Difference between revisions 134187249 and 134187251 on dewiki

{{Use British English|date=December 2012}}
{{Use dmy dates|date=December 2012}}
{{Infobox album
| Name        = Dog Man Star
| Type        = studio
| Artist      = [[Suede (band)|Suede]]
| Cover       = Dog man star.jpg
| Released    = 10 October 1994
(contracted; show full). "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."<ref name="H172">Harris, p. 172</ref> 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."<ref name="
H172Guardian"/><ref name="GuardianH172"/>

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.<ref name="H172"/> One notable song, "The Power" did not feature the guitarist and had to be played by a session guitarist instead.<ref>{{cite web|url=http://www.radiotimes.com/news/2012-05-17/the-joy-of-difficult-second-or-third-or-twelfth-albums|title=The joy of difficult second (or third, or twelfth) albums|publisher=''[[Radio Times]]''|date=17 May 2012|accessdate=23 November 2013}}</ref> Anderson admitted that the song is devoid of Butler's "depth of touch;"<ref name=Anderson/> and has stated, in hindsight that the song should have been replaced by the b-sides "Killing of a Flash Boy" and "My Dark Star".<ref>{{cite web |url=http://drownedinsound.com/releases/16268/reviews/4142810|title=Suede:Dog Man Star Reissue|last=Perry|first=Tom|publisher=[[Drowned In Sound]]|date=June 3, 2011|accessdate=1 December 2013}}</ref> 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.<ref>Barnett, p. 150</ref> He made a contractual contribution to "Black or Blue" in a separate studio.<ref name=heritage/> Anderson discovered a covert backing vocal on the song, which he recalled: "I can't remember the exact words but it sounded vaguely threatening."<ref>Barnett, p. 151</ref>  

Among the post-Butler additions was a reworked ending to "[[The Wild Ones (song)|The Wild Ones]]", an orchestral [[Coda (music)|coda]] on "Still Life" and an electric guitar part, copied note for note from Butler's original demo of "The Power", which Butler strongly criticised.<ref>Barnett, p. 155</ref> 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."<ref>{{cite web|url=http://www.telegraph.co.uk/culture/4715921/The-guitar-man-finds-his-voice.html|title=The guitar man finds his voice|publisher=''[[The Daily Telegraph]]''|date=8 October 1998|accessdate=27 July 2013}}</ref>

==Music==
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===Influences and themes===
{{Quote box
| quote = "We were competing with the great records of the past; that’s what we had to prove with it. I was trying to write without any boundaries. I was living in a bizarre house in north London, taking lots and lots of hallucinogenic drugs, and writing in a stream of consciousness about anything I wanted and pushing myself as an artist. ''Dog Man Star'' is a real testament to what you can create when you want to push yourself as far as you c(contracted; show full)e=Mojo Presents Suede|publisher=''[[Mojo (magazine)|Mojo]]''|accessdate=24 July 2013}}</ref> Butler drew inspiration from [[The Smiths]]' ''[[The Queen is Dead]]'', [[Joy Division]]'s ''[[Closer (Joy Division album)|Closer]]'', [[Marc and the Mambas]]' ''[[Torment and Toreros]]'' and [[The Righteous Brothers]]' "[[You've Lost That Lovin' Feeling]]".<ref name="Mojo"/>
  

In retrospect, aside from being a collection of songs, there is a perception among some that the album tells a story; that its structure consists of a beginning, middle and end.<ref name="ST"/> One critic opined: "There is a proper introduction, a rousing orchestral finale, and arguably a coherent narrative of love, sex, drugs and loss."<ref>{{cite web|url=http://www.theregoesthefear.com/2013/04/a-retrospective-on-suede-part-2.php|title=A Retrospective on Suede|publisher=Th(contracted; show full)icted teenager in "Heroine", and [[James Dean]] in "Daddy’s Speeding".<ref>{{cite web|url=http://consequenceofsound.net/2013/03/dusting-em-off-suede-dog-man-star/|title=Dusting ‘Em Off: Suede – Dog Man Star|publisher=[[Consequence of Sound]]|last=Hadusek|first=Jon|date=23 March 2013|accessdate=26 July 2013}}</ref> Both songs introduce the themes of isolation where the obsession is forming relationships with fantasy figures, as oppose to real people.<ref name=Anderson/>
  

"Heroine", with the [[refrain]], ''I'm aching to see my heroine'', has a celebrity influence, paying homage to [[Marilyn Monroe]], while evoking [[George Gordon Byron|Lord Byron]].<ref>{{cite web|url=http://web.archive.org/web/20070308125446/www.rollingstone.com/artists/oasis/albums/album/321548/review/5946023/definitely_maybe|title=Music Reviews: Suede, Blur, Oasis|publisher=''[[Rolling Stone]]'' Archived at [[Wayback Machine]]|last=Corio|first(contracted; show full)son/> The recurring theme of self-loathing is reflected in the ballad "The Wild Ones", which tells of a dying relationship.<ref name="Stylus" /> Anderson considers this song to be his favourite single moment in Suede's history.<ref name=Anderson/> The main refrain was partly inspired by [[Jacques Brel]]'s "[[Ne me quitte pas]]".<ref name=Anderson/> Here, Anderson alternates between [[tenor]] and [[falsetto]].<ref name="Michigan"/>
  

Anderson's voice is generally deeper compared to the albums before and after ''Dog Man Star'', where he sang in a higher register.<ref name="ST">{{cite web|url=http://sabotagetimes.com/music/can-suedes-dog-man-star-stand-the-test-of-time/|title=Can Suede’s Dog Man Star Stand The Test of Time?|publisher=''[[Sabotage Times]]''|last=Cronshaw|first=Jon|date=19 March 2013|accessdate=22 June 2013}}</ref> "Black or Blue" is a song about racial intolerance and tells the story of a doomed interracial romance. Critics have likened the song to ''[[West Side Story]]''.<ref name="SPINMichigan"/><ref name="MichiganSPIN"/> "This Hollywood Life" is the most aggressive song on the album. John Harris of ''NME'' wrote: "a record so couched in earth-shacking drama probably needs at least one spittle-flecked tantrum."<ref name="NME" /> Anderson states that the song is about the "seedier side of the music business where everyone has to debase themselves to greater or lesser extents in order to succeed."<ref name=Anderson/> "[[New Generation]]&qu(contracted; show full)on the album: ''the snow might fall and write the line on the silent page''.<ref name=Anderson>{{cite web|url=http://forum.suede.co.uk/read.php?2,24351,24351|title=Dog Man Star: track by track by Brett|author=Brett Anderson|date=20 May 2011|accessdate=29 November 2013}}</ref> A [[bawu]] solo precedes the song's [[crescendo]]. Echoing "Sleeping Pills", "Still Life" is considered to be written from the viewpoint of a bored housewife.<ref name="
QSPIN"/><ref name="SPINQ"/> An early concept that was originally planned for ''Suede'',<ref>Barnett, p. 117</ref> "Still Life" features the 72-piece [[Sinfonia of London]] orchestra.<ref>Barnett, p. 156</ref>

==Title and artwork==
[[File:DogManStarRear.jpg|thumb|right|250px|The back cover of the album featuring the photograph "Lost Dreams".]]

(contracted; show full)
| rev4 = ''[[Entertainment Weekly]]''
| rev4score = (B)<ref>{{cite web|url=http://www.ew.com/ew/article/0,,304317,00.html|title=Dog Man Star: Music Review: Entertainment Weekly|last=Chuck|first=Eddy|work=[[Entertainment Weekly]]|date=November 4
, 1994|accessdate=8 April 2013}}</ref>
| rev5 = ''[[The Independent]]''
| rev5score = (favourable)<ref name="Independent2"/>
| rev6 = ''[[New York Times]]''
(contracted; show full)perceived feelings of [[claustrophobia]], Jonathan Bernstein of ''[[Spin (magazine)|Spin]]'' said that "''Dog Man Star'' is the work of a man cautiously opening the bedroom door and reeling from the discovery that other people have lives." He concluded by saying: "the glam wonderland on which Suede was weaned is still evident, but suddenly this is a group capable of far surpassing its perceived limitations."<ref name="SPIN">{{cite 
webbook|url=http://books.google.co.uk/books?id=rxPc6mYwIxEC&pg=PT6&dq=london+suede+spin&hl=en&sa=X&ei=_ejEUZXMC-zZ0QW2jYFw&ved=0CDkQ6AEwAA#v=onepage&q&f=false|title=Platter du Jour|publisher=''[[Spin (magazine)|Spin]]'' [[Google Books]]|last=Bernstein|first=Jonathan|date=December 1994|accessdate=21 June 2013}}</ref> Writing for the ''[[Michigan Daily]]'' and echoing similar feelings of pushing boundaries, Thomas Crowley said that "&(contracted; show full)rew|date=20 January 2004|accessdate=27 July 2013}}</ref> By comparison, tickets for ''A New Morning'' went for up to £100, leading ''NME'' to state: "It’s seldom that you get to mathematically prove your critical opinion."<ref name="NME2">{{cite web|url=http://www.nme.com/reviews/name/7190|title=Suede : London ICA|publisher=''NME''|last=Thornton|first=Anthony|date=8 October 2003|accessdate=27 July 2013}}</ref>
  

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 B(contracted; show full)}}
{{Track listing
| collapsed = no
| headline = American release bonus track
| title13 = Modern Boys
| length13 = 4:07
}}

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===2011 Remastered and Expanded version===
{{Track listing
| collapsed = no
| headline = Disc One
| title1 = Squidgy Bun (Introducing The Band)
| length1 = 2:37
| title2 = Ken (The Wild Ones)
| length2 = 5:40
(contracted; show full)
==References==
* Barnett, David: ''[[Love and Poison (book)|Love and Poison]]''. Carlton Publishing Group, 2003. ISBN 0-233-00094-1
* Harris, John. ''Britpop!: Cool Britannia and the Spectacular Demise of English Rock''. Da Capo Press, 2004. ISBN 0-306-81367-X

==Notes==
{{Reflist|30em}}

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==External links==
* [http://forum.suede.co.uk/read.php?2,24351,24351 Dog Man Star: track by track by Brett]

{{Suede}}

[[Category:1994 albums]]
[[Category:Suede albums]]
[[Category:Albums produced by Ed Buller]]