Brett Anderson Revê Carreira

Não, Brett Anderson não vai lançar nenhum Best Of.
Recentemente um fã perguntou no seu foum oficial de Brett qual a sua música preferida em termos de melodia e composição.
A resposta de Anderson foi muito longa e fez uma revisão a todas as músicas que lhe marcaram a vida.
Do primeiro albúm dos Suede e respectivos Lados B referiu The Drowners como sendo uma música Pop muito poderosa, The Big Time porque aí descobriram que a música feita por eles podia ser muito suave e ambiente, a música que, provavelmente mais vezes ouviu do albúm de estreia So Young, ou The Next Life onde ficou contente na forma como pôs tristeza e tragédia numa música tão bonita.
De Dog Man Star, Introducing The Band, 2 of Us, Asphalt World e Heroine que segundo ele foi mal interpretada pela imprensa.
Para Brett a música mais romântica que escreveu é Europe Is Our Playground que ainda hoje tem grande influência na sua vida.
Trash contém a melhor letra que Anderson já escreveu e, se a produção fosse tão boa como a música ela teria sido uma música Global. Brett admitiu que gostava de voltar atrás no tempo para gravar as músicas todas em formato acústico, como têem sido tocadas recentemente ao vivo. Saturday Night já o fez chorar algumas vezes.
De Head Music é referido Savoir Faire, Can't Get Enough (que também foi estragada pela produção, ao vivo soa muito melhor seundo o músico). Everything Will Flow é quase perfeita e Indian Strings é o momento em que Brett se orgulha mais nas música que escreveu sozinho. Sempre que pega numa guitarra começa automaticamente a tocar esta música.
De A New Morning, o úlimo albúm de originais dos Suede, Brett não refere nenhuma música dele mas sim Oceans (música escondida nas edições limitadas), Simon e Cheap (ambas Lados B do single Positivity) Não ter incluido estaas 3 canções no cd foi um erro que tem repetido desde My Insatiable One até Clowns.

Da Passagem do músico pelos The Tears é referida The Asylum e Apollo 13. The Asylum é sobre o seu pai.

Do seu albúm a solo, o ex-vocalista dos Suede ficou obessessivo por Love Is Dead mas agora sente que a música podia ter saído melhor.
Scorpio Rising, To The Winter e Colour of the Night (contém a melhor letra do cd) são os outros momentos referidos. Mas para Brett a música melhor do albúm é Song For My Father e tal facto não precisa certamente de explicações.

As palavras de Brett terminam por dizer que, se tivesse que ser recordado só por uma música seria The Wild Ones (é a minha música preferida de sempre).

Bastante interessante as palavras de Brett.

Fica aqui as palavras escritas mesmo por ele.


luckily for you System Bitch i am lying around groaning in bed with gastric 'flu, and utterly bored of watching the Fellowship of the Ring for the 50th time ( good comfort viewing though, like visual cheese on toast)

it's a good question because it's the sort of thing i think about lots of the time anyway and because of course it naturally flatters the self-obsessed egomaniac that i am.

wellity,wellity,wellity.... where to begin?

to be honest, there are so many that make me proud, like over-achieving little children. the drowners was a very powerful pop song; hooky and dirty , heavy and light, turning a million heads with it's sticky, throbbing pulse.
he's dead always possessed some je ne sais quoi which made it more than a sum of it's parts for me. i like the bleak nihilism of the lyrics and Bernard's neo-Eastern guitar part borders on genius.
the big time was special too. an incredibly exciting moment for the band when we realized that we could actually create subtle, atmosheric music as well as stomping,guitar rock.
so young was probably the song i listened most to from the first album . i remember me and Alan rewinding the tape ( remember those?) at least a thousand times one drug fuelled night in our beautiful,mad little flat in Moorehouse Road.
the next life was another breakthrough for me.this song made me realize that i could take all the personal tragedy and pain in my life and turn it into something beautiful. it was like alchemy and became the princple of DogManStar. sublime piano part too.
i was very proud of introducing the band at the time. the primal simplicity was very powerful for me and again said that songs didn't always have to follow the same rigid verse-chorus format. the mantra-chant idea was something that was inspired by a visit to a beautiful Buddist temple in Kyoto during a japanese tour of the debut album.
heroine contains some of my proudest moments as a lyricist. it infuriated me that the press didn't understand it's subtlety and chose to see it as some stupid, literal song about me 'invoking the ghost of Marilyn Monroe' or something... duh!
2 of Us and Asphalt World are serious gems, but you lot already knew that.
Europe is our Playground is possibly the most romantic song i have ever written and one which eerily still has massive relevance to my life today. it's also my other-half's favorite.
the lyrics to trash are the best i have ever written, period. if only the production of the song had been as good as the song itself it would have been global instead of just good. doing these recent gigs with string players sometimes makes me want to go back and re-record my whole back catalogue in this format. this would be the song i would tackle first.
saturday night is very sweet and has made me cry a couple of times. i love it's simple, unpretentious sentiment .
savoir-faire suffered from people not realizing that the point of it was it's tongue in-cheek dumbness. but i dont really care if everyone hates it ,i still stand by the song as a fascinating and successful depature from the rigid,rock blueprint... and i never came up with a sexier grind.
can't get enough again suffered from dead, lifeless production. we should have just recorded it live rather than tried to incorporate than soulless electro feel . it's still a fucking stormer though.
everything will flow is almost perfect .. i love it's karmic message and it's liquid motion.
indian strings is probably my single proudest moment as a complete song writer. the trilling guitar part and the sad,personal, reflective words still mean a lot to me. whenever i pick up a guitar anywhere in the world i automatically play this song.. it just naturally seeps out of me.
oceans , simon and cheap are all very good and of course should have been properly on the album . it's a mistake i seem to be doomed to repeat from My Insatiable One in 1992 to Clowns in 2007 but i guess it makes things special for you lot.
the Asylum was always my proudest moment on 'here come the tears'. it was written as a reference to my father's struggle with mental health and it's tragic atmospherics made it such a great live opener.
apollo 13 is pretty good too with everything that made mine and Bernard's work together special still firmly intact.
love is dead completely obsessed me for a while. i thought i had captured something very simple and powerful in the lyrics and loops. listening back i think it could have been better but it's still precious to me.
i'm proud of the guitar part and eery spy-film atmospherics i wrote on Scorpio Rising ,to the winter is a 24 carat heartbreaker and Colour of the Night is a miniature gem which contains my favorite lyrics from the solo album but i'd have to say the real killer on that record is Song For My Father. no explanations needed i think. Back to You is a corker too but none of the recordings have really done it justice.

however, if i had to be remembered for JUST ONE SONG it would have to be The Wild Ones... and if you don't know why then your reading the wrong forum.

well... hope that was interesting for you... i'm gong to make another ginger and lemon tea and crawl back into my sweaty bed to see whether Gandalf defeats the fire-demon... don't spoil it for me!.

see you later.. x