Anderson had a similar outlook, saying that in contrast to the band's previous albums, which he felt "suffered at certain times from being quite obscure," he intended the forthcoming album to be "almost like a 'greatest hits'." Suede's third album, "Coming Up", was released September 1996 and was preceded by the successful lead single, "Trash" in July. The single was popular and tied with "Stay Together" as the band's highest-charting UK single, reaching number three. The album would become the band's biggest mainstream success, earning the band five straight top-10 singles and becoming a hit throughout Europe, Asia and Canada. "Coming Up" never did win an audience in America, partially because it appeared nearly a year after its initial release and partially because Suede only supported it with a three-city tour. The tour was not helped by problems in Boston, Massachusetts, in which the band's music equipment was stolen, leaving them to play remaining shows with acoustic guitars. Nevertheless, the album topped the UK chart and became the band's biggest-selling release, setting expectations high for the follow-up. With the success of the album, Suede secured top billing at the 1997 Reading Festival. Suede's next release was "Sci-Fi Lullabies", a collection of B-sides, which reached number nine on the UK Album Chart. The compilation was well-received, with disc one of two being described by critics as the band's strongest collection of songs. By the time the compilation was released in 1997, the Britpop movement was noticeably waning in popularity, and the band had decided to split with their long-time producer Ed Buller before commencing work on the follow-up to "Coming Up". Before focusing work on their next album, the band recorded a version of "Poor Little Rich Girl" for the "" in 1998. Despite being backed by their second-highest charting single, "Electricity", Suede's fourth album, "Head Music", did not evoke the critical and listener enthusiasm that previous records did, though it once again took the band to number one on the UK Albums Chart. A synthesiser-infused album that focused less on guitar riffs and more on keyboards, it was produced by Steve Osborne, who had worked with Happy Mondays and New Order. While the record was heavily promoted with some strong financial backing, and received almost widespread critical enthusiasm from the UK music press, the consensus with people close to the band was a feeling that things were not quite right.