Music critic Pete Paphides tells the story behind three 'follow-up' albums - from Dexys Midnight Runners, Fleetwood Mac and Suede - with tales of musical pressure, creative differences, personal politics and mixed results.

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How many bands have found themselves with a massive and often unexpected hit album, only to struggle with the creation of their next opus? Sometimes the follow-up exceeds the first album, but often nerves kick in and bands are removed from the very stimulus that created their magic in the first place, finding themselves in a world of creative confusion, sycophants and accountants. Pete Paphides talks to musicians, producers, and critics to explore the stories of follow-up albums with the same expert knowledge he brought to Lost Albums.

Programme 1: Dexys Midnight Runners - Don't Stand Me Down.

Kevin Rowland and Helen O'Hara give rare interviews about a pivotal time in Dexys Midnight Runners' history. Having been the best selling UK band of 1982 with their massive hit single Come On Eileen and the hugely popular album Too-Rye-ay, Dexys took some time to consider what to do next. Don't Stand Me Down was brave and different to Too-Rye-Ay. Rowland had a clear vision and went to great lengths to record and mix it to his own specifications. His interest in his Irish roots and Irish politics was one of the themes of the record. Misunderstood in its day, it received poor reviews but has since gone on to receive critical acclaim.

Programme 2: Fleetwood Mac - Tusk

How do you follow a record that sells 21 million copies worldwide and spends over 30 weeks at number one in the US album chart? The answer is Tusk - the album Fleetwood Mac recorded in the wake of 1976's Rumours. Despite joining the band just three years previously, this was the record that saw Lindsey Buckingham impose his will on Fleetwood Mac using the studio as a crucible in which he shovelled intra-band infidelities and his new-found love of punk. In 1979 it was deemed a failure, nicknamed "Lindsey's folly" from industry insiders. After 35 years, it has been reappraised as their boldest, most forward-looking release, "a peerless piece of pop art", influencing Radiohead and REM.

Programme 3: Suede - Dog Man Star

In 1991, Suede was named "the best new band in Britain", with a string of hit singles and a universally acclaimed debut album, 'Suede'. Flamboyant singer Brett Anderson and incendiary guitarist Bernard Butler became feted as song-writers. David Bowie was amongst their fans. The scrutiny that followed took its toll on their relationship. Determined to write a dissolute conceptual masterpiece, Anderson exiled himself in a gothic pile in North London while Butler questioned the paraphernalia that came with pop stardom. Bereavement and clashes over the album's producer heightened the tension and, with just one part to complete on the album, Butler walked out for good. Suddenly, having blazed the trail for Britpop, they returned with an album deemed out of step with its sunny positivism. But almost two decades on, Suede's second album Dog Man Star reappeared to a plethora of 5 star reviews.

Prachtig hé die BBC programma's! Met liefde worden ze gemaakt.

Dank Vincent.

Juul

Gemaakt met liefde en kennis. Om juist deze albums eruit te pikken, moet je ook echt wat weten over de popgeschiedenis en de maatschappelijke geschiedenis.

Dank voor het doorgeven!

Edwin