I’m not going to re-review Bloodsports properly since the time since release doesn’t really warrant it but I will add a few thoughts now that I’ve lived with it for a couple of years. You can read my original review here for the full track by track.
When the band reformed I was sceptical and somewhat fearful and (to my now bitter regret) didn’t go to the first set of live shows. They may not have critically and musically ended on a high note but the farewell tour had been fittingly emotional and in the intervening years Brett had produced some extremely satisfying solo work – including most recently Black Rainbows an album which I believe sits comfortably at the top end of his career. I hadn’t been wowed by Here Come The Tears and for many of the reasons that reformations make me nervous – it felt mannered, polite and too much like the sound Brett and Bernard trying not to step on each others toes. At best I expected the reformation to be weak and at worst I feared it would be embarrassing. While the album shows at Brixton certainly disproved any fears I had about their capabilities on stage I was still left with the nagging concern that they would become one of those bands looping around the country playing the old songs to an ever-aging crowd.
When Bloodsports was released I approached it with an optimistic caution and was rewarded with an album that although not instant is excellent. My original review gave it a 9/10 and while some songs have grown on me more (most notably Sabotage and It Starts and Ends With You) I will happily stick by that giving it an easy third place slot in my album rating after Dog Man Star and the debut. The tour and the collection of remarkably good b-sides that came out with the singles sealed the deal and since then I have been more excited by the band than I have been since the mid 90s. How wonderfully surprising.
So, on a final note:
Crib notes: A band flexing their muscles and finding that they can still right hook pretty good. The endless, bloody game.
Listen to it when: Falling in love, falling out of love.
In a fantasy world I would: not do much really. It’s tempting to switch out It Starts and Ends With You for the frankly gorgeous b-side Falling Planes but I suspect that would upset the balance of the album.
So.. yes, it’s taken me over a month to sit down and write this review and I’m sure by this point no-one actually cares any more but here we are anyway.. The main reason it’s taken me so long is that although the overriding feeling of the album appealed to me and a few songs were instant I had the distinct suspicion that several of the slower songs would be growers and I wanted to give the album as a whole a chance to percolate before I wrote a review knowing that if I didn’t I would probably completely change my mind about half of it after I had written it.
My initial impressions of the tone of the album were favourable – I really like the way Brett has been using his voice in more recent years. Despite loving the album the more years that have passed since Coming Up the less fond I get of the plastic-glam pitch of the vocals and I don’t think anyone misses the Oasis rasp even if it did work well on a few songs like One Hit To The Body. The sound of the vocals on Bloodsports (and indeed the feel of the album) is closest to Brett’s last solo album Black Rainbows – an album I’m very fond of and has probably increased in my estimation quite a bit since my initial 8/10 review of it. The album as a whole feels full and ballsy but, unusually for suede not petulant. Also, apart from a couple of Brett-by-numbers moments it has continued the trend of his solo albums in having far, far better lyrics than latter day suede and Tears songs.
I also love the way everything sounds SO LOUD. I’m not very techy so I can’t tell you what I mean by that in production terms but everything just seems to BURST OUT of the songs.
The thing that threw me off about the album when I first started listening to it was the very strange way it is divided almost half and half into uptempo and downtempo songs which resulted in me often listening to first half only and ignoring the difficult ‘side 2’.
The lightbulb moment for me was this interview quote:
The album was conceived as a journey from the start to the end of a relationship, taking on all the points in between – suspicion, obsession, infatuation, co-dependency.
The second I read that not only did I think it was kind of a nice idea for an album but the record suddenly made perfect sense and just clicked with me. Now that difficult second half feels like a necessary bookend to the more familiar territory of the pop-rock tracks about emotional infatuation and sexual desire.
The album is difficult in places but after getting under it’s skin a bit I’m going to come out with a much higher mark than I might have expected on first listen. I’ve really fallen for it and although I think Black Rainbows is possibly more consistently satisfying (if less demanding) as a whole the highs on this album really are high. I’m delighted with this album as if not a ‘comeback’ (oh, but it is) then at least a forage into slightly new territory and hopefully a sign of things to come.
Track by track:
I really liked this song straight away. It has a nice meaty rhythm and a big punchy chorus. It does also, as many have said, have a bit of a stadium rock Simple Minds thing going on.
This was another of my instant favourites. It starts with an even more Simple Minds opening followed by a Coming Up esque ‘oooh oooh’ but the body of the song is like a slightly more macho, aggressive version of some of the Coming Up era rockers wrapped around another big, loud stadium chorus.
It starts and ends with you
I pretty much hated it when it was released but much like The Stars (are out tonight) it works much better for me in the context of the album than elevated to a single. Again like Stars it’s, in my opinion, the weakest track on the album. What is with that? Second-single-itus?
I love the oppressive, moody feel of this song and it builds towards a very satisfying ending although the chorus is a little weak. It seems to be a bit more loved by fans than I think it’s due but it’s a decent enough album track.
For the strangers
I love this song. Swoony and gorgeous.
Swagger. Next single. Fucking love it. Can’t wait to hear it live.
Hit me is really close to being suede-by-numbers but then it does these melodic twists you weren’t expecting.
Sometimes I feel I’ll float away
I swear I’m not being hyperbolic when I say I honestly think this is my favourite suede song since Dog Man Star.
Let me take you through each stage of the male mistake
And we’ll adopt our natural roles
All the plans were made
In the wooded glade
Where your body was split wide open
And I count to ten
As the race begins
Round your hairpin bends
are very un-suede but somehow still perfectly ‘right’. The guitar towards the end makes *me* feel like I’ll float away. The album would have been worth buying for me if it was just this song repeated twelve times.
What are you not telling me?
The song on the album most reminiscent of Brett solo. Paranoid and slightly bitter, the turning point of the album into the second half.
A classic stalker anthem. Melodically reminiscent of some of the more downbeat coming up era b-sides but with instrumentation flourishes and drama of Dog Man Star slowies like Wild Ones.
I’m in the odd minority of suede fans that really likes A New Morning (I’m not sure even the band are that keen) but I love this song because it’s like the best of the slow songs on ANM like Untitled.. or When the Rain Falls but just so much darker and tougher. The end feels almost positive, I think? But it’s quite ambiguous.
It’s an odd album with the last three songs being a tough ride if you’re not in the mood but persistence pays off and there are treasures to be found. A welcome return to form with unexpected turns along the way.