Pop & Miscellaneous The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. http://www.theblues-thatjazz.com/en/pop-miscellaneous/221.html Thu, 23 Sep 2021 01:18:04 +0000 Joomla! 1.5 - Open Source Content Management en-gb Portishead - Portishead (1997) http://www.theblues-thatjazz.com/en/pop-miscellaneous/221-portiseg/26743-portishead-portishead-1997.html http://www.theblues-thatjazz.com/en/pop-miscellaneous/221-portiseg/26743-portishead-portishead-1997.html Portishead - Portishead (1997)

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1		Cowboys		4:38
2		All Mine	3:59
3		Undenied	4:18
4		Half Day Closing	3:49
5		Over	4:00
6		Humming		6:02
7		Mourning Air	4:11
8		Seven Months	4:15
9		Only You	4:59
10		Elysium	5:54
11		Western Eyes	3:57

Arranged By [Strings & Horns] – Adrian Utley
Arranged By [Strings & Horns], Orchestrated By [Strings], Conductor – Nick Ingman
Bass – A.Utley (tracks: 2, 4, 5, 7, 9)
Drums – C.Deamer (tracks: 1, 6, 8, 11), G.Barrow (tracks: 4, 5, 9)
Electric Piano [Rhodes], Piano – A.Utley (tracks: 9, 11)
Guitar – A.Utley (tracks: 1, 2, 4, 5, 7 to 10)
Horns – A.Hague, B.Waghorn, J.Cornick (tracks: 2)
Organ, Piano – J.Baggot (tracks: 9, 10) 
Synthesizer [Moog] – A.Utley (tracks: 4, 6)
Vocals [Additional] – S.Atkins (tracks: 1, 11)
Violin – S.Cooper (tracks: 4)
Trombone – J.Cornick (tracks: 7)

 

Portishead's debut album, Dummy, popularized trip-hop, making its slow, narcotic rhythms, hypnotic samples, and film noir production commonplace among sophisticated, self-consciously "mature" pop fans. The group recoiled from such widespread acclaim and influence, taking three years to deliver its eponymous second album. On the surface, Portishead isn't all that dissimilar from Dummy, but its haunting, foreboding sonic textures make it clear that the group isn't interested in the crossover success of such fellow travelers as Sneaker Pimps. Upon repeated plays, the subtle differences between the two albums become clear. Geoff Barrow and Adrian Utley recorded original music that they later sampled for the backing tracks on the album, giving the record a hazy, dreamlike quality that shares many of the same signatures of Dummy, but is darker and more adventurous. Beth Gibbons has taken the opportunity to play up her tortured diva role to the hilt, emoting wildly over the tracks. Her voice is electronically phased on most of the tracks, adding layers to the claustrophobic menace of the music. The sonics on Portishead would make it an impressive follow-up, but what seals its success is the remarkable songwriting. Throughout the album, the group crafts impeccable modern-day torch songs, from the frightening, repetitive "Cowboys" to the horn-punctuated "All Mine," which justify the detailed, engrossing production. The end result is an album that reveals more with each listen and becomes more captivating and haunting each time it's played. ---Stephen Thomas Erlewine, allmusic.com

 

Minęły trzy lata i Portishead wrócił albumem zatytułowanym tak, jak brzmi nazwa zespołu. Na pierwszy rzut oka nic się nie zmieniło. Znów dominuje ten duszny, dławiący i neurotyczny nastrój. Znów elektronika miesza się z naturalnymi brzmieniami tworząc wcale jednorodną całość. I ponownie nad wszystkim góruje chory, drżący głos Beth Gibbons. A sama zawartość? Zaczyna niepokojący, nerwicowy "Cowboys". Potem jest prawdziwa perła – jazzujący "All Mine" z genialnymi dęciakami, odznaczający się wyrafinowaną strukturą harmoniczną. Do najważniejszych momentów wypada zaliczyć "Half Day Closing", "Only You", "Over", a także tajemniczy, rozedrgany "Humming". Ogólnie mamy do czynienia z albumem równym, bez większych wpadek. Jako autorka słów, Gibbons ewoluuje tu w stronę swobodnie manifestowanego feminizmu, zaborczego i władczego, czego największy wyraz daje w "All Mine". Pozostaje jednak istotą wrażliwą i wewnętrznie złożoną, poszukującą samookreślenia.

A wiec drugi album grupy okazuje się być następną, po Dummy, odsłoną tego samego przedstawienia: pełnego bólu i cierpienia, ale też swoistego piękna. Różnica pozostaje taka, że debiut osiągnął status klasyki, natomiast Portishead zakończy swoją karierę w wybranych kręgach. Mimo, że oba wydawnictwa prezentują podobny poziom. Można by więc spytać tak: co zmieniło się, jakie są różnice w porównaniu z debiutem? Jeśli dopatrywać się jakiejś własnej, charakterystycznej cechy, jaką mogłaby się poszczycić druga płyta Portishead, to byłoby to chyba bardziej przestrzenne brzmienie, więcej powietrza w ogólnych aranżacjach. Dotyczy to zwłaszcza wyżej wspomnianego "Half Day Closing", "Over" i "Only You", korespondujących nieodparcie z zadumą i nastrojem nagrań Pink Floyd. Zwraca również uwagę większa dbałość o melodie: więcej w nich tym razem ulotnego piękna i zwiewności. Trudno jednak zaprzeczyć stwierdzeniu, że drugi album Portishead jest kontynuacją pierwszego wydawnictwa. ---Borys Dejnarowicz, porcys.com

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administration@theblues-thatjazz.com (bluelover (Bogdan Marszałkowski)) Portishead Thu, 08 Apr 2021 09:25:33 +0000
Portishead – Dummy (1994) http://www.theblues-thatjazz.com/en/pop-miscellaneous/221-portiseg/410-dumy94.html http://www.theblues-thatjazz.com/en/pop-miscellaneous/221-portiseg/410-dumy94.html Portishead – Dummy (1994)


01 - Mysterons 
02 - Sour Times 
03 - Strangers 
04 - It Could Be Sweet 
05 - Wandering Star 
06 - It's a Fire 
07 - Numb 
08 - Roads 
09 - Pedestal 
10 - Biscuit 
11 - Glory Box

Gary Baldwin 	Organ (Hammond)
Geoff Barrow 	Drums, Fender Rhodes, Mixing, Programming
Clive Deamer 	Drums
Beth Gibbons 	Vocals
Andy Hague 	Trumpet
Dave McDonald 	Nose Flute
Richard Newell 	Drum Programming, Programming
Neil Solman 	Fender Rhodes, Organ (Hammond)
Adrian Utley 	Bass, Guitar, Organ (Hammond), Producer, Theremin 

 

Portishead's album debut is a brilliant, surprisingly natural synthesis of claustrophobic spy soundtracks, dark breakbeats inspired by frontman Geoff Barrow's love of hip-hop, and a vocalist (Beth Gibbons) in the classic confessional singer/songwriter mold. Beginning with the otherworldly theremin and martial beats of "Mysterons," Dummy hits an early high with "Sour Times," a post-modern torch song driven by a Lalo Schifrin sample. The chilling atmospheres conjured by Adrian Utley's excellent guitar work and Barrow's turntables and keyboards prove the perfect foil for Gibbons, who balances sultriness and melancholia in equal measure. Occasionally reminiscent of a torchier version of Sade, Gibbons provides a clear focus for these songs, with Barrow and company behind her laying down one of the best full-length productions ever heard in the dance world. Where previous acts like Massive Attack had attracted dance heads in the main, Portishead crossed over to an American, alternative audience, connecting with the legion of angst-ridden indie fans as well. Better than any album before it, Dummy merged the pinpoint-precise productions of the dance world with pop hallmarks like great songwriting and excellent vocal performances. ---John Bush, AllMusic Review

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administration@theblues-thatjazz.com (bluelover) Portishead Tue, 13 Oct 2009 20:22:04 +0000