"Suedehead" | ||||
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Single by Morrissey | ||||
from the album Viva Hate | ||||
B-side |
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Released | 15 February 1988 [1] | |||
Genre | Jangle pop [2] | |||
Length | 3:54 | |||
Label | HMV | |||
Songwriter(s) |
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Producer(s) | Stephen Street | |||
Morrissey singles chronology | ||||
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Music video | ||||
"Suedehead" on YouTube |
Review scores | |
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Source | Rating |
AllMusic | ![]() ![]() ![]() ![]() ![]() |
"Suedehead" is the debut solo single by English singer Morrissey, released on 15 February 1988. Co-written by Morrissey and former Smiths producer Stephen Street, the song was Morrissey's first solo release after the Smiths break-up. Morrissey was inspired lyrically by the suedehead subculture, recalling an individual from his teenage years in the context of the movement. Street, who had originally sought to contribute his musical ideas to Morrissey to use for Smiths B-sides, also contributed bass guitar, while Vini Reilly and Andrew Paresi rounded out his new solo band.
"Suedehead" was featured on Morrissey's debut album, Viva Hate , and the compilation album Bona Drag , the latter of which also featured the B-side "Hairdresser on Fire". Upon release, the song saw commercial success, reaching number five in the UK, as well as rave reviews for its Smiths-esque musicianship and the new Morrissey-Street writing team. Encouraged by the success of the single, Morrissey would continue working with Street for subsequent singles and the rest of Viva Hate.
Since its release, "Suedehead" has become one of Morrissey's most successful songs and remains critically acclaimed by modern writers.
Morrissey wrote the lyrics to "Suedehead" about a figure he knew from his teenage years, though he refused to specify the individual in an interview, commenting, "I'd rather not give any addresses and phone numbers at this stage." The song took its title from the suedehead subculture. [4] Morrissey elaborated on his feelings about the subculture in a June 1988 interview with Spin magazine:
A suedehead was an outgrown skinhead, but outgrown only in the hair sense. An outgrown skinhead who was slightly softer. Not a football hooligan. Back in '71, when youth cults were on the rampage in Manchester, there was a tremendous air of intensity and potential unpleasantness. Something interesting grabbed me about the whole thing. I don't think there were any good guys; everybody had several chips on several shoulders. There was a great velocity of hate. Everybody got their head kicked in. It's made me what I am today. [4]
It shares a title with the Richard Allen book of the same name, which similarly was set in the subculture, but Morrissey commented, "I did happen to read the book when it came out and I was quite interested in the whole Richard Allen cult. But really I just like the word 'suedehead'." The song also features the lyrics, "It was a good lay", which Morrissey jokingly commented was actually a mishearing of "It was a bootleg". [5]
"Suedehead" was Morrissey's first songwriting collaboration with former Smiths producer Stephen Street. Street, who initially believed the Smiths would reunite within a few months of breaking up, sent demos of his instrumental tracks to Morrissey as possible ideas for Smiths B-sides. [6] With a band including Street, Vini Reilly, and Andrew Paresi, Morrissey attempted the song in his first solo recording session. With regards to his bassline, Street noted, "One thing I always picked up on working with the Smiths was that Morrissey often positions himself in relation to what the bassline is doing. So when I worked on 'Suedehead' I made the bassline melodic, not just root notes." [7]
"Suedehead" was noted as a potential single early in the song's recording process. Street recalled, "I think that it was quite evident straight away that it was going to be a single. There was something about it that was really special." [8] Morrissey commented in a 1988 interview that he was worried it "would gasp in the higher 30s and disintegrate" and that he was hesitant to release it but was "carried along on a wave of general enthusiasm." [5] Street later disputed this, remembering, "Morrissey sent me a card saying, 'Don't read the interview'. I think he realised after he'd done it that he'd been a bit negative about things. The idea that he didn't want 'Suedehead' to be the single is utter rubbish, he was just as excited as anyone else about releasing it." [9] The record label's affinity for the song helped assuage concerns with Street writing the whole Viva Hate album. [9]
"Suedehead" was released by Morrissey as his debut solo single in February 1988. The single was a commercial smash in the UK, peaking at number five on the UK Singles Chart and reaching the top 10 in Ireland and New Zealand. The single charted higher than any of the singles Morrissey released while in his former band the Smiths. The commercial and critical success convinced Morrissey to continue his collaboration with Street, who recalled, "It wasn't until 'Suedehead' came out at the end of February – and got fantastic reviews across the board – that he got back in touch with me again. If 'Suedehead' had come out and been a complete failure and hadn't been a hit, I'd never have heard from him again!" [10] In addition to appearing on Viva Hate, the song appeared on Morrissey's 1990 compilation album Bona Drag .
The music video, directed by Tim Broad, features Morrissey walking through the streets of Fairmount, Indiana, [11] the hometown of actor James Dean, including shots of the school where Dean studied and the Park Cemetery, where he is buried. Other allusions to Dean in the video include a child (played by Sam Esty Rayner, Morrissey's nephew, who went on to direct the video for "Kiss Me a Lot" in 2015) delivering to Morrissey a copy of Antoine de Saint-Exupéry's The Little Prince , Dean's favourite book. [12] Morrissey characterized the video as him "messing with James Dean's soil." [4]
The artwork of the single features a photo taken by Geri Caulfield during a Smiths gig at the London Palladium. Morrissey debuted the song live at his infamous debut solo concert at Wolverhampton's Civic Hall in December 1988. [13]
Upon its release, "Suedehead" saw critical acclaim and was praised as a worthy successor to Morrissey's work in the Smiths. NME gave the single 'Single of the Week 2' saying that "his vocals hit a pitch that turns your stomach with queasy delight. It makes you feel vulnerable and provokes emotions you've forgotten about." In the 1988 NME Year in Review, the song was described as "The best No. 1 '88 never gave us". [14] Sounds said in a 1988 article, "The song was not as good as prime Smiths, but it was a beautifully reflective tune, showing that ex-Smiths co-producer Stephen Street could step into Marr's previous role as composer." [5]
In a retrospective review for AllMusic, critic Ned Raggett described it as "a memorable number, with Street's subtle orchestrations carrying the sweep of the song." [3] Stereogum ranked it as Morrissey's best solo song, writing, "Perhaps Morrissey's best-known, most loved track and with good reason: It's unimpeachably, undeniably great, and utterly ubiquitous. If nothing else, Morrissey proved to us that, fresh out of the gate as a solo artist, he was able to write one of the best Smiths songs never written by the Smiths." [15] Spin rated it his second best, writing, "The show of confidence on Morrissey’s debut solo single felt nothing less than triumphant." [16] Consequence named it his fifth best, concluding, "Though 'Suedehead' is as jangly as any number of Smiths songs, it was just Morrissey enough to mark the clear start of a new era." [17]
Country | Record label | Format | Catalogue number |
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UK | HMV | 7-inch vinyl | POP1618 |
UK | HMV | 12-inch vinyl | 12POP1618 |
UK | HMV | CD | CDPOP1618 |
UK | HMV | Cassette | TCPOP1618 |
Chart (1988) | Peak position |
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Australia (Australian Music Report) [18] [19] | 45 |
Europe (Eurochart Hot 100) [20] | 19 |
Ireland (IRMA) [21] | 2 |
Netherlands (Dutch Top 40 Tipparade) [22] | 2 |
Netherlands (Single Top 100) [23] | 30 |
New Zealand (Recorded Music NZ) [24] | 8 |
UK Singles (OCC) [25] | 5 |
West Germany (GfK) [26] | 29 |
"Suedehead (Mael Mix)" | ||||
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Single by Morrissey | ||||
Released | 21 April 2012 | |||
Length | 6:36 | |||
Label | EMI (UK) | |||
Morrissey singles chronology | ||||
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A remix of the song by American band Sparks was released for Record Store Day 2012. It is an edit of the remix originally released in 2006 on the compilation album Future Retro. [27]
10-inch (EMI 5593331)
The Smiths were an English rock band formed in Manchester in 1982, composed of Morrissey (vocals), Johnny Marr (guitar), Andy Rourke (bass) and Mike Joyce (drums). Morrissey and Marr formed the band’s songwriting partnership. The Smiths are regarded as one of the most important acts to emerge from 1980s British independent music.
Bona Drag is a compilation album by the English singer Morrissey, released on 15 October 1990 by HMV. The album features an array of Morrissey's most popular songs from his early solo career, most of which had not been released on any previous album. The album name meaning nice outfits is an example of the subculture slang Polari explored further on the album's first track "Piccadilly Palare". The album was certified Gold by the RIAA on 6 December 2000. In 2010, the album was remastered and expanded to include six bonus tracks.
Stephen Brian Street is an English record producer best known for his work with the Smiths, the Cranberries and Blur. Street collaborated with Morrissey on his debut album Viva Hate following the split of the Smiths.
Viva Hate is the debut solo studio album by English singer Morrissey. It was released on 14 March 1988 by HMV, six months after the final studio album by the Smiths, Strangeways, Here We Come (1987).
Kill Uncle is the second solo studio album by the English alternative rock singer Morrissey, released on 4 March 1991 by EMI Records and His Master's Voice. The title comes from the black comedy film Let's Kill Uncle (1966).
Maladjusted is the sixth studio album by English singer Morrissey, released on 11 August 1997 by Island Records.
Suedehead: The Best of Morrissey is a compilation album by English singer Morrissey, released on 8 September 1997. It contains material released during Morrissey's EMI period.
Andrew McGibbon is an English comedian, actor, writer, musician and composer. He has also produced and directed extensively, chiefly for radio.
"Everyday Is Like Sunday" is the third track of Morrissey's debut solo album, Viva Hate, and the second single to be released by the artist. Co-written by Morrissey and former Smiths producer Stephen Street, the song was Morrissey's second release after the Smiths break-up. Morrissey was inspired lyrically by Nevil Shute's On the Beach to lament the drudgery of a seaside town. Street, who had originally sought to contribute his musical ideas to Morrissey to use for Smiths B-sides, also contributed bass guitar, which he contends was inspired by Echo & the Bunnymen.
"The Last of the Famous International Playboys" is a 1989 song by British vocalist Morrissey.
"Interesting Drug" is a song by English singer-songwriter Morrissey, released as a non-album single on 17 April 1989. Co-written by Morrissey and former Smiths producer Stephen Street, the song was Morrissey's fourth release after the Smiths break-up. Morrissey was inspired lyrically by the drug culture in the English lower class, which he felt was being clamped down on by the power-hungry Thatcher government. These political themes were further explored in its music video. The single was the second and final Morrissey solo single to feature his former Smiths bandmates Andy Rourke, Mike Joyce, and Craig Gannon.
"Our Frank" is a song by Morrissey, released as a single in February 1991. It was the first single taken from the Kill Uncle album. It was also the first of his collaborations with Mark Nevin to be released.
"Sister I'm a Poet" is a song by Morrissey, first released as a B-side to "Everyday Is Like Sunday". The lyric and title have been interpreted as a homage to Tennessee Williams' The Glass Menagerie.
"My Love Life" is a song by Morrissey released in September 1991. It was a stand-alone single rather than taken from any studio album, although it was included on the compilation albums World of Morrissey (1995) and Suedehead: The Best of Morrissey (1997).
"We Hate It When Our Friends Become Successful" is a song by English singer-songwriter Morrissey from his third studio album, Your Arsenal (1992). It was released as the lead single from the album on 27 April 1992 by His Master's Voice (HMV). It was the first Morrissey single to be co-written with guitarist Alain Whyte and produced by glam rock guitarist Mick Ronson, known for his work with David Bowie as one of the Spiders from Mars. The song peaked at No. 17 on the UK Singles Chart and No. 9 in Ireland.
"Stop Me If You Think You've Heard This One Before" is a song by the English rock band the Smiths, written by singer Morrissey and guitarist Johnny Marr. The song was first released on the group's 1987 album Strangeways, Here We Come. Marr's music features a larger sound, courtesy of a 12-string Gibson ES-335, and one of his few guitar solos with the Smiths. Morrissey's lyrics allude to alcohol and deception.
The CD Singles '88–91' is a box set of Morrissey's first ten singles as a solo artist, from "Suedehead" (1988) to "Pregnant for the Last Time" (1991).
"Hairdresser on Fire" is a song by Morrissey, first released as a B-side to his debut solo single "Suedehead". Co-written by Morrissey and producer Stephen Street, the song features lyrics expressing Morrissey's frustration with being unable to see his hairdresser.
Very Best of Morrissey is a compilation album by Morrissey, containing material he released during the 1980s and 1990s on EMI. It was released on 25 April 2011.