design, which is the Collector's Limited Edition comes in an alternative colour treatment of an orange tint, which was limited to five hundred units. This version also included a vinyl 12″ "Stay Together" single. Critical reception Writing in 2011, Brian Boyd of The Irish Times spoke of how the record drew "mass confusion" among critics, with words such as overblown and pompous in many reviews. In the UK, while some admitted it was not without its flaws, critics unanimously spoke favourably of the record's experimental arrangements. John Harris of NME called it "a startling record: an album surrounded by the white heat of something close to genius." He added: "the songs of Dog Man Star are grand designs, enacted against grandiose backdrops." David Sinclair of Q magazine wrote: "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." Nicholas Barber of The Independent called it a "blend of pop hooks and theatrical gestures.” He added: "At times Dog Man Star is messy and preposterous. But no record collection is complete without it." Stuart Maconie of Select called it a "great record; at least as good as their debut and probably better when viewed through the reversed telescope of history." David Cavanagh of Mojo praised the record, with particular praise for the last two songs; calling it a collection of "exquisite piano songs and swash-buckling rock numbers... before climaxing with probably the best 15 minutes of any record this year." Outside the London press, Ireland's Hot Press, the Irish Independent, and Scotland's List magazine published positive reviews. In the US, Suede never matched the moderate success of their first album. This was principally due to the mix-up over the band's name and because Dog Man Star "was one of the most pretentious albums ever released by a major label," according to music journalist Rob Sheffield. In contrast to the positive reception at home, the album had a mixed reception in the US, with many comparing it unfavourably to their first album. Mark Jenkins of The Washington Post felt that the band had fashioned the record for the rock-opera house; with "bombastic" lyrics and "grandiose" musical settings. He wrote: "its ostentatious arrangements