Phead articles

	ARTICLES ABOUT BETH'S ALBUM "OUT OF SEASON" It's some time since we last met, and I've sorely missed that special and distinctive voice that successfully launched those wonderfully original Portishead albums. I missed the extraordinary songwriting. Shit girl, I just missed you so much. So imagine the joy when I saw you perform so wonderfully on Jools Holland, and to discover that the two great songs you sang came from a new album which was on the brink of being released. I especially liked the song called Mysteries which I just cannot get out of my head....."I'll be there anytime..." A simple song with such sincere sentiments and a melody to beat all melodies. And that voice! Stunning. One problem Beth - it's far too short (could you sing a longer version at my funeral?). I also liked the more upbeat Tom The Model, and your great vocal phrasing (boy you can really belt em out when you need to girl!). Who is this guy Tom anyway? Just say the word and I'll send my mates round to take care of him. Anyway, you looked great and you sounded great and on the strength of your performance, I went out and bought the record because we hadn't recieved a review copy. It happens... Okay so I was a bit upset, but hey, no option Beth because we're in the throws of selecting our best albums of the year, and the UK music cupboard is looking a little bare (we're not really into the shit that radio plays and which dominates the charts at the moment). Listened to those two songs which conveniently open the album and I'm still enthralled with them. So I arrive at the track three, Show. It's another beauty with stripped-down piano and cello giving your voice the room it needs to breathe. I do hope Kathryn Williams hears this one Beth because she might learn something about real emotion and the role music can play in communicating it. Great so far Beth, but what's this? Romance sees you in your Eartha Kitt mode and singing a song that sounds that it belongs in some American Broadway show. It's another winner with its swooning backing vocals and slithers of brass. You also sound bloody wonderful - again. What are you doing right now Beth? I've decided to take a coffee break and in the process am reading some pretty dramatic sound bites on the album case; "It's among the best albums ever made" (Mojo), "Quietly devestating...." (Uncut), "Bewitching...." (Esquire). Boy, you must be pleased. Okay, I'm back on the case again and it's time for Sand River. Lovely ballad this one and how sexy you sound singing beautiful lines like, "Autumn leaves, Beauty's got a hold on me, Autumn leaves, pretty as can be, Everyone can see, Everyone except me." You have a way with words girl and, up to now, everything is blue sky clarity, with perhaps a slight chill in the air. It's Autumn. Now Beth, I notice that before I get to the next set of lyrics for Spider Monkey, there's a load of studio technology pictures in the sleeve notes. Did you really need all that to record your album? This track appears to. It starts quietly, glacially and threateningly - sounds more like a Portishead song - then after the middle-eight, there's too much noise and I'm having difficulty hearing those great lyrics. Nice but too noisy! Great, quiet keyboard ending though. I see you're a smoker (nothing funny I hope!). Resolve is something I don't have and yes, I'm still smoking thirty a day. This is another lovely song and I don't think I've ever heard you sing with such expression before. You actually sound different, better. Oh, and I'm pleased that nasty technology hasn't got in the way of this little beauty. And who's this Drake character that let you down after all those years? Didn't he realise? Didn't you? Was it your father? Perhaps we can talk about it sometime? You see, you've got me guessing and that's a good thing, isn't it? It's a Funny Time Of Year and the album is nearing its close. "It's a funny time of year, I can see, There'll be no blossom, And time spent cryin' has taken me in this year...." I think I know how you feel and it sort of overtakes you; engulfs you; rather like the building instrumental cacophony that envelopes you and this song towards the end. It's a frightening, threatening ambience Beth. It's worked..... Last track. I warned you about that technology Beth! It's taken your voice and electrified it so I can't understand a word. It must be that Rustin Man playing his tricks again. Still, it's a small blemish on this, your first solo outing (it could have been a lot worse, but not much better). In our last letter, you asked me to give you an honest opinion about the record, and of course, as always, I will. But be warned, I'll be brutal. I'll be brutal about the shit market in which you exist here in the UK; surrounded by hype and hellishly bad music; music that numbs the senses so people can no longer descriminate between mediocrity and excellence. Beth, right now you and a very others keep my hopes alive that things will improve here. Do I like your record? I love your record and I honour the integrity behind it. It's a fine, very moving record Beth and in the words of my favourite album track, 'I'll be there anytime.' And now I'm gonna write to that Jools fella to complain about Weller getting four songs and you only getting two - there's no justice. Finally Beth, take a look at our 'Best of 2002', you may like to savour a few............ Take care Tone PS. Fancy a phoner? 4.5/5
interviews

ARTICLES ABOUT BETH'S ALBUM "OUT OF SEASON"

It's some time since we last met, and I've sorely missed that special and distinctive voice that
successfully launched those wonderfully original Portishead albums. I missed the extraordinary songwriting. Shit girl, I just missed you so much. So imagine the joy when I saw you perform so
wonderfully on Jools Holland, and to discover that the two great songs you sang came from a new album which was on the brink of being released. I especially liked the song called Mysteries which I just cannot get out of my head....."I'll be there anytime..." A simple song with such sincere sentiments and a melody to beat all melodies. And that voice! Stunning. One problem Beth - it's far too short (could you sing a longer version at my funeral?). I also liked the more upbeat Tom The Model, and your great vocal phrasing (boy you can really belt em out when you need to girl!). Who is this guy
Tom anyway? Just say the word and I'll send my mates round to take care of him. Anyway, you looked great and you sounded great and on the strength of your performance, I went out and bought the record because we hadn't recieved a review copy. It happens...

Okay so I was a bit upset, but hey, no option Beth because we're in the throws of selecting our best albums of the year, and the UK music cupboard is looking a little bare (we're not really into the shit that radio plays and which dominates the charts at the moment). Listened to those two songs which conveniently open the album and I'm still enthralled with them. So I arrive at the track three, Show. It's another beauty with stripped-down piano and cello giving your voice the room it needs to breathe. I do hope Kathryn Williams hears this one Beth because she might learn something about real emotion and the role music can play in communicating it. Great so far Beth, but what's this? Romance sees you in your Eartha Kitt mode and singing a song that sounds that it belongs in some American Broadway show. It's another winner with its swooning backing vocals and slithers of brass. You also sound bloody wonderful - again.

What are you doing right now Beth? I've decided to take a coffee break and in the process am reading some pretty dramatic sound bites on the album case; "It's among the best albums ever made" (Mojo), "Quietly devestating...." (Uncut), "Bewitching...." (Esquire). Boy, you must be pleased. Okay, I'm back on the case again and it's time for Sand River. Lovely ballad this one and how sexy you sound singing beautiful lines like, "Autumn leaves, Beauty's got a hold on me, Autumn leaves, pretty as can be, Everyone can see, Everyone except me." You have a way with words girl and, up to now, everything is blue sky clarity, with perhaps a slight chill in the air. It's Autumn. Now Beth, I notice that before I get to the next set of lyrics for Spider Monkey, there's a load of studio technology pictures in the sleeve notes. Did you really need all that to record your album? This track appears to. It starts quietly, glacially and threateningly - sounds more like a Portishead song - then after the middle-eight, there's too much noise and I'm having difficulty hearing those great lyrics. Nice but too noisy! Great, quiet keyboard ending though.

I see you're a smoker (nothing funny I hope!). Resolve is something I don't have and yes, I'm still smoking thirty a day. This is another lovely song and I don't think I've ever heard you sing with such expression before. You actually sound different, better. Oh, and I'm pleased that nasty technology hasn't got in the way of this little beauty. And who's this Drake character that let you down after all those years? Didn't he realise? Didn't you? Was it your father? Perhaps we can talk about it sometime? You see, you've got me guessing and that's a good thing, isn't it?

It's a Funny Time Of Year and the album is nearing its close. "It's a funny time of year, I can see, There'll be no blossom, And time spent cryin' has taken me in this year...." I think I know how you feel and it sort of overtakes you; engulfs you; rather like the building instrumental cacophony that envelopes you and this song towards the end. It's a frightening, threatening ambience Beth. It's worked.....

Last track. I warned you about that technology Beth! It's taken your voice and electrified it so I can't understand a word. It must be that Rustin Man playing his tricks again. Still, it's a small blemish on this, your first solo outing (it could have been a lot worse, but not much better). In our last letter, you asked me to give you an honest opinion about the record, and of course, as always, I will. But be warned, I'll be brutal. I'll be brutal about the shit market in which you exist here in the UK; surrounded by hype and hellishly bad music; music that numbs the senses so people can no longer descriminate between mediocrity and excellence. Beth, right now you and a very others keep my hopes alive that things will improve here. Do I like your record? I love your record and I honour the integrity behind it. It's a fine, very moving record Beth and in the words of my favourite album track, 'I'll be there anytime.' And now I'm gonna write to that Jools fella to complain about Weller getting four songs and you only getting two - there's no justice. Finally Beth, take a look at our 'Best of 2002', you may like to savour a few............

Take care

Tone
PS. Fancy a phoner?

4.5/5

interviews