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Release Date June 18, 1999
The reference points are obvious: King Tubby, Cocteau Twins, Massive Attack and film noir soundtracks. Back in the '90s Portishead were unfathomably cool and fashionable, and did much to popularise trip-hop. Portishead repackaged soul and jazz music, and sold it to critics who had no real interest in those genres. Tellingly, the album received the prestigious Mercury Music prize in 1995, confirming its status among indie rock critics as that years' most highly regarded novelty record.
For all of Portishead's apparent cynicism, it would be easy to overlook if not for their irritatingly pretentious singer. Beth Gibbons is no Billie Holiday or Ella Fitzgerald, nor does her singing stand up to comparisons with Liz Fraser or Shara Nelson. ... Read More:
Release Date
The reference points are obvious: King Tubby, Cocteau Twins, Massive Attack and film noir soundtracks. Back in the '90s Portishead were unfathomably cool and fashionable, and did much to popularise trip-hop. Portishead repackaged soul and jazz music, and sold it to critics who had no real interest in those genres. Tellingly, the album received the prestigious Mercury Music prize in 1995, confirming its status among indie rock critics as that years' most highly regarded novelty record.
For all of Portishead's apparent cynicism, it would be easy to overlook if not for their irritatingly pretentious singer. Beth Gibbons is no Billie Holiday or Ella Fitzgerald, nor does her singing stand up to comparisons with Liz Fraser or Shara Nelson. ... Read More:
Release Date September 28, 1998
Other reviewers have said it all - I just want to clarify a couple of things
1) A couple of tracks here are not the same performances as on the companion video. One of them, Roads, was recorded at a festival (and certainly sounds like it!). The other - well, read on...
2) None of the tracks on this album deserve to be damned with the faint praise of "faithful reproduction of the originals". For one thing, they're all loud and vivid-sounding, with a fine balance of ambience and clarity (and this makes a particular difference to the second-album material - Cowboys is a speaker-blaster!). Elsewhere, Mysterons and Strangers have extended codas; Half Day Closing (with all its vocal processing intact) ends with a strange `Liberty Bell'-like ... Read More:
Release Date August 18, 1994
The reference points are obvious: King Tubby, Cocteau Twins, Massive Attack and film noir soundtracks. Back in the '90s Portishead were unfathomably cool and fashionable, and did much to popularise trip-hop. Portishead repackaged soul and jazz music, and sold it to critics who had no real interest in those genres. Tellingly, the album received the prestigious Mercury Music prize in 1995, confirming its status among indie rock critics as that years' most highly regarded novelty record.
For all of Portishead's apparent cynicism, it would be easy to overlook if not for their irritatingly pretentious singer. Beth Gibbons is no Billie Holiday or Ella Fitzgerald, nor does her singing stand up to comparisons with Liz Fraser or Shara Nelson. She has a frail, wispy ... Read More:
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