“他们把我们烦了多少次都没关系。他们将我们踩在地上多少次都没关系，因为我们总是回来。”定期宣布绒面革’sfrontman Brett Anderson throughout the band’s 2019 tour, usually in prologue to the explosive opening of one of the band’s signature songs:Trash。这条关键曲目于1996年发行，是乐队泡腾的第三张唱片的主打单曲接下来was more than just a rallying call to the many dispossessed outsiders who identified with them,Trashwas a statement of intent – and the battle cry of an all-new formidable line-up.
在1994年的剧本录音后，前有创造力的吉他手伯纳德·巴特勒（Bernard Butler）不再发挥作用Dog Man Star, the vultures had been circling ominously overhead. Many assumed that, without Butler at the band’s musical helm, Suede were fated to sink beneath the waters of public disinterest. Meanwhile, the Britpop movement the band had fomented consumed the airwaves – albeit in a form near-unrecognisable to Suede’s original vision.
那时，当他们的下一步行动时，美味接下来，成为乐队有史以来最大的商业成功。这张专辑催生了惊人的五个英国十大单曲，使乐队的粉丝群振兴了，并建立了Suede Sound的新变体。但是，正如布雷特·安德森（Brett Anderson）在第二次自传中所记得的那样，Afternoon With The Blinds Drawn，“”接下来was an album snatched against the odds from the savage jaws of failure.”
Young and not tired of it
重新流动的绒面革声音的核心是增加了两个新成员。首先，键盘上有Neil Codling。绒面革的鼓手西蒙·吉尔伯特（Simon Gilbert）的堂兄在接下来era, with his natural good looks perfect for magazine photoshoots, and for taking a prominent role in the band’s videos.
第二个是负责填补这位关键吉他手角色的山区职责的人。绒面革没有选择一个既定的会议球员或另一个乐队的备受瞩目的客人，他对一名17岁的球迷进行了巨大的赌博。回应了水星屡获殊荣的低调盒子广告Melody Maker，这位年轻的A级学生在他的各种绒面革歌曲的演奏中张贴了四轨胶带。“我把盒式盒子放进去，期望会被盒子不知所措，而且我没有。”The Insatiable Ones纪录片：“我听到了这种非常雄辩，有力，技术上熟练的吉他弹奏。这是我第一次听到有人在玩我们的东西，并真正做吉他部分正义。”
Hailing from Poole, Dorset, the teenage Richard Oakes wowed the band further during his live audition “It was very much a case of keep your head down, play the songs.” Richard remembered in David Barnett’sLove and Poison“在......的最后金属米奇, Brett kicked over his mic stand because he was so excited. But I still didn’t really think they’d ask me to join.”
Oakes将他的学业和Uni的前景放在一边，立即签约成为当时最重要的乐队之一的吉他手Dog Man Star。“It was kind of like being eased into it – if the first thing I’d had to do was write an album it would have been a lot more difficult” Admitted Oakes in a DVD interview on a接下来补发。
但是乐队的寿命也取决于成为一个健康的创意单位。制片人埃德·布勒（Ed Buller）迄今为止曾把绒面革的全部专辑纳入了所有的专辑，他告诉我们：“当它真正与我联系在一起的那一刻Dog Man Star单身的。他写了一首歌叫一起。I remember while we were doing it, thinking that this was too good to use as a B-side. It was a fucking great song. It’s got a huge chorus, and Richard pulled out all the stops.”
Play the game again
和a protracted period of time to shape the third album, Anderson and Oakes set to writing a batch of new songs that fit into a new paradigm. “The only way to confront the scale of the challenge was to ignore it and go in the opposite direction. It was vital, given that Suede was effectively now a new band, that we harnessed something of that vitality and irreverent freshness” said Anderson inAfternoons with the Blinds Drawn。Anderson veered away from the more esoteric lyrical themes explored on the autumnalDog Man Star, focusing instead on conjuring a glamorous but decadent vision of mid 90s’ London, while Richard’s demos showcased his impressive musical range. Even in prototype stage, the core ingredients of the songs that would evolve into接下来他的主要削减在他的想法中涌现出来，例如庞然大物的强大和弦电影明星，优雅的耕种Saturday Nightand the high-spirited joie de vivre that rippled throughBeautiful Ones。奥克斯的任务是证明自己的勇气。
有了更多的时间来制作唱片，制片人埃德·布勒（Ed Buller）有机会呼吸，对绒面革新人员和新歌的新歌曲有更深入的了解。在克劳奇（Crouch End）的教堂工作室（Church The Church Studios）进行最初的排练之后，布勒告诉我们。“我们在12月在联排别墅工作室打破了地面，这很冷，我们在一个全新的工作室里。我们基本上放下了一个点击曲目，让理查德为每首歌弹奏吉他，然后我们添加了12弦吉他，我们让Simon Gilbert在每首曲目上演奏Bongos和Maracas，并在每首曲目上演奏各种打击乐器，然后是指南声音。这是基于托尼·维斯康蒂（Tony Visconti）制作的方法T-Rex记录，我认为这是一个很好的起点。”
在最初的录制是在联排别墅进行的，而专辑的录制适当遍历了一系列工作室：“在新的一年，我们去了Mayfair Studios六个星期，然后我们做了Westside，然后掌握了Rock，然后我想我们回到Mayfair去了Mayfair一点点。”布勒告诉我们：“我们知道要花几个月的时间。这是我有史以来最豪华的唱片。”
布勒（Buller）被认为是一张充满潜在的单曲的专辑，乐队刻画了最初的想法，以强调他们的钩子，而年轻的Oakes则寻求进一步的指导，以指导他在录音室中的音调。“正如理查德（Richard）写了所有部分一样，这是找到他喜欢的吉他声音的情况。”埃德告诉我们：“如果我说实话，从吉他的角度来看，这是最难的事情，这听起来与前两个不同。很多时候我们没有使用任何放大器，我们使用了一种从洪水借来的设备，称为ADA Ampulator。这是19英寸的单个单元架微型管功率放大器和扬声器驾驶室仿真器。当时，这是一项非常先进的技术，因为您可以更改内部组件。”这是与马歇尔JMP-1 preamp, while most effects were wrought from aYamahaFX-900单元，例如打开的Opiated tremolo闪光Picnic By The Motorway。
它会好起来的
Largely dispensing with the吉布森355他在整个巡回演出中都持续了，Oakes依靠他的全新唇膏红色1965挡泥板Jaguar in the studio, along with a莱斯·保罗Goldtop（用于重型金属aping电影明星）雇用的复古金发女郎电视广播员and even a FenderStrat埃德·布勒（Ed Buller）记得的一个阶段最终被否决了。“我和加里（工程师）要做的就是与他一起工作，因为他在唱片中扮演着如此重要的角色。只需查看轨道表，您就会看到鼓，低音和八把吉他！腿部工作量很大。”
Richard rose to the challenge, developing his guitar melodies and strengthening his chord sequences. While a proficient player, Oakes was determined to focus on what was right for the song in question above all, flexibly working with Ed and the band to shape parts that worked to amplify their themes, such as the fizzing riff that navigates the chord sequence of懒惰的, the spidery assault of the jagged punk of星际疯狂and the glorious uplift of the bright guitar motif that punctuates the halcyon我们之间的化学反应。
至关重要Beautiful Oneswas centred around a seductive circular guitar hook that Oakes wrote over a jubilant C, D7, F, E chord sequence. Initially titled ‘Dead Leg’, the song was an obvious standout. “It was a very hard guitar part to get right.” Ed Buller explains, “it’s a composite riff, there’s different guitars playing elements of it. There’s the top-line then the pedal underneath. Richard wrote it as an individual part, but I said ‘look, we need to orchestrate this to make it sonically work’. We needed to pull it apart and put it together again in bits. I’m really proud ofBeautiful Ones因为正确花了很长时间 - 这是right，这是一个很棒的声音。”Richard的Jag，The Red 355，Telecaster和一个钢制的Dobro谐振器。以零散的歌词为顶，安德森（Anderson）将其描述为“混乱的素描”和“反英雄的扭曲国歌”，由Mat Osman的脉动鲈鱼和Simon的顽强的节拍，醒目的节奏为基础Beautiful Ones可能会成为绒面革最著名的歌曲。
这是一个类似的无情辛勤工作的故事，导致同样具有纪念意义Trash。这首歌是在会议上很晚的，并起源于胜利的合唱主意，尽管它缺乏合适的经文。埃德·布勒（Ed Buller）挑选了他形容为“信天翁”的歌曲的故事。“很长一段时间以来，这只是这个合唱。最终，布雷特（Brett）屈服于压力，要为此做一个更强大的诗句，一个下午在西区，布雷特（Brett）拿起了一把原声吉他，并通过一个新的诗歌创意（围绕C，EM，F，D，G序列建造）。有效！最后，我们改变了一个和弦，完成了。Trashjust felt ordained when they came up with the verse.”
Getting his inaugural spotlight solo laid down proved to be a challenge for Oakes. After trying a few runs at some melodic ideas, Buller fused these performances together to build a rough version of the finalTrashlead break. Oakes augmented it further and delivered the final dazzling part. “The tone was Ampulator and DI’d fuzz” Ed recalls, “We were at Master Rock who had the world’s firstFocusriteconsole, they had great transformers and preamps, so we just overloaded it. It’s the same process that made the guitar sound forRevolution早在1968年 - 超载前置放大器，从本质上将混合桌变成一个巨大的绒毛盒。”
和Trashperfected, Suede had a song that bottled the essence of接下来into four irresistible minutes. A perfect choice to lead the charge as the record’s opening single. “The first single off the album had to say something fundamental about the band, and for meTrash从某种意义上说，是绒面革国歌。那是一个非常激动人心的时刻。”安德森说Love and Poison。
轻而易举的垃圾
Swiftly soaring to number 3 in the UK singles charts upon release in late July 1996Trashwas rapturously received by both devotees and the general public. This was no fluke however. Upon release on 2 September,接下来itself barnstormed its way to the very top of the album charts, and – realising the band’s pop-focused ambitions – spawned a further four top ten singles. “接下来作为具体的证据表明，绒面革一如既往地从自我强加的流放中回来，并感谢基督。我们非常想念他们。”一个头晕NME， 尽管Select判断这张专辑是“奇妙的流行唱片，同时直接且充满了范围。”
绒面革已经重新分组并以其最繁荣的纪录来击退，从而使自己从边缘撤回了自己 - 它的庆祝性语气与（现已穿着皮革统一的）乐队中的心情相匹配。赌博少年的技能已经得到了回报，他们委托吉他声音的人将继续是绒面革未来的重要创意齿轮。在乐队的2003年分离之后，奥克斯与绒面革2010年，要踏上职业生涯的新阶段，此后一直是过去十年来制作新唱片三部曲的核心，很快就会发行第九张录音室专辑。“理查德是我与之合作过的最自然有天赋的音乐家。”安德森写道Afternoons with the Blinds Drawn，“他有一个令人毛骨悚然的能力，可以在我不知道的音乐中挑出东西，更不用说能够演奏了。”
“Richard was very needed in a way.” Ed Buller tells us, “It wasn’t until the success of接下来that the rest of the band thought, ‘Fuck me, we lucked out here’.”
Infobox
绒面革,接下来（Nude，1996）
学分
- 布雷特·安德森（Brett Anderson） - 人声
- 理查德·奥克斯（Richard Oakes） - 吉他
- Mat Osman - 低音
- Simon Gilbert – Drums
- Neil Codling - 键盘和合成器
- Ed Buller – Production and engineering
- 加里·斯托特 - 工程
- 大卫·巴斯科姆（David Bascombe） - 混合
杰出的吉他时刻
我们之间的化学反应
有关更多评论，请单bet18868击这里。