BERNARD BUTLER

PROVING THE DOUBTERS WRONG

When Bernard Butler left Suede in late 1994, many in the industry thought he was mad and that he would struggle to be anything other than a jobbing session musician. Butler proved the doubters wrong, though, by coming back bigger and better last year with his glorious collaboration with David McAlmont, which showed how he had progressed from the foppish indie-glam of Suede. Their single Yes soared to number eight and the album, The Sound Of McAlmont And Butler, reached the Top 40.

But that short-lived, and ultimately acrimonious, collaboration is not the only thing Butler has been up to since his departure from Suede. He has been working and writing with Edwyn Collins and Aimee Mann. He has performed live alongside Sparks, Manic Street Preachers and Teenage Fanclub, and played guitar on several forthcoming releases including two tracks on Neneh Cherry's upcoming single and three songs for Eddi Reader's summer album.

He is also in demand as a producer following his brilliant co-production work with Mike Hedges on the McAlmont And Butler project. Butler's fingers will be at the controls on several of Sparks' new recordings of their greatest hits, as well as on tracks for the Tim Booth and Angelo Badalamenti project.

And, to cap it all, Butler is currently writing for his first solo project, which is expected early next year for Sony LRD. The LRD deal is a consequence of his long-term contract with Sony via Suede's deal with Nude, but Butler stresses that he is entirely satisfied with the arrangement and particularly with Sony LRD managing director Jeremy Pearce.

Meeting Butler in a West End cellar cafÈ, he is in a relaxed state of mind and keen to talk about his work, with the exception of the solo album, which is being kept "strictly under wraps". He says, "I'm refusing to talk about my solo work, because I've really just started writing it." His manager Geoff Travis says some solo recordings will be released in the next few months, adding, "We were very aware that Bernard could slip into being just another jobbing session musician, which is why we placed a time limit on his work with other artists. Everything is crystallising into one central work - his solo album."

Details are unclear about the style of the material or even if Butler will sing lead vocals for the first time. Travis says, "A lot has yet to be decided, and I'm not sure how it will fit into the current pop scheme, but I do know it will be quality." Butler is eager to dispel rumours that he's a boring muso and a difficult man to work with, as well as clearing up some misleading rock press reports. He says: "It was reported in the NME before Christmas that I'd formed a band with Tim Booth called The Bad Angels, whereas I was just helping Tim and Angelo Badalamenti out with their album, Booth And The Bad Angel. It irritates me that journalists can't pick up a phone and get their facts right."

Butler played guitar on and co-produced six tracks for the album, and also met up with another acclaimed collaborator Brian Eno.

"I was terrified when I heard Eno was coming down to do some backing vocals," he says. "I was sure he was going to scrutinise all my work and pull it to shreds, but it was all really enjoyable and his efforts inspired me to do a better job."

Butler admits he has spent most of the past two years learning and refining his craft, and his work with these diverse artists has given him a new insight into his worth. He says, "I'm not prejudiced against any kind of music as long as it's good. I could have worked with a lot of indie bands, which would have been expected of me, but there would be no progression. I know I can bring something different to people like Neneh and can also learn a lot in the process."

Edwyn Collins, is a major fan of the man and his music. He says, "When Gorgeous George came out in September 1994 and received cursory reviews, he was the first person to ring up and tell me he thought the album was brilliant. We'd never even met before then and I had no idea he was interested in my work."

Collins adds, "Some people have difficulty with him because he's not particularly malleable. He's quite a reserved character and he can come across as very dogmatic, but that's not a problem in an artist." Sony LRD's Pearce adds, "He's just a complete perfectionist and perhaps places unreasonable demands on people he works with. But that's why talented people really like working with him."

Butler's work with Cherry, Reader and Booth might make him appear to be a busy session musician, but even though his axe is for hire, Butler does not think he fits the standard session role. He says, "People generally get me in because they're unhappy with a session player's work. Neneh Cherry's next single Woman had a really macho guitar solo, which wasn't in tune with the song, so I added something hard but not quite as manly. I can only play what I think is right for a song and, luckily, other artists and producers seem to like what I do."

Butler has just completed his first full-length album production for Factory Too's Hopper. It was the first project he's been involved with where he hasn't played guitar and he enjoyed the experience. Butler says, "I really like the demo I was given and I knew I could make the band sound different and better. I brought in strings to flesh out some of the tracks, which the band loved, but I've been as inspired by them as they were by me."

Collins adds, "I see a lot of parallels between my career and his, except what he's learned in five years has taken me 15." Travis adds, "Bernard's success as a producer has given him a huge psychological boost and added another string to his bow. His experiences of working with other people will make his solo work all the more exciting."

And, while there will always be those in the industry who will shy away from the single-minded Butler, he's already proven himself to be a multi-talented artist. His solo work should be the icing on the cake.

by Leo Finlay

copyright: Miller Freeman Entertainment 1996.

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