Out of Season [US Bonus Track]

( 2 )

Editorial Reviews

All Music Guide - Andy Kellman
Out of Season plays to Beth Gibbons' strengths as a vocalist and songwriter more than anything released prior by Portishead. On both Dummy and Portishead, her pained, worn, resilient voice was often made to sound as if it was as much an artifact as the Isaac Hayes and Lalo Schifrin samples. That voice of hers was perfectly suited for the backing provided by her bandmates, but more than a few wondered if it would sound even more perfect -- or in a better setting, naked and completely central -- if it were supported by the type of folk, jazz, and R&B recordings it could've been plucked from in the first place. That "what if" is answered with this album, made by Gibbons ...
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Editorial Reviews

All Music Guide - Andy Kellman
Out of Season plays to Beth Gibbons' strengths as a vocalist and songwriter more than anything released prior by Portishead. On both Dummy and Portishead, her pained, worn, resilient voice was often made to sound as if it was as much an artifact as the Isaac Hayes and Lalo Schifrin samples. That voice of hers was perfectly suited for the backing provided by her bandmates, but more than a few wondered if it would sound even more perfect -- or in a better setting, naked and completely central -- if it were supported by the type of folk, jazz, and R&B recordings it could've been plucked from in the first place. That "what if" is answered with this album, made by Gibbons in collaboration with Paul Webb, several of his fellow Talk Talk alums, and numerous others. Brass, strings, reeds, organs, acoustic guitar, double bass, and lightly brushed drums are all part of the mix, which never threatens to take the spotlight away from Gibbons. The lyrical themes aren't much of a departure for the singer, who contemplates the passing of time and her love/hate relationship with existence throughout -- one song opens with "God knows how I adore life," and then one song later, she's "So tired of life." The icing on the cake is in the little details, like the sly Carol Kaye imitation snuck in by bassist Adrian Utley during "Romance" and the way the background vocals discreetly drift in and out, alternating between serene and spooky. The sticker that came affixed to the disc contains a quote that proclaims this to be one of the best albums of all time. While that is a stretch, there's no denying that the quote below that one -- "Quietly devastating" -- is 100 percent accurate. [The U.S. version, issued nearly a year after the album's initial release, adds a live cover of the Velvet Underground's "Candy Says"; the video for "Mysteries" is also included.]
Billboard - Chris Morris
A superb excursion that will go down especially well in the wee small hours of the soul.
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Product Details

  • Release Date: 10/7/2003
  • Label: Sanctuary Records
  • UPC: 060768464827
  • Catalog Number: 84648
  • Sales rank: 90,471

Tracks

Disc 1
  1. 1 Mysteries (4:39)
  2. 2 Tom the Model (3:42)
  3. 3 Show (4:26)
  4. 4 Romance (5:10)
  5. 5 Sand River (3:49)
  6. 6 Spider Monkey (4:11)
  7. 7 Resolve (2:51)
  8. 8 Drake (3:54)
  9. 9 Funny Time of the Year (6:49)
  10. 10 Rustin Man (4:24)
  11. 11 Candy Says (5:22)
  12. 12 Mysteries (video)
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Album Credits

Performance Credits
Beth Gibbons Primary Artist, Indexed Contributor, Acoustic Guitar, Vocals, Vocoder
John Barclay Flugelhorn
Mark Berrow Violin, Performing Ensemble
Clive Deamer Drums, Timpani
Mark Feltham Percussion, Conga
Pete Glenister Acoustic Guitar
Leo Green Horn Section
Lee Harris Percussion, Drums
Nick Ingman Conductor
Martin Loveday Cello, Performing Ensemble
Neill MacColl Background Vocals
Lorraine McIntosh Background Vocals
Marilyn Powell Background Vocals
Frank Ricotti Vibes
Adrian Utley Organ, Acoustic Guitar, Bass, Guitar, Piano, Bass Guitar, Electric Guitar, Moog Synthesizer, Ebo, Tremolo Bass
Paul Webb Percussion, Piano, Trombone, Accordion, Keyboards
Gavyn Wright Violin, Performing Ensemble
Mary Scully Double Bass
Ben Chappell Cello, Performing Ensemble
Peter Lale Viola, Performing Ensemble
Gary Baldwin Harmonica
Patrick Kiernan Violin, Performing Ensemble
Boguslaw Kostecki Violin, Performing Ensemble
Eddie Roberts Violin, Performing Ensemble
Bruce White Viola, Performing Ensemble
John Baggot Organ, Piano, Wurlitzer
Philip Dukes Viola, Performing Ensemble
Perry Mason Violin, Performing Ensemble
Jonathan Tunnell Cello, Performing Ensemble
Warren Zielinski Violin, Performing Ensemble
Matt Holland Horn Section
Rachael Brown Background Vocals
Joy Rose Background Vocals
Sam Webb Percussion
Christopher Tombling Violin, Performing Ensemble
David Woodcock Violin, Performing Ensemble
Simon Edwards Double Bass
Technical Credits
Phil Brown Engineer
Nick Ingman Strings Orchestrator
Adrian Utley Producer, Engineer
Paul Webb Arranger, Composer, Producer
Beth Gibbons Arranger, Composer, Producer, Engineer
Andy Montgomery Engineer
Steve McNichol Programming
Neil Perry Engineer
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Customer Reviews

Average Rating 4
( 2 )
Rating Distribution

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(1)

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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Beths AND Rustin Manns Album- Very Nice

    First off, I DO like this album. I really does a great job of capturing the essence of what we love about Beths voice. Sadly though, there are really no dynamics to this album. You may keep waiting for an "up-number", but it never comes. Much like the way The Doors albums after Morrison showed just what he added, and that neither would have made it without the other, we realize the rest of Portishead is really what makes her vocals shine. I love many of these songs, however, I have yet to be able to listen to the whole album in one sitting.

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  • Anonymous

    Posted October 1, 2010

    Beth's solo album

    What else is there to say? This album is quite amazing. I'm a longtime Portishead fan and was quite suspicious of this album. I didn't want to believe that Beth and Adrien were leaving Geoff behind or anything. But when I finally gave this album a chance, I just couldn't even handle it's beauty. It far surpasses any emotive responses I have had with previous Portishead albums. I believe this is due to the subtle aspect of the record, it isn't overly dramatic like most Portishead work. But it's very quiet and includes many moments where the sonic textures are just.. hair-raising.. it's wintry in the best ways. It opens with the muted twinkle of acoustic and choir establishing a pastoral autumnal-ness.. and progresses towards increasing spookiness, balances that with some electronic touches which establish a harder approach and ends with a completely weird highly manipulated track that adds a modern touch to an album that sounds like it could have been made in the 40s, if an Edward Scissorhands-era-Danny Elfman were conducting the orchestra. It's terrific.

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Sort by: Showing all of 2 Customer Reviews