontmann Brett Anderson. Mit und um Suede etablierte sich der Begriff Britpop endgültig zu einem eigenständigen Genre, das von den Stone Roses Ende der 80er bis hin zu den kommerziell erfolgreichsten Vertretern Blur und Oasis weit in die 90er reichte.

Suede selbst erlebten und feierten den Hype um die britische Musik mit ihrem ersten Album Suede selbst mit, fielen aber bereits mit der von der Kritik gefeierten zweiten Platte Dog Man Star 'britpop'- und verkaufsmäßig auf die Nase. So erreichten die Singles keine großen Chart-Erfolge, wenngleich das Album Platz 3 der UK-Charts belegte. Das folgende Album Coming up sollte Suede's größter kommerzieller Erfolg werden: Alle fünf Singles erreichten die UK Top 10, das Album Platz 1. Mit den zwei folgenden Studio-Alben gelang es der Band nicht mehr, an diese erfolgreiche Zeit anzuknüpfen.

Zwischen den ersten beiden Alben brachten Suede die Single Stay Together heraus. Die Single kam auf Platz 3 der GB-Charts, die höchste Chartplatzierung der Band, die von der Single Trash 1997 ebenfalls erreicht wurde.

Diskografie

Studioalben

JahrTitelHöchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[1][2]
(Jahr, Titel, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)		Anmerkungen
 DE AT CH UK US
1993SuedeDE50
(10 Wo.)DE		—CH37
(1 Wo.)CH		UK1
Gold
Gold

(27 Wo.)UK		—
Erstveröffentlichung: 29. März 1993
1994Dog Man Star———UK3
Gold
Gold

(21 Wo.)UK		—
Erstveröffentlichung: 10. Oktober 1994
1996Coming UpDE37
(7 Wo.)DE		AT39
(2 Wo.)AT		—UK1
Platin
Platin

(49 Wo.)UK		—
Erstveröffentlichung: 2. September 1996
1999Head MusicDE26
(6 Wo.)DE		AT19
(5 Wo.)AT		—UK1
Gold
Gold

(20 Wo.)UK		—
Erstveröffentlichung: 3. Mai 1999
2002A New MorningDE74
(1 Wo.)DE		——UK24
(2 Wo.)UK		—
Erstveröffentlichung: 30. September 2002
2013BloodsportsDE95
(1 Wo.)DE		——UK10
(5 Wo.)UK		—
Erstveröffentlichung: 18. März 2013
2016Night ThoughtsDE31
(2 Wo.)DE		AT72
(2 Wo.)AT		CH71
(1 Wo.)CH		UK6
(4 Wo.)UK		—
Erstveröffentlichung: 22. Januar 2016
2018The Blue HourDE32
(1 Wo.)DE		AT58
(1 Wo.)AT		CH44
(1 Wo.)CH		UK5
(2 Wo.)UK		—
Erstveröffentlichung: 21. September 2018
2022AutofictionDE20
(1 Wo.)DE		AT34
(1 Wo.)AT		CH49
(1 Wo.)CH		UK2
(2 Wo.)UK		—
Erstveröffentlichung: 16. September 2022

Kompilationen

JahrTitelHöchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[1]
(Jahr, Titel, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)		Anmerkungen
 DE AT CH UK US
1997Sci-Fi Lullabies———UK9
(4 Wo.)UK		—
Erstveröffentlichung: 6. Oktober 1997
2003Singles———UK31
Gold
Gold

(3 Wo.)UK		—
Erstveröffentlichung: 20. Oktober 2003
2010The Best of———UK31
Silber
Silber

(2 Wo.)UK		—
Erstveröffentlichung: 1. November 2010
2016Beautiful Ones – An Introduction to Suede———UK16
(2 Wo.)UK		—
Erstveröffentlichung: 27. Mai 2020

Singles

JahrTitel
Album		Höchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[1]
(Jahr, Titel, Album, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)		Anmerkungen
 DE AT CH UK US
1992The Drowners
Suede		———UK49
(2 Wo.)UK		—
Erstveröffentlichung: 11. Mai 1992
Metal Mickey
Suede		———UK17
(3 Wo.)UK		—
Erstveröffentlichung: 14. September 1992
1993Animal Nitrate
Suede		———UK7
(7 Wo.)UK		—
Erstveröffentlichung: 22. Februar 1993
So Young
Suede		DE98
(1 Wo.)DE		——UK22
(3 Wo.)UK		—
Erstveröffentlichung: 17. Mai 1993
1994Stay Together
Singles		———UK3
(7 Wo.)UK		—
Erstveröffentlichung: 14. Februar 1994
We Are the Pigs
Dog Man Star		———UK18
(6 Wo.)UK		—
Erstveröffentlichung: 12. September 1994
The Wild Ones
Dog Man Star		———UK18
(7 Wo.)UK		—
Erstveröffentlichung: 7. November 1994
1995New Generation
Dog Man Star		———UK21
(4 Wo.)UK		—
Erstveröffentlichung: 30. Januar 1995
1996Trash
Coming Up		———UK3
Silber
Silber

(10 Wo.)UK		—
Erstveröffentlichung: 29. Juli 1996
Beautiful Ones
Coming Up		———UK8
Silber
Silber

(8 Wo.)UK		—
Erstveröffentlichung: 14. Oktober 1996
1997Saturday Night
Coming Up		———UK6
(5 Wo.)UK		—
Erstveröffentlichung: 13. Januar 1997
Lazy
Coming Up		———UK9
(6 Wo.)UK		—
Erstveröffentlichung: 7. April 1997
Filmstar
Coming Up		———UK9
(4 Wo.)UK		—
Erstveröffentlichung: 11. August 1997
1999Electricity
Head Music		DE92
(1 Wo.)DE		——UK5
(7 Wo.)UK		—
Erstveröffentlichung: 12. April 1999
She’s in Fashion
Head Music		———UK13
(6 Wo.)UK		—
Erstveröffentlichung: 21. Juni 1999
Everything Will Flow
Head Music		———UK24
(2 Wo.)UK		—
Erstveröffentlichung: 6. September 1999
Can’t Get Enough
Head Music		———UK23
(2 Wo.)UK		—
Erstveröffentlichung: 8. November 1999
2002Positivity
A New Morning		DE99
(1 Wo.)DE		——UK16
(3 Wo.)UK		—
Erstveröffentlichung: 16. September 2002
Obsessions
A New Morning		———UK29
(2 Wo.)UK		—
Erstveröffentlichung: 18. November 2002
2003Attitude / Golden Gun
Singles		———UK14
(3 Wo.)UK		—
Erstveröffentlichung: 6. Oktober 2003

Videoalben

JahrTitelHöchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[1]
(Jahr, Titel, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)		Anmerkungen
 DE AT CH UK US
2019The Insatiable Ones———UK3
(5 Wo.)UK		—
Erstveröffentlichung: 12. April 2019

Quellen

  1. ↑ a b c d Chartquellen: DE AT CH UK
  2. ↑ Auszeichnungen für Musikverkäufe: UK

Weblinks

Quelle: https://de.wikipedia.org/wiki/Suede

Same artist(s), but different album(s)...