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Albums
(1993) - Suede
"Suede played intellectual high jinks with this, their debut album, employing provocative lyrics, a weighty, unknowing sexuality and the pointed angst of troubled teenagers the world over. The clever lure of their androgynous artwork combined tellingly with Brett Anderson's teasing flamboyance and dedicated (some might say studied) David Bowie air. However, they would have remained a one trick pony were it not for their stirring ability to put together some unashamedly great singles and adapt a host of subtle mood swings and arrangements that took Anderson's vocals to soaring new heights. Another bedsitter classic for indie lovers." - Review by Colin Larkin for his book 'Virgin All Time Top 1000 Albums'.
"'So Young' is as definitive as debut album opening salvoes get, sliding rapidly into gear along one of many diamond hard Bernard Butler buzz-heavy guitar lines to come, and with Anderson imploring his charges - "Let's chase the dragon, oh!" In a neat piano interlude that confirms the band's widening textural palate, he confides that - "From our home high in the city where the skyline stained the snow/I fell for a servant that kept me on the boil." 'Animal Nitrate' follows hard and confused, a prefab pop classic. 'She's Not Dead' is a third-party related kitchen-sink drama set around dubious going's on in a seedy fella's motor - "What's she called? I dunno/She's fucking with a slip of a man while the engine ran" trills Ando over Butler's delicate acoustic motif. 'The Drowners' appears soon enough to remind us it remains Suede's most perfect instant thrill, a groove nugget so lustrous it dazzles without fail every time. But before then there's 'Pantomime Horse', perhaps the best-realised of the band's attempts at epic grandeur. It's a snatch from the life of an awkward kid - "Ugly as the sun when he falls to the floor." Atop a spiralling, increasingly histrionic Butler guitar wall, Brett is pondering, well, take a wild guess - "Have you ever tried it that way, tried it that way, tried it that way." 'Sleeping Pills' is a vast orchestral sweep into parts languorous. Just around the corner lies the album's apparent keystone - 'Breakdown'. It drifts then kicks like cold-turkey with a star-spangled axe'n'sax coda. 'The Next Life' is genius. Nude Records/Sony have nothing to worry about here. This is the solid, quality, ring-of-confidence debut they've dreamed the band would produce. Maybe Suede are as relieved as anybody that this record is finally here, at last with the chance to get it out of their system, to put behind them all the stuff and nonsence of the past and to move on to whatever the future holds. It's there that these most artful of dodgers will have to prove their mettle. For now, we've got 'Suede'." - Review by Keith Cameron for New Musical Express.
"Their first three singles are a prodigious trio of songs - the ebullient razzmatazz of 'Metal Mickey' and 'The Drowners' complemented by the dingy and lascivious 'Animal Nitrate', each boasting a chorus pungently evocative of a bygone age. Suede's trick is to appear at the same time both swaggeringly aloof and as wretched as perennial underdogs. A tendency to flounce is offset by an affection for punkish thrashes and a mordant gallows humour ("You're a water sign/I'm an air sign/Gone gone to valium/Can you get me some?"). Anderson's 'gor blimey' delivery will not be for everyone but these histrionics shouldn't hide the fact that he's a tremendous performer, the first real singer the indie scene has thrown up since, well, Morrissey. Musically, they've created a sound-world uniquely theirs. The glam comparisons notwithstanding, Suede's shifts from raucous garage rock to luxuriant sweetness, sometimes within the same song, as in 'Moving', are marks of an individual talent. They casually confound those who might accuse them of being a purely journalistic invention with moments of rare excellence such as the beautiful closing cadences of 'So Young' or the angelic vocal/guitar harmonies on 'The Next Life', the album's endpiece and perhaps the finest thing here. Much of the credit for all this must go to guitarist Bernard Butler, a true native talent and perhaps the genre's most important guitarist since, well, Johnny Marr. Yes, Bowie and The Smiths are obvious points of reference. From each, Suede have taken an alien sexual charisma, a peculiarly claustrophobic Englishness and brazenly good tunes. Moreover, rarely has a record from the indie sector come with such a burning sense of its own significance." - Review by Stuart Maconie for Q magazine.
(1994) - Dog Man Star
"Although guitarist/songwriter Bernard Butler quit midway through the making of this, Suede's second album, he co-wrote all the songs with singer Brett Anderson, and he remains a strong presence. 'Dog Man Star', which debuted on the UK album charts at its number 3 peak, was not nearly as successful as the group's first album, 'Suede', but it boasts more continuity and, many would argue, more depth. The David Bowie influence, so prominent on 'Suede', is, if anything, more obvious, particularly on 'Heroine', with its pained analogies between women and drugs and 'The Wild Ones', which exudes the kind of hopeless romanticism not heard since Bowie's 'Heroes'." - Review by Colin Larkin for his book 'Virgin All Time Top 1000 Albums'.
"With 'Dog Man Star', the group has vindicated just about every claim that was ever made on their behalf. A long, sprawling and not entirely flawless album, it will be hailed in years to come as the crowning achievement of a line-up that reinvented English, guitar-band rock'n'roll for the 1990s. Ambitious, daring and pitched so gloriously over the top that you can only marvel at Suede's sheer nerve. The most striking example is 'The Wild Ones'. Named after the film starring Marlon Brando, and prefaced by a deceptively tinny, acoustic guitar introduction, it quickly turns into a strikingly great rock ballad, with a rolling melody as finely-tuned as a performance engine. 'The Power' is another superb pop song that juxtaposes images of freedom and abandon ("far over Africa on the wings of youth") with the mundane reality of being "down in some satellite town and there's nothing you can do." With its neo-vaudeville, singalong sequence at the end, it is the most obvious tip of the hat to David Bowie, who remains the spiritual forebear of much of this music. It is one of the best songs on the album and, interestingly for the future, the only track not to feature Butler (Anderson plays guitar instead). The sad, bored housewife from 'Sleeping Pills' reappears in 'Still Life' and a rather grim little item called 'The 2 Of Us', where Anderson's highly strung vocal slides wildly up and down like a cork pitching and bobbing in a sea of melancholy. In 'Daddy's Speeding', a sinister piano motif and an edgy, pedalling guitar rhythm create a mood of impending doom as Anderson sings about "green fields of destiny high in the sky". Using the central image of a car crash as a metaphor for the death of the teenage dream, the song hurtles remorselessly towards its denouement, a high-decibel pile-up of white noise and feedback effects. And then there are the drugs. According to Anderson, 'Heroine' isn't about heroin, but it might just as well be. Even allowing for the opening quote borrowed from Byron ("She walks in beauty like the night"), the eerie, overpowering sense of craving which the song evokes makes it hard to accept as merely a tale of teenage obsession: "My Marilyn come to my slum for an hour/I'm aching to see my heroine". On the epic ' The Asphalt World', the situation is stated more straightforwardly: "She comes to me and I supply her with ecstasy/Sometimes we ride in a taxi to the ends of the city". A long, slow-tempo rock ballad with a gliding guitar solo that dissolves into a wash of odd little bits and pieces this is yet another moody classic among an embarrassment of riches. The rhythm section, Mat Osman and Simon Gilbert, perform with an unfussy vitality throughout, and it is easy to underestimate the pivotal influence of Ed Buller, the man in the producer's chair for Suede since 'The Drowners', and likely to carry on in that capacity with the post-Butler band. But this album is really Anderson's and Butler's show, and the effortless way in which they stamp their mark on a succession of down-the-line rockers - 'This Hollywood Life', 'New Generation' and the first UK single, 'We Are The Pigs' - is further evidence of what made their partnership so great. For Suede have done more than simply write and play a great bunch of numbers on this album. Like the people in their songs, they have reached for something outside themselves, and created a world of their own, a place where rough sex and hard chemicals provide a release from the everyday grind, and strange romances blossom in the twilight. For the most part 'Dog Man Star' is a triumph. It's our loss that Butler and Anderson will not be working together in the foreseeable future, but at least with this album as their swansong no one can now say it was a partnership that failed to deliver the goods." - Review by Bill Prince for Q magazine.
"'We Are The Pigs' is the best Suede single to date: the rock 'n' roll equivalent of operatic moments of peasants coming down from the hills to lynch the squire - "Well, the church bells are calling/Police cars on fire," leers Brett, as the disorder boils over. With 'The 2 Of Us' the images are fanciful but beautifully evocative ("Two silhouettes by the cash machine make a lovers' dance/It's a tango for the lonely wives of the business class"); the music - piano alone, mostly - simply soars. You get a similar sense of modern resonance in 'New Generation', a sleek, wide-eyed tale of nocturnal living. The trick is executed again by 'The Asphalt World', in which all the gritty staples of the Suedeworld are conjured up, and a skewed tale of ecstasy, taxi rides, cruel sex and living with betrayal floats away on an other-worldly endpiece. 'The Wild Ones' is possibly the best song here. It opens with a bizarrely clumsy guitar part, and an opening verse in which the radio blares out the soundtrack to two lovers' last morning together - and then strides quietly into excellence. 'Black Or Blue' is up there, too. A snapshot of besieged black and white lovers, it manages to dramatise the everyday to a heartbreaking extent - "There was a girl who fled the world from a lonely shore," sings Brett, in supernatural falsetto - "through southern snow... to... Heathrow". It's as if the pauses are there to remind us that, yes, he's singing about something as mundane as an airport; that - as when 'The Wild Ones' mentions "the bungalows where the debts still grow" - parochial normality can be shot through with heart-stopping significance. 'Dog Man Star' is affecting enough to prompt tears. Suede have brilliantly sent up modern life as an endless comic opera, a seaside postcard dipped in cheap lager and Coca-Cola." - Review by John Harris for New Musical Express.
(1996) - Coming Up
"Suede's third album, and their first without main songwriter Bernard Butler, lacked none of their trademark glam rock and catchy melodies, but, crucially, it discarded the pomposity and indulgence that marred 'Dog Man Star'. Instead, boosted by Richard Oakes' inventive guitarwork and the arrival of Neil Codling on keyboards, they presented a sparesly produced collection of Bowie-tinged pop songs. Brett Anderson's favourite lyrical themes - bored youth, casual sex, seedy urban life ("peepshows and freakshows") and escape from it - enjoyed free rein, but were predominantly framed within raunchy rockers rather than gloomy ballads. With the likes of 'Trash', 'Filmstar' and 'She', Suede firmly established themselves as the godfathers of indie glam and offered some classic pop into the bargain." - Review by Colin Larkin for his book 'Virgin All Time Top 1000 Albums'.
"Suede came blazing back with a proper, old-fashioned album where every track's useful, entertaining and a singalong." - Review for Mojo magazine by Martin Fry, singer with ABC.
"All who prophesied artistic doom for Suede, following the loss of Bernard Butler, should now be munching, chewing and swallowing their words. Bereft of his star guitarist and co-writer, Anderson opted to enjoy himself instead of worrying. The result, 'Coming Up', is triumphant, tragi-comic glam rock, sounding like a teenage 70's party that simply forgot to stop." - Another Mojo magazine review.
"Thank the arrival of Richard Oakes and Neil 'Lizard Man' Codling. Suede's third album was not just better than expected, but better all round: less agonising, more direct, and packed with a striking sense of fun ("Shaking their bits to the hits" indeed). Brett's goons should award themselves a celebratory tipple (or whatever), put their copies of 'Dog Man Star' in storage and then get on with the next LP." - Review by Select magazine.
"When Bernard Butler departed the Suede camp amid rumour of the luminary guitarist's disenchantment with the band's 'lifestyle', received wisdom was that the game was up. Sure, they still had the looks, the fringes and the pipe-cleaner tailoring, but hadn't all the tunes gone with Butler? Apparently not. 'Coming Up' is a very different proposition from its predecessor, the murky demi-monde of 'Dog Man Star', but it's an entertaining proposition nonetheless. New boys Neil Codling and Richard Oakes have gelled sweetly, there is a freshly minted directness about songs like 'Filmstar' and 'Trash' and recent live shows suggest a band revitalised. And if the debt to Bolan and Bowie is once again overly apparent, well, there are worse role models to have." - Review by Q magazine.
(1997) - Sci-Fi Lullabies
"Brett spends his days soaking up all the love and poison in London, and this is where he pours it out. These songs, much more than Suede's proper, public catalogue, show a cohesion and unity between the clothes-by-Oxfam days and the Oakes/Codders present. They never faltered, and the whole thing hangs together so well you almost suspect they planned it. 'Sci-Fi Lullabies' is the only B-side collection worth buying in pop history. The man who is tired of Suede B-sides is tired of life." - Review by Simon Price for Vox magazine.
"While the 'proper' albums ballooned with bombast, Suede's b-sides increasingly became their chance to chill out, grope through their sleaziest baggage and indulge the seedy side of their muse. Hence we have 'My Insatiable One' and its legendary tales of retarded high-wire acts, blow-up partners and nasty trouser accidents on escalators. We have 'The Big Time'; like Elvis Costello's 'Shipbuilding', but for victims of success rather than the Falklands War. And we have the ode against heroin that is 'The Living Dead', which is, frankly, as beautiful as music gets. In fact, CD1 stakes a formidable claim as the fourth Suede album in its own right. Better than 'OK Computer'. Better than... well, 'Coming Up'. Arguably. Flip the beast on its back, however, and CD2, the post-Butler years, sounds like, er, a b-sides compilation, before making a rollicking comeback with the triptych of 'The Sound Of The Streets', 'Young Men' and the smacked-out 'Saturday Night' vibe of 'Another No-one'. Ultimately though, it trips over a few stray electro-funk experiments and windmills into a puddle of indentikit 'The Wild Ones'-lites. But no matter, it has finally given 'The Suede Story' the widescreen, Technicolor Director's Cut release it always deserved. No longer drug songs for underdogs, at last." - Review by Mark Beaumont for New Musical Express.
"The invitation is to regard these 27 tracks as a bona-fide album. As such, it's erratic. On Disc One only with the bruised ballad 'The Big Time' and the melancholic narco-haze of 'High Rising' does the enterprise make sense, while the noirish 'Europe Is Our Playground' and aching 'My Dark Star', sound like A-sides. On the second disc, 'Every Monday Morning Comes' and 'This Time' are convincing, almost-anthemic, rockers, but it's the mournful Tony Newleyism of 'Another No One' and 'WSD's' squelchy Moog and dub bass that impress. Full marks for the inclusion of 'Jumble Sale Mums' (even if the title is a smokescreen, given it's another version of 'WSD') and for the closing 'Duchess', whose elongated "she knows Latinos" line represents a nadir in louche rhyming couplets. More quality control than most, then, but not as much as they'd have you believe." - Review by David Sheppard for Q magazine.
(1999) - Head Music
"This was Suede at their funkiest, with Neil Codling's keyboards more prominent than ever before. It was still classic Suede, though, boasting the usual quotient of panoramic ballads and electro-glam monster-stompers. Not so very different to the 1992 model, then, yet somehow more relevant, more downright adorable than ever and still, undoubtedly, The Best Band In Britain." - Review by Melody Maker magazine.
"At its vibrant, snakey best, as on the single, 'Electricity', or the Codling-penned, Glitter-Band-cover-The-Fall stomp of 'Elephant Man', or 'She's In Fashion' (Rula Lenska breezes past, on roller blades, followed by a waft of Givenchy), this is hair-raising pop. It's not always their own pop, but if the melodies are sometimes borrowed, the delivery is always Suede's. It wiggles its autograph from speaker to listener with a distinctive fluorescent flourish. 'Can't Get Enough' is a brilliantly pounding metallic singalong with a chorus tune not unfamiliar with 'I'm A Man' by the Spencer Davis Group. Strange, but actually good. It's clear that Suede have tried to move their sound on, using keyboards and other wired musical devices, and they've pulled it off without sounding forced or arch. It's futuristic and alien, like a rock'n'roll Tubeway Army, and it suits them." - Review by New Musical Express.
"They began the 90's kickstarting the glam revival but, under producer Steve Osborne's stewardship, ended them sounding like a combination of Duran Duran and Prince. While others were wearing their avant-garde learning on their sleeves, 1999 saw Suede regressing toward the synthetic, gratuitously silly chart music of their youth. They breezed icily through glossy pop ('She's In Fashion') and synth-funk reveries ('Asbestos') with lovably base thrills resulting. If not the best Suede album, then certainly the best Suede car stereo album." - Review by Q magazine.
"Strung-out self-parody, many said. But the return of Suede Mark II was, in fact, reason to rejoice. The pop moments ('She's In Fashion', 'Elephant Man') were fizzingly gonzo while the ballads ('Down', 'He's Gone') sounded imperiously cool. A misunderstood wonder." - Review by Select magazine.
"While the very notion of a Suede song called 'Asbestos' should be hilarious, it's a magnificiently slinky, semi-detached relative of 'Kinky Afro'. Similarly, the idea of an electronic Suede track called 'Hi-Fi' might reduce their detractors to tears: in reality, it's an icy, brilliantly executed, once-removed cousin of John Foxx's 'Underpass'. With 'She's In Fashion', they flip as far as 'Young Americans' in their shared Bowie collection, resulting in a fantastically stylish, Euro-flavoured pop track. Elsewhere, the slow-winding swing ballad 'Down' finds Anderson at his most alienated and poetic ("And the audiences cry that you're down/And the ambulances sigh that you're down"). In fact, the only real flaw with 'Head Music' is that at 58 minutes and 13 tracks, it falls prey to poor editing. Without the title track ("Give me head music instead") and Brettalike keyboardist Neil Codling's dire rocker 'Elephant Man' that clog the halfway mark, it might well have been perfect, with even the more worrying Anderson couplets on paper ("She live in a house/She's stupid as a mouse") coming across as wonderfully dumb pop throwaways. Even if there might be a strong sense that Suede will definitely have to return to the drawing board for their next record, in fear of dangerously stretching the point, 'Head Music' is easily - almost effortlessly - their best and most wholly realised album to date." - Review by Tom Doyle for Q magazine.
(2002) - A New Morning
"Suede's album, 'A New Morning' (Epic), is a familiar blend of sparkling melodic hooks and elegantly sculpted guitar riffs casually slung across a measured rock'n'roll beat. 'Positivity' with its schmaltzy string arrangement sounds like a McAlmont & Butler number, but 'Obsessions', a sleazy love song with intellectual aspirations, and 'Streetlife' a no-nonsense rocker complete with hand-me-down Roxy Music title, are more typical of an album that stands in the classic Suede tradition. Best of all is 'Beautiful Loser', a compendium of all your favourite Suede-isms - TV screens, electric lights, trashed kids, satellites - effortlessly harnessed to an 'Animal Nitrate'-ish riff." - Review by David Sinclair for The Times.
"'Positivity' is as catchy a mid-tempo tune as you will find. 'Obsessions' (the next single) perhaps even better. An absolute stonker. Possessing some of the rhythms of 'Electricity', but smoothed around the edges, and painting an amazingly bright picture. 'Lonely Girls' is a catalogue of single females' lives, each one a heartbreaking portrait of someone you probably know. Melodies too are strong as ever. 'Astrogirl' may be moody, but the tune is nagging. Persistently good. 'Streetlife' is a title used a myriad times before, but this track is fresh and new. Pure pop, but only as Suede can create. Likewise 'One Hit To The Body'. Three minutes of real punch. 'A New Morning' is just that. Fresh as a daisy dripping with sparkling morning dew. Less complex than before, but equally absorbing. Not so shoe-gazing, yet still with the trademark mood. Even though 'Animal Nitrate' may have been their finest hour, this is still a splendidly honest, remarkably upbeat 40 minutes. As surprising as it is satisfying." - Review by Neil Chase for CD WOW!
"When Suede are good, they're great. 'Astrogirl' has shades of the almighty 'The Asphalt World'; 'When The Rain Falls' is as mournful as 'The Big Time'. A fragile 'Lonely Girls' could even be off 'Dog Man Star'. At its best, 'A New Morning' sees Suede show off their vunerable side again." - Review by Jason Fox for New Musical Express.
"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 ageing 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." - Review by All Music Guide.
"'Positivity' cracks open the new set with bright ringing tones, 'Lost In TV' offers an excellent Anderson vocal performance, while 'Beautiful Loser' rocks out in almost classic Suede with sharp changes and a classic chorus and also worth a mention is the spacious, luxurious 'Astrogirl'. America may not love them (yet) but we do and this is a cracking album." - Review by BBC 6 Music.
(2003) - Singles
"'Singles' charts Suede's rise from mesmerising indie newcomers to guitar-pop veterans - and demonstrates that the band have always been one step ahead of the competition. In 1992, Melody Maker proclaimed Suede "The Best New Band in Britain". At that point the band hadn't even released an album. Heck, they hadn't even released a single! Now, it wasn't the first time the music press had got a little bit over-excited about a band, and it certainly won't be the last - but how many of those bands are still going strong 11 years down the line? Not many, that's for sure. Suede aren't your average band, as this 'Singles' anthology testifies. There are some quite brilliant tunes here; 'Beautiful Ones', 'Animal Nitrate', 'Trash', 'The Wild Ones'. The list goes on, in fact this album sounds like an authoritative lesson in how to release singles. From the very first, 'The Drowners' (released in 1992) to current single 'Attitude', Suede's chart offerings have always oozed a kind of sexy suburban charm. Lyrically, there's not a lot to get excited about; mainly sex, fashion, and suburbia, but this does create a cohesion that's often lacking in compilations such as these. That's not to say that Suede's music hasn't evolved over the years. On the contrary. New tracks 'Love The Way You Love' and the aforementioned 'Attitude' sound like a band in full creative flight, exploring new ideas, and looking to the future. Too often bands release compilations that don't really reflect the quality of the material they're picked from (Manic Street Preachers, take note). By releasing 'Singles' Suede have done exactly the opposite. Reminding us how great they were, how great they still are, and promising greatness yet to come. What more could you possibly ask for?" - Review by Simon Fernand for bbc.co.uk.
"Songs such as 'So Young', 'We Are The Pigs' and, especially, their remarkable debut 'The Drowners' remain great outsider anthems. The apocalyptic bombast of 'Stay Together', meanwhile, is Bernard Butler's showcase, Britpop's very own 'Bohemian Rhapsody'." - Review by John Mulvey for The Times.
"Ten years on, 'The Drowners' and 'Animal Nitrate' are still grandiose clarion calls for outsiders, while 'Stay Together' - despite the band disowning it - is a perfectly realised drama. What's also heartening is how time has been kind to lesser singles such as the stomping 'Can't Get Enough' and 'Obsessions'. It adds up to a feeling that Suede may yet return in triumph." - Review by John Earls for Planet Sound.
"This 21-track compilation offers further evidence of why Melody Maker once proclaimed them "The Best New Band In Britain". The eponymous Mercury-winning debut, represented here by 'Animal Nitrate', 'Metal Mickey', 'So Young' and 'The Drowners', was a glorious document of everything the band stood for. Sexed up (in the best possible way) it was sleaze in an Oxfam jacket - dominated by Butler's liquidly memorable guitar lines that weaved their way around Anderson's libidinous tongue. It was all so glam, effortless and easy. The second album, 'Dog Man Star', had more than it's share of moments. Difficult comeback single 'We Are The Pigs' was uncompromising; 'The Wild Ones' their most successful ballad and 'New Generation' perhaps their finest song. Even when Richard Oakes began composing, in a style far less flamboyant than his predecessor, Suede still penned great singles. 'Beautiful Ones', 'She's In Fashion', and 'Trash' all deservedly sit here. The latter, with its "we're the litter in the breeze" clarion call, even becoming a badge of identity. The remainder makes a frequently astounding collection but questions must remain about where they go from here." - Review by Adam Webb for Dotmusic.
"It's been 11 years since these indie standouts made a splash on the scene - and this is a compilation of their 21 largely memorable hit singles. The seminal offerings from Brett and the boys, like 'Metal Mickey' and 'Animal Nitrate', sound as exciting, fresh and original as they did in the early 90's. This is a band that has made a huge impact on British pop. It's an album rich with recollections and should grace everyone's CD rack." - Review by Michael Osborn for BBC Ceefax.
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