For two albums, Brett Anderson and Bernard seemed as if they could grow to become the Morrissey & Marr of the 90s-- Suede's self-titled debut and its follow-up, Dog Man Star, are among the best records of Britpop, and even the B-sides they wrote together were pretty consistently amazing songs. The fraying and ultimate disintegration of their creative relationship pushed Dog Man Star to its final gloriously turgid, expansive state, with each musician trying to muscle his best ideas to the front. That album isn't just a collection of a band's recently written songs, it's a sweeping picture of despair and interpersonal meltdown. Post-Butler, Suede distanced themselves from that sound, opting instead to become a sort of gutter party band. The catharsis seemed to sap Butler as well-- his solo records are only a song or two removed from totally mediocre, and aside from \"Yes\" I'd rather not think about his collaboration with David McAlmont.
Ten years later, Suede are dead, Butler's way under the radar and here come the Tears, the official reunion of Anderson & Butler. It's a reunion that's been about as low-key as a reunion between these two could possibly be, given that Suede were once so huge that Virgin Megastores across Britain changed their name to Head Music for a day to mark the release of the band's fourth album. Listening to the results, it seems as though they genuinely enjoy working together again-- when Anderson refers to \"you and me\" on \"Two Creatures\" and talks about running away to warmer weather in Africa, it almost sounds like he's talking to Butler and not some anonymous girlfriend as the guitarist's distinctively dissonant leads snake alongside his vocal.
Removed from the context of their past work (ha!), Here Come the Tears is a good album, one with the respective drum and bass work of Mako Sakamoto and Nathan Fisher grounding sweeping ballads like \"Apollo 13\" and driving the speedier songs solidly so that Butler's guitar is free to roam, jousting with the vocal melodies. Butler is still an impressive guitarist-- his solo on \"Lovers\" is a particular highlight. Other hallmarks of the classic Dog Man Star-era sound that surface here include the wandering, Leslie'd pianos and smearing, slightly antagonistic string arrangements, which are held back for just the right moments.
Scoring of the film had not been completed when the soundtrack was released so on January 11, 2000 (2000-01-11) a second album was released by Chapter III Records which removed the theme songs, Moby's Bond theme remake and \"Station Break\", and had additional music, as well as an interview with David Arnold.
Edwyn Stephen Collins, born on 23 August 1959, first came to fame as the lead singer with Orange Juice, who began life as the Nu-Sonics in 1975, changing their name in 1979 and disbanding in 1985. Edwyn would later embark on a solo career which, until 1994, was a commercial failure in terms of hitting the charts, albeit his loyal fanbase ensured his records sold in reasonable enough numbers, all the while supporting his live shows. All that changed with the worldwide success of the single A Girl Like You, which went Top 10 in almost every European country as well as selling very well in Australia, Canada and the USA. The proceeds from the hit allowed Edwyn to invest in a studio of his own, from where he would sporadically release further new material while also embarking on a parallel career as a producer. He even found his songs appearing on the soundtracks of major Hollywood movies.
Produced by Almon Memela and originally released on the Highway Soul label, this absolutely brilliant recording nicely blends together township soul, Afro-jazz, spiritual melodies, and mellow funk grooves. The album truly captures the essence of the early 1970s South African jazz sound that would eventually help open the door for groundbreaking jazz fusion groups like Pacific Express and Spirits Rejoice.Also featured on the recording is notable trumpeter Dennis Mpale and fellow saxophonist Duke Makasi, as well as Sipho Gumede on bass, Jabu Nkosi on keys, and Peter Morake on drums.