Suede

(2/5) This is 'mid' as the kids would say (I guess?). The early-90s show "Kids in the Hall" had an opening theme song that -- musically -- sounded a lot like this. That's to say this has endearing qualities for me, but Suede's lead singer is like Oasis' dumber, younger brother and that's definitely NOT endearing. Minus the singer this could have been a low '3', but since it is 'Britpop' (now a damning label, in my eyes) AND the singer is trash, it's a '2'. Is this 'essential' you hear this before you die? Absolutely not. Another "Anglo Garbage Pile Award" recipient from Dimery and Co. I mean, they know there's a whole other world of music, right?

I absolutely love this album and band. They are, by some distance, my favourite band ever grouped in with the Britpop movement. I had largely been very sneery of the scene for a number of years, mainly down to the exploits of Oasis and Blur and my grievances with the whole "lad culture" associated with those two figureheads in particular. It took a while for me to explore the era beyond my surface dislike, and I'm glad I did as it revealed this band to me. I wasn't knocking around when this was properly making waves, but I can only imagine how this would have been just the tonic from the American grunge which was taking the world by storm at the time, and it still sounds dangerous today. It's jam-packed with swagger, oozing with glamorous theatricality and, impressively for a debut, completely unafraid to just go for it. However, it manages to balance this brashness with a shattering melancholy and sense of dread to carve out a truly unique mood and atmosphere, which is sustained to a relentlessly high standard. I could go on, but there are so many glowing aspects of this album and of Suede's 90s sound. Bernard Butler's style, whilst invoking the melodic jangle of Johnny Marr and glam of Mick Ronson, is fantastic and enduring. You then have Brett Anderson who is easily my favourite Britpop frontman, howling and crooning tales of council estate romance, drug-taking escapism and of wrestling with his sexual identity, providing an interesting and deeply personal layer to the music. Vocally, David Bowie and Morrissey are probably the obvious reference points for Anderson where his voice cracks and soars with a desperate intensity to elevate the humdrum of everyday British life into something genuinely tragic sounding. I'll be seeing them in an arena in a few weeks. I know they've largely been playing newer material lately but I hope to hear a few oldies.

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I’m not the biggest fan of Britpop. All the songs sounded the same. It was okay background music for my commute into the city.

If Oasis hadn’t swaggered to the front of the queue in their over-sized parkas, the leaders of the britpop vanguard would have been Blur, Pulp and Suede, and the next 30 years of British music would’ve been far more interesting. No offence to my fellow Mancunians. First time listening to this album in its entirety, and it isn’t perfect, but it’s full of ideas, glamour and soaring guitars.

I have a hard time putting it into words, but I quite enjoyed this album. Absolutely never even heard of the band before this.

Here they come the beautiful ones

wasn’t expecting to enjoy this, but i really did. not a massive fan on the vocals but other than that it was incredible

I get why some people like it, I'm just not 'some people'.

Ugh

WHY THIS they have more better stuff So Young→10/10 Animal Nitrate→10/10 She's Not Dead→8/10 Moving→10/10 Pantomime Horse→8/10 The Drowners→9/10 Sleeping Pills→7/10 Breakdown→7/10 Metal Mickey→10/10 Animal Lover→10/10 The Next Life→8/10 best→ Animal Nitrate worst→ Breakdown overrated→ The Drowners underrated→ Animal Lover overall→76/100 MAYBE HEAR As a debut album, I think it’s very easy to listen to and quite good, but I don’t think it’s aged well. Plus, the middle part was just boring. Still I really like the atmosphere of the first and last parts btw. They have a raw edge mixed in with the pop sound.

Not great, actually not good.

Previously unaware of this band's existence, I was surprised to hear them lumped in with the likes of Blur and Oasis in the Britpop scene (two bands that I'm pretty familiar with and appreciate), so my interest was piqued. I was thus immediately crestfallen to hear Brett Anderson's vocals, a voice that several tracks into the album still refused to grow on me. The music and composition is there, and I could tell that the comparisons were very warranted, but (while not as astonishingly bad as the singer for Wild Beasts) even repeated listening didn't help me acquire much of a taste for his vocal stylings. What could easily have climbed to a three or even four stalled out at a 2.5/5 that I'm unwilling to round up.

254. Suede - Suede (1993) 11.3.26 Variety: 4 Adequacy: 5 Listenability: 5 Uniqueness: 3 Emotionality: 4 = 4.2 rounded down to a 4 "See you in your next life/ When we'll fly away for good/ Stars in our own car/ We can drive away from here" We come to another one of the sizeable holes in my music knowledge. With as much as I've read about the band and their supposed influence on the Britpop scene, I find it a bit curious that I've never (knowingly) heard a single track by them. That said, Britpop in general I'm probably not as up on as I might otherwise be. I've heard comparatively little Pulp, Blur, or even Oasis, despite knowing all their hits, and a couple of albums from each well enough. I think it didn't necessarily make nearly as big a splash stateside as people like to think, and maybe really only influenced any American bands WAY too long after for it to have stuck in the culture over here as being considered all that influential. If anything, people tend to talk about the stuff that influenced Britop in the first place more so than the influence Britpop actually had. Which is fine. The Kinks are quite possibly my favorite band of all time, so it's a good pedigree. I also know these guys are supposed to have been heavily influenced by Bowie as well. Possibly my favorite singles artist of all time. So without a clue, I'll hope for the best and see if they live up to the hype. THE TRACKS "So Young" - Alright. I can dig this. We got some very heavily accented Bowie-inspired yelpy singing that dips into a nice falsetto occasionally. It's a little bit catchy, and full of a lot of 60's inspired guitar tones and I can immediately see why these guys got the neo-glam label plastered on them. The piano was an interesting touch, and while I can very much hear a lot that they had in common with some of the other Britpop acts, they really lean into the spacey vibes that some of the others tended to avoid. If Oasis were modeling themselves after the Beatles and Lennon solo stuff, and Blur were taking cues from the Kinks, Suede is a bit more late 60s and early 70s. A lot of these Britop acts were not drawing completely from the 60s though, and worked in a lot of post-punk influences and textures, and I can also see the melodic and dramatic guitar lines having some of that Smiths and Cure flavor. This was cool. Though I think they came up at the same time and were probably drawing on similar influences, there's a bit of overlap as well with early Radiohead, especially in Bret Anderson's vocals, and Bernard Butler's guitar tone when it's more clear. "Animal Nitrate" - This one felt even more like a direct line to Hunky Dory/ Ziggy era Bowie, with those crunchy fuzzy guitar lines moving up and down and all around those very nice melodic lines. I listened to this album once all the way through on the way to drop my kid off at school, and as usual with these, I asked him if he could pin down the decade. 70s was his first guess, after hearing the first two, and I can easily see why he thought that. As good as that first track was this was a clear step up with a much more memorable chorus. They are certainly wearing the influences on their sleeves. On this second go round, watching some of the music videos I can see that big Smiths influence on Anderson's look in particular on this one, dressed all in black with his shirt half unbuttoned. Though Mr. Morrissey would not approve of the leather look I'm guessing. This stuck in my head a lot more this time. "She's Not Dead" - On this third track Anderson really leans into the falsetto, and there's an almost hazy, lazy swirling neo-psychedelia going on that made me think even more of Radiohead with the combo of acoustic and electric guitars. Despite feeling chill and a bit lethargic in tone and delivery, there really seems to be some sort of divergent evolution of the whole space rock sound that's represented here and in some Radiohead stuff. These guys don't seem nearly as concerned with effects and are a bit brighter. So I think Anderson sort of comes across like if Thom Yorke got on some really food SSRI's. "Moving" - The energy levels jump up several degrees for this one, with it's pounding drums, driving pace and Butler's Johnny Marr-esque guitar acrobatics that then floats up into space and becomes slow motion interstellar journey in the chorus. In general sound there's a little bit of overlap ( likely entirely coincidental - though they were also heavily influenced by 60s British invasion bands) with the Smithereen's sound on those verses. Dang, another one for the highlights I guess. "Pantomime Horse"- The Radiohead comparisons keep springing to mind the further down this rabbit hole I get. This one hits a similar part of my brain, but feels warmer and less antiseptic to me. Don't get me wrong, I love that about Radiohead. This is just like the flipside of the same spacey, lush and emotive coin. The instrumental section around 2:45 was spectacular and soaring in a way that a lot of great bands just can't pull off, the Cure and the Smiths being two of the better ones at this particular trick, and I can also recognize some overlap with Spacehog on this one as well. "The Drowners" - A much more straight ahead full on glam rocker, emphasis on the rock, and felt like a lot more T.Rex DNA in the mix this time. Especially on that chorus, which sounds so much more filled out and lush with a pair of headphones on than through my tinny phone speaker that was shoved into the cupholder of my car. I might need to reconsider my listening setup for these things I'm not as familiar with. "Sleeping Pills" - Some keyboards on this one inject some variety into the overall guitar heavy vibes, though there's no lack of those on here either. There's more reverb on the vocals and it gets alternately sweeping and intense and with the scratchy guitar parts and the soaring chorus make it sound like the yin to "Creep" by Radiohead's yang. I also thought in my initial listen that he was singing "You're a water slide/ I'm an air slide" and I was like what the fuck is an air slide? Like a regular slide? Not that it made it any less enjoyable, but water sign/ air sign makes s bit more sense. "Breakdown" - This is maybe the most straightforwardly simple and generic song on the album, and feels like they stole the instrumentation from some lesser Mazzy Star deep cut. It's not awful, but it's kind of boring and lacks any of the dynamic range of previous tracks. It tries to build something with the instrumental break, but it's too little too late and the attempt at epicness does not feel earned. The electric piano bits and the feedback outro were nice though. We'll call this a rest spot, and see if they can land this plane with the next few. "Metal Mickey" - This one was a lot of fun and possibly the catchiest track on the album, sounding for all the world like a cover of some lost minor hit from 1967 by some band you only half remember existing. The original would have been played much faster though, and these guys are really sitting in the sort of amusingly, winky tone. The original lyric of this imaginary song was probably "She's so tart/ she's so sweet" or something along those line. Lovely stuff. "Animal Lover" - The guitars on this one were ringing and the vocals were deeper and more intense, and this felt more like the Stone Roses than the Smiths to me, though some of Morrisey's intonations could be felt. The instrumentation in the chorus especially felt like it was drawing heavily on some of the jangle pop revival bands, and the electric guitar tone and tambourine combo lifted some vibes right out of "Gimme Shelter"-era Rolling Stones. "The Next Life" - More Radiohead vibes here though, with the sparse, and spacey, echoey piano balladry and Anderson's falsetto coming in full. This one was a bit uplifting and warm though, and felt like a nice sweet way to end things. Very pretty and HIGHLIGHTS - "So Young" - "Animal Nitrate" - "She's Not Dead" - "Moving" - "Pantomime Horse" - "The Drowners" - "Sleeping Pills" - "Metal Mickey" - "Animal Lover" - "The Next Life" MIDLIGHTS - "Breakdown" LOWLIGHTS - FINAL THOUGHTS On the first listen through of this it was pretty darn good, but none of it felt especially sticky, and I wasn't able to recall any of the melodies. That's not unusual as I've had plenty of albums grown on my in the past with repeated listens. I guess that's almost a form of self-brainwashing? So I was all ready to give this a very respectable mid 3, rounded down. Entertaining while listening but in one ear and out the other. This second listen through though... I did find a lot of it sticking, and I wanted to keep going back to the well. I was a day behind when I started this and was moving on to a first listen of Bob Dylan's Blonde on Blonde and had to stop several times to go back to this, and eventually stopped that altogether ( sorry Bob, I still like you very much) and give this a third. It's very solidly in 4 territory for me after all that, and has me looking forward to their next one, which by all accounts is supposed to be the better effort. I try my best not to peek ahead, so I'll save it for later. One interesting fact that I read was that Justine Frischmann was a founding member of the group, but left to found Elastica by the time this one came out, and even inspired quite a bit of the lyrics on this. That's another one I'm very much looking forward to. I'm glad I gave this one a second chance, even though I think it has put me even further behind schedule, and now I have a full on classic of an album that I'll likely be tempted to write a novel about. On top of it being a double album! So yeah, too bad I never got into Suede previously, but maybe my tastes needed seasoning. If I had heard this back in the mid 90s, I might not have been as impressed. Possible turn-Offs might include: - some very dramatic vocals with a in your face London accent in case you forget where these lads are from - lots of spacey noisiness and heavier on hook than melodies, though they are there - a very thin sounding record without the benefit of decent headphones, though ymmv given your age and the state of your hearing You Might enjoy this if you: - dig those glammy, spaced out sounds of the 70s but wish they could be remastered using state of the art 90s production techniques - enjoy 80s guitar centric band like the Cure and the Smiths - are looking for something halfway between Radiohead and Spacehog PLAYLIST ALTERATIONS - I'm good. FURTHER LISTENING Precursors: - The Slider by T. Rex - Slayed? by Slade - by Roxy Music - The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie - This Nation's Saving Grace by the Fall - Actually by Pet Shop Boys - Disintegration by the Cure - The Queen Is Dead by the Smiths - Hounds of Love by Kate Bush Contemporaries: - Love and Other Demons by Strangelove - Pablo Honey by Radiohead - Resident Alien by Spacehog - New Wave by The Auteurs - Junk Puppets by An Emotional Fish - Spilt Milk by Jellyfish - Gold Against the Soul by Manic Street Preachers - Giant Steps by The Boo Radleys Descendants: - His 'n' Hers by Pulp - Elastica by Elastica - Placebo by Placebo - Garbage by Garbage - by Coldplay - Someone to Drive You Home by The Long Blondes - Hesitant Alien by Gerard Way - Drowners by Drowners

A new listen for me. Early '90s, early Britpop. This is about as approachable as I've found British glam rock. I'd never heard of these guys, but given their place in time one cannot be surprised to see them as products of Bowie and Smiths influence. Two acts I'm learning more about as we progress through this 1001 album project. There would be moments when this album far exceeded my expectations, but it never seemed to be able to sustain whatever unnameable quality I enjoyed. Reading about how the band split makes me think they couldn't sustain it either. 3/5

More shared DNA with The Streets and The Cure, than Britpop contemporaries. Felt a bit over produced in places, especially Moving. Vocally a bit all over the shop. Overall pretty decent.

Pretty good

Not bad

This album grew on me so quickly and immediately that I can actually completely overlook the singer and his voice. My main takeaway from this album is that the guitar playing is phenomenal in places. I added 3 songs from this album to my frequent rotation playlist. But I just don’t love the singer. He irritates me so badly that I have to take a full star off. Without him, this album is a 4, but with him it’s a 3. Luckily, I am able to drown him out easily and focus on the killer riffs. Favorite songs on this one were “Animal Lover”, “Pantomime Horse”, and my favorite song on the album, “Moving”. For a singer with a voice I don’t like, the baseline for an album starts at 2. It’s rare, but this one just doesn’t do it for me. It’s also exceptionally rare that I can look past the voice so much to the extent that I considered giving this one a 4 star rating. Also interesting to note is that this band apparently wasn’t allowed to call themselves Suede here in the United States, so they’ve got 2 separate pages on Spotify. One called Suede, and then the North American version, The London Suede. Don’t think I’ve experienced a band having to change its name like that before, but it was worth mentioning. Anyway, the riffs and vibes on this album are amazing. At 55 minutes long it pushes it a little bit but not too much. It gives you plenty to love and perhaps even leaves me wanting a bit more. A surprisingly great album to be sure. It’s a very high 3 out of 5. Any gripes I have with the singer and his voice are drowned out by the crazy good guitar playing. Also completely unrelated to anything on the album whatsoever, but the Midterm Elections were today with a historic outcome heavily in favor of the Democratic Party. So this album is going to be on my mind for a little while, forever associated with politics. Think of that what you will. I’ve never heard of Suede before, but they’re notable enough to warrant having 2 albums on here. This was my first of the 2, and my first impressions are pretty good. I look forward to the next one, whenever that may be.

This is so mid I can't recall a single song. And I listened to it twice. I remember the cover of this album being "controversial" because the people had no defined gender.

One of the granddaddies of what the press would soon insist on calling Britpop (although I have no idea why). And it was a pretty strong firstborn.

Unfairly lumped in with Britpop at the time, Suede reinvented 70s glam for the 90s, and with this debut they arrived with a bang. While criticisms that its derivative are somewhat fair, they execute so damn well that its hard to care.

definitely better than blur 8/10 best song - pantomime horse

Yet another unnecessary mid-album.

Competent, not outstanding

Pitkä albumi, jolla biisit todella toistensa kaltaisia. En todellakaan ole tämän tyyppisen brittipopin ystävä. Meni rentoutuessa sängyllä unta odotellessa kuulokkeilla. 2/5

too long

pretty boring 2.5 rounding up

Don't get me wrong, I like Suede - I think they have some really good songs - but after 4 or 5 songs, I just can't stand this guy's voice anymore! Man, even my ears are bleeding :-(

They probably over stretched themselves trying to emulate The Smiths and other 80s heroes in putting some of their best songs out as b-sides. There are unfortunately a few filler tracks on here but still some good stuff too. I bought into the hype but was slightly disappointed by the album at the time in my early 20s and wondering if I was just cosplaying my teenage Smiths fan self but getting excited by them. From this distance I can drop all that baggage.

3.5* It's a little unfortunate that "Animal Nitrate" being the 2nd track fully blows this album's load within the first 10 minutes (yes, I meant how that would sound) since nothing else beyond that even comes close to that song. If this was like, half the run-time, would likely be a full 4! BUT, nevertheless, an underrated vibe within the wider Britpop context!

I had another Suede album less than a week ago. Pretty crazy that out of 1000ish albums I got one artist's 2 albums practically back-to-back. I like this one even better than the other one I listened to which I guess follows with the ratings because this one is 0.09 points more popular.

Fine guitaristic brit pop one of the seminal albums of the 90s

It's fine. Not essential listening.

british I keep seeing that this is like a lesser Bowie but I don't get that same phony-ass fake deep using shocking iconography to hide how shallow he is creep vibe off this? this is solidly only ok and sometimes kind of grating and I'd still listen to it ten times before I'd listen to Ziggy Stardust again. We still aren't in properly good britpop or associated alt rock territory yet (I'm excited to finally get to the Manics) but this is fine. not something I needed to hear before I die but it's fine.

It's ok

Pretty nice britpop

Synes deres nyere album festet seg mer

Sounds a little Bowie-y. A bit flat though.

There's some fun stuff going on here and as others mention your mileage will probably vary depending on how much you like Bowie and the Smiths as well as how much you think you're ripping them off. Kind of feels like if David Bowie decided to do a stadium tour, which I enjoyed.

Surprised me. Despite being late to its own game and not doing anything specifically unique, it still manages to sound fresh and interesting

Bowie copycats, both musically and the way they appropriated his androgynous sexuality. Nothing original about it, but they did it very well. Far from being the finest album of the period, but it was extremely popular with young people who hadn't experienced glam the first time around. For daydreaming boys who liked wearing makeup and wanted to play with their sister's Barbies, and for girls who climbed trees and wanted to kiss other girls but were too shy to ask.

Can’t get into Suede,

Bueno

Every day 1001 teaches me a new way to be bad at singing The music itself is far from bad; there’s actually some pretty nice guitar parts and it’s decently executed. Not super polished but in an indie way it works out Vocals are not great, I really don’t like the guys voice and the way he sings. He somehow finds a way to be both annoying and boring which I honestly thought would be hard. The variety’s pretty awful in this one, and just overall I don’t think there’s any songs I’d label good It’s on the higher end of 2s but there were very few moments in this one I genuinely enjoyed and it’s just got very few high points. Just feels like another one of those albums that’s on here because it was popular in Britain at the time

Just alright. Starts strong but tapers off. There's too much sound layered on and it all begins to sound even and tiring. They could've used a fast rocker or a slower ballad, but in the end it's all the same tempo.

I would have thought Suede would have needed some time to really cook up their sound, but contrary to my own thoughts they came right out of the kitchen hot and steamy. I think if you want to make a lasting impact on Britpop as a whole you need the wimpiest and whiniest vocalist you can find and lyrics that can make you overlook the very pathetic singing to really stare into the ceiling in a deep reflection. Of course since this is a debut album it does feel a bit rockier than usual, but again thanks to this band being a lot tighter out of the rip than usual they manage to make it all work regardless. Suede's debut is a very unapologetically British album, and if you can stomach that then I don't see why you wouldn't like this album. It is a perfect showcase of what Britpop was in the early 90s before Oasis came along and changed the game

Out of the near 500 records I’ve been handed on this project, I’m not kidding when I say about half of them are milquetoast britpop. And here’s yet another one. This was a genre that I wasn’t bothered by until I started listening to 1001 British Records You Could Probably Actually Live Without. But at this point, I’m over the whole genre. Even if this isn’t the worst example, I’m just gonna buzz through it and move on with my day. 6/10

I was not thrilled when I saw that this was today's album, but I thought "You know what? It's Friday - I'm going to try to go into this with an open mind and make the best of it!" And then... Listened to first track and was pleasantly surprised! Then work interrupted and I paused for about two hours.... The second track sounds like Rush, especially the Geddyish vocals. Track 3 ("She's Not Dead") sounds a little more like what I was expecting, but still not bad. Track 4 ("Moving") opens like a Britpop "You Could Be Mine." And so on and so forth. Glad I kept an open mind, because this wasn't terrible. If Britpop had stayed like THIS, I would have disliked a lot of it a lot less. Which is to say, I dare say I kind of liked this. Favorite track was "The Drowners."

304. ok

I am not too fond of the lead singer's style, but I like the songs generally.

I can't say I remember any of these songs 24 hours later, but I generally enjoyed them along the way.

Not enjoyable plus 1 star deduction for starting the Britpop movement / genre

3/10 - I can't remember anything from this album, very generic

This ticks all my boxes. Sad, banging, a bit Smiths without being the Smiths. I can hear a lot of bands I love in the track list.

This album does just enough to keep me interested most of the way through with cool licks from the guitar and very nice drums as well. I don’t how to feel about the singers voice on the one hand I don’t mind whiny vocals but it can be a little much. Overall I think I enjoyed my listen. Fav tracks: Animal nitrate, She’s not dead, Pantomime horse, breakdown, animal lovers, and The next life

3.5, great debut

I did expect this to almost be a contender for a five star album. But WOW, this was amazing. Never heard Brit-pop before so I don't have a reference. This was one of the first Brit-pop albums to ever come out. At a time where everything was about being tough and strong, this went against the standard at the time. This album was so cinematic and emotional and epic. You can hear in that love and sadness in the beautiful vocals. The guitar and song-writing is epic and suspenseful. The album has all great songs with no filler ones, not to mention that the album is perfect length. All of the songs were just the perfect amount different with the flow of the songs. I cried almost three times during the album. That being said, no large bands list them as an influence, even if they did help popularize Brit-pop. Highlights: All the Songs 9.5/10

Liked the more rocking uptempo stuff, but their resemblance to the Smiths and opaque metaphors left me annoyed more than anything. Like Dog Man Star, overwrought and trying to be something it’s not.

Never heard of them before. Their debut album, very big UK seller started the trend Britpop. Doesn't sound very poppy to me. Alt-rock whatever that is-maybe. I like their quieter songs like She's Not Dead. Generally liked the album, worth exploring further.

enjoyable and chill

Pretty good stuff!

Every time I get frustrated about an album not being available on YouTube Music I think about that Louis CK monologue about wifi on airplanes. The world I live in is incredible. The fact that I was so easily able to listen to this album is incredible. If I took an expansive enough view, as espoused by Louis, this album is also probably incredible. However I am comparing it to the greatest albums of all time. In that context I suppose it is okay.

Lots of Bowie worship here, which is cool, but I could just listen to Bowie. I do like this one better than Dog Man Star. There seems to be a few more upbeat and fuzzed out tunes on this one, which are much more fun to listen to than the melancholic ballads found on both albums. It just isn't something that, as a whole, I have any passion for or anything against for that matter.

Good stuff but I wasn’t blown away by anything

Another Britpop album from the 90s? Who would have guessed!! Even granting Suede's influence in opening doors for groups that would follow, it's tough to justify them having TWO albums on a list of 1001 I must hear before I die. Since this is the earlier effort, I'd grant it a place. I want to say it sounds quite a bit like a sleepier version of The Smiths, but if you're into Britpop, you no doubt already know that. And if you're not, such a comparison can't really matter.

Just magnificent

Fantastic debut album from Suede and one that's still enjoyable and fresh today pver 30 years later. So Young and Animal Nitrate get the album off to a great start and the other singles Metal Mickey and the Drowners are excellent too, but they are more than just a singles band, as the album as a whole hangs together really well, with some good lower tempo songs in there too. Hints of the Smiths and David Bowie and maybe a bit of David Byrne/Talking Heads. 5 stars.

Really very good. 3.5

I really like London suede. They sound like they were from the same milieu as Radiohead but at the end of the day it’s a good album, but not great and would never want to own it on vinyl.

Don’t hate it but Sorry got to be one of those that say why? why more Brit rock from early 90s? why more of the same bands? why not go for more variety, I know if each of us did this list it would be focused on our own preferences but in a published book you maybe should be more objective when you have such a grand title. Anyway I know this album vaguely and there are some ok bits for me, but anyone who wants to spread themselves at the alter of Morrissey can well?! for me no thank you. More whiny vocals, just a little spreed up, just not a fan of that kind of vocal sound. Musically it’s ok in a competent way, and without the vocalist being such a lame aspect probably no definitely would like it more. Bowie comparisons, get that shit out of here. It’s not terrible but it’s just a style that I can’t really listen to without prejudice 2 Star

The boomer AOR version of britpop. Every song has the pacing of a funeral dirge. The singer sounds totally disinterested. Snoozefest. I'd probably really like this if I hated myself. Rating: 2/10

I listened to this album twice and have no memory of either time...an instantly forgettable album.

3,4 Highlights: Pantomime Horse, The Drowners

So bored. I’ll never come back to this.

Went into it not expecting much came out of it feeling the same. I will say there were a couple songs that I kind of enjoyed, but I don’t remember their names and I’m probably not gonna go back and listen to them again. Better than average though.

When I first started listening, I was like oh yeah, this is actually something new but then I got farther in and forgot that I was listening to music and it turned into just nothing. However, it wasn’t that bad so I won’t give it to. I must say I’m not going to be listening to whatever it again probably and I probably forget it.

Reheating smiths nachos

The guitar was good but not much else was. I just lost interest about halfway through.

*listened before the project* Coldly elegant, otherworldly, narcissistic, and supercilious.

I like this one quite a bit more than their other record on here. Like The Smiths with a little U2 in there as well. It still gets into that musical theater territory at the end though.

Decent.

Never had much time for Suede in the 90’s but after their first breakup discovered Brett Anderson’s solo album’s which I really liked. This caused me to look at Suede again. I bought this album and the Dog Man Star one only in recent years. Glad to have them in my collection but still think the best thing about them both is Brett’s singing. 3/5 19/9/26

Better than expected when I saw "brit pop." Enjoyabke listen but could have knocked a few songs off the run time.

Only knew a couple of these but really enjoyed the album overall after 2 listens through today. The guitar work is excellent. Solid.

Not as good as their follow up which had a lot of memorable and catchy tunes, but still gets a 4. Influential to some of the better Brit pop. Will be watching them live in about 2 months time supporting Manic Street Preachers and it'll be epic.

90s indie kids like me would tell you that Suede, despite being one of the triggers for Britpop ("Yanks Go Home!" and all that) existed outside it all - perfumed poets in a council flat wryly observing the normy coked-up hooligans selling out Knebworth and sighing through a sexy valium haze. But listening to this record now I'm struck by how much it sounds like mainstream Britpop after all: the handclaps in the Animal Nitrate outro are pure Blur; Bernard Butler's baroque guitar arrangements could be on Be Here Now; some of the mockney turns of phrase ("lavvely little naaahmber") is pure Jamie Oliver; that ridiculous "sweet FA to do today" section in Sleeping Pills could be Menswear. They even kept their best songs as B-sides - how on earth wasn't "My Insatiable One" on this album? Happily, the first three singles (in particular The Drowners and Metal Mickey) still sound fantastic, and of course the ballads are better than anything Oasis could muster - "Pantomime Horse" sounding especially radiant today. They were Britpop, but just a glamorous and androgynous take on that sound. There's too much that annoys me about it - and of course Catherine Dobson was right when she said Bowie had already done it all - so it's not quite five stars. But it's close.

Fine album but no idea why it is on this list. It's an average album of the 90s. Nice and ok and you can like it or not but what is the reason why it is one of the 1001 albums you need to hear before you die? I assume nobody knows that.

It was fine, I skipped one of the songs

This is comfort music for me, luvely british pop music with some personality.

Meh. I think The Wonder Stuff did it better.

Weak, unremarkable album with a whiny singer. Just like any Britrock album in that regard. 2/5

It can’t be understated the hype around Suede in 1993. I didn’t care much for them back then and while this album has a handful of good tracks, it’s all so overblown and pompous. 4 great singles and a bunch of filler.

I saw a Suede video on 120 minutes back in the 90's and didn't like it. It was the video for the song "The Drowners" and I distinctly remember thinking to myself, what the fuck is this, and that singer has the most punchable face I've ever seen. Seriously. Go watch that video. Anyway, it's a shame I had such a bad first impression, and I thought maybe I could give this another shot today, but it gave me bad feelings. Some of the songs sound like Temu Bowie.

Not bad. It surprised me. The cover gave me different expectations. It reminded me of The Smiths, Oasis, The Cure. That kind of 80s rock, a bit popular sometimes, but unequivocally full of powerful guitars. Quite interesting. 3,5/5.

3,1/5

Almost certainly one I won't revisit, but it was ok

Vocals are very Johnny Rotten. The music is very 90s. It sounds like the vocalist wants to be Johnny Rotten. And there is only one Johnny Rotten. However I’m on track 7 and he does sing much better. 🤣

Classic regular conventional Europe

67