If world power was delineated not according to wealth or fame but by musical output, Suede would be emperors. At least most of the time. This exclusive fan club release showcases eight live and acoustic songs from the Coming Up through Head Music eras and — well, to be upfront about this — its shifts between descending intimacy to euphoric hedonism are only about one inch short of astonishing. The lilt of "Since You Went Away" or the ten-hooked dance culture celebration of "Beautiful Ones" sound as potent as any band on the rise. Better, Brett Anderson's voice resonates almost as strong as in those tortuous Dog Man Star years while Richard Oakes — free from the rhythmic feedback of his studio performances — plays an acoustic guitar with the sober grace of someone, frankly, twice his age. Phwoar. This is the kind of music that makes you want to follow the band down the streets of London just to randomly shove money into their pockets. Seductive, brutal, and elegant — Suede is so beautiful they could stop world wars.

Musically offering a look back at the heady days of Bowie and glam, as well as a prescient glimpse of the coming Brit-pop revolution, Suede (billed in the United States as The London Suede) was one of the most talked-about British rock bands of the late '80s, and this home- video collection brings together all of their music videos in one package. Suede: Lost in TV includes two versions of "The Drowners" (the original British clip and another video produced for the American market) and two versions of "Can't Get Enough" (one was created for broadcast in Australia), along with "Animal Nitrate," "We Are the Pigs," "New Generation," "Beautiful Ones," "Filmstar," and many more. ~ Mark Deming, All Movie Guide

12 track Suede Fanclub Rarities CD
Limited Edition of 2000 copies

这同样也是张冠军专辑，让人惊叹于Suede的魔力，不过你会意识到在合成器大师Steve Osbourne的指导下，这张专辑真的有些不一样了。安德森学会了如何控制合成器，并在它的带领下创作旋律，而主音吉他手Richard Oakes也不得不放下心爱的吉他打起了太极。
这张专辑的灵感来源主要来自于在英国兴起的吹泡运动，而药味十足的Tricky则成了主创的新宠。

When Bernard Butler left the band all those many years ago, few would have guessed that with him left the dangerous, romantic noir vibe that fueled Suede's first two albums. After all, Brett Anderson was supposed to be the Byronic prince of darkness, and without Butler around, it only made sense that he would indulge his taste for the theatrical. It didn't turn out that way, of course. The band hired young Richard Oakes and refashioned themselves as a glammy, fizzy guitar pop band whose elegantly wasted ballads were tales of love found, not love lost. Suede's fifth album, A New Morning, confirms that this band isn't about to release another Dog Man Star anytime soon, or even turn out a "Whipsnade," since they're now all about "Positivity," as the opening track and lead single crisply announces. Once that disappointment fades -- Suede did tragic romantic better than anybody, and it's hard not to wish they still did it -- it's easy to appreciate A New Morning as another solid, succinct collection of tuneful, stylish modern-day glam pop, nearly the equal of Coming Up, whose blueprint this follows to a tee. Song for song, it's better and more consistent than Head Music -- whose dabbling in vague electronic now seems mildly dated and whose songwriting seems slight -- thanks partially to Stephen Street's focused, flattering production, but also due to a sharp set of songs, highlighted not just by "Positivity," "Lost in TV," "When the Rain Falls" (where the piano sounds lifted from a Vince Guaraldi Peanuts special), and "Lonely Girls," but a triptych of songs that inexplicably borrow their titles from classic rock songs ("Beautiful Loser," "Street Life," "One Hit to the Body"). Plus, there's no denying that Suede does this music better than anybody else (and they sound both loose and muscular here), and that Anderson's voice is aging marvelously, sounding quite fetching with a slight hint of booze and tobacco wear. So, A New Morning isn't a new beginning, nor does it take many risks, but it does find Suede in top form with good songs and an appealing record. You might wish that it was a little more than that, but you'll be satisfied by what it is.

时代总需要一些东西好让自己铭记.Coming Up正是这样一张专辑.所有人都看到Suede的成功和一炮而红,所有人都看到Dog Man Star的深邃和内涵,所有人都知道下一张专辑他们会有多么大的压力.人员变动之后Suede献上不同以往的流行化的专辑.不得不说这一张专辑是自信的,就旋律来说大气了不少.美妙的吉他曲是这盘专辑的亮点.每一首歌都是不可多得的精品.值得一提的是这盘专辑半数以上的曲目都被用来作单曲,由此可见专辑的质量以及Suede的进步.

Import pressing of their sophomore album titled under their original name, Suede, as opposed to the US version, The London Suede. The latter of which is long out-of-print. Sony.

Suede is the debut album by English alternative rock band Suede, released in March 1993 on Nude Records. At the time the fastest-selling debut album in British history, Suede debuted at the top of the UK Album Chart, won the 1993 Mercury Music Prize, and is often credited with starting the Britpop movement. The sound of the album has been compared to The Smiths and the early David Bowie era.