翻译 Dog Man Star - track by track BY Brett【suede吧】

bd

原文
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Introducing the Band - this was was my attempt at emulating a Buddhist chant which i'd first encountered in a temple in Kyoto during an early Ja圞panese Suede tour. I suppose there was also a kind of Orwellian tone here , as there was on much of the album. 1984 is one of my fa圞vourite books ever and i often mull over the phrase ' if you want a vision of the future imagine a boot st圞amping on a human face forever' . I suppose there was something in the crushing, metallic drone of the music which reminded me of this phrase and inspired me to write a kind of fantasy piece about the unstoppable almost military force that a powerful band can become. The reference to Winterland is of course a reference to the last gig played by the S圞ex Pistols in San Francisco . There's was also a nod to Lewis Carroll in the phrase ' stabbed a cerebellum with a curious quill' , i suppose it parodied Carroll's neo- scientific Victoriana . I was re -reading the Alice books at the time and also reading a lot of biographies about Carroll himself so this inevitably bled through into my writing.
We Are the Pigs - the soundtrack to a riot, a paean to chaos and insurrection again with a strongly Orwellian tone. it's interesting that you can look at what you wrote years ago and realise what you didn't at the time. I suppose this was my comment on an age of excess; a portent of doom; the guilty realisation that this grotesque house of cards that we had built around ourselves could at any point come tumbling down and that the only way to deal with that was to embrace and celebrate it's destruction and to dance around the bonfire . I'd always been fascinated by animal imagery, the whole man-as-animal animagus thing. there was a bit of Lord of the Flies in there as well with the innocent but chilling children's voices chanting at the end . i suppose my vision was of some sort of post- apocalyptic landscape where society has crumbled and man is reduced to his primal childlike, animalistic form picking at the rubble . This was one of the earliest songs we came up with and was always for me a very strong statement of intent which somehow set the scene for the whole album. the title was inspired by an old schoolboy band of mine called The Pigs.
herоine - I loved this from the moment i first heard Bernard's demo. the guitar part is so beautiful and dark and winding and immediately suggested to me a bleakly S圞exual lyric. the song is about loneliness and pоrnography and i suppose is the first song on the album that introduces the themes of isolation continued in 2 of Us , Sill Life etc. i'm casting myself as an 18 year old hormonal teenager , trapped within his drab slum and within the imprisoning power of the female form , unable to break away from this fantasy and form actual relationships. of course i was aware of the herоin/herоine thing but ha圞ve always loved playing with homophones. the opening line is from the Lord Byron poem 'She Walks in Beauty' . the 'Marylyn ' reference was never actually meant literally to Monroe but more as a kind of Venus/ Aphrodite reference .

The Wild Ones- as well as my fa圞vourite single song also my fa圞vourite bass part on the album. i was listening to a lot of very 'singerly' singers ; Scott Walker, Edith Piaf, Frank Sinatra, Jaques Brel, people with the emotional and musical range to transform a song into a drama. this is what i wanted for the Wild Ones, for it to be a timel圞ess slice of melodic beauty that people got married to and shared there first kisses to. something that embedded it self deep within the sound scape of their lives. it's unashamedly mainstream but hopefully with a depth that belies this simple ambition. it's still my fa圞vourite single moment in Suede's history and when interviewers ask me of what i am most proud i always mention this song. The main refrain was inspired by Brel's Ne Me Quitte Pas. I remember Bernard first playing this in a soundcheck in America in 1993. he'd often work stuff out just with him and Simon, i suppose to get a sense of how the song would sound loud and live but without it being completed by bass and vocals and therefore still in a fluid , sketch like state.
Daddy's Speeding - A strange story of a dream/fantasy about James Dean' s death. i was immersing myself in overtly cliched Hollywood iconography at the time. i guess it was an extension of the isolation/ pоrnography themes where i saw people forming relationships with fantasy figures rather than real people; our new communities were soap operas, our new friends were characters in American sit-coms. I wanted to give the vocal a Lennonesque quality, that magical dreamlike way he sang songs like Day in the Life and Across the Universe which i thought would complement the phased , otherworldly tone of the music. there were sections that were directly inspired by How Do You Think It Feels on Lou Reed's Berlin album.
The Power - the last song written for the album and the only song recorded without Bernard. i think you can hear this in the lightness, it doesn't really ha圞ve Bernard's depth of touch but i remember me , Mat and Simon recording it together at Master rock and it being a fun experience. i suppose there's a nod to Quicksand here if i'm honest and the whole thing emulates that acoustic Hunky Dory feel . i'm sure it would ha圞ve sounded different if Bernard had been involved beyond the writing phase. It's a simple message of empowerment. i suppose i was feeling proud that i'd dragged myself from a council estate in Hayward's Heath to a position of being one of the most talked about musician's in 90's Britain and that this ( and also the album title's message )was somehow influenced by that trajectory . i know that sound's vain but i think the thrust behind the song was l圞ess SΜug and l圞ess self congratulatory . it was meant a kind of anthem to meritocracy ; a belief, rooted in left wing politics , that anyone, despite class and upbringing has the ability and the right to achieve.
New Generation - one of the best vocals on the album. this is an incredibly hard song to sing, it requires a lot of vocal st圞amina, power and range and i don't think i would ha圞ve even bothered attempting something like this on the debut album. live it always sounds a bit ragged vocally but here the take really hits the mark.
Lyrically it's quite anodyne to be honest. the best line is ' we take the pills to find each other' , a neat little sound bite that summed up my search for belonging through narcоtics.
structurally it's interesting in that we had started to successfully incorporate bridge parts in our songs.