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Beth Orton|Central Reservation

Central Reservation

Beth Orton

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On her stunning sophomore album, Central Reservation, Beth Orton slips free of the electronic textures that colored her acclaimed 1996 debut, Trailer Park, stripping her music down to its raw essentials to produce a work of stark simplicity and rare poignancy. With the exception of a pair of Ben Watt-produced tracks ("Stars All Seem to Weep" and a remix of the title cut), Central Reservation rejects synthetic sounds and beats altogether in favor of an organic atmosphere somewhere between folk, jazz, and the blues; the focal point is instead Orton's evocatively soulful voice, which invests songs like "Sweetest Decline" and "Feel to Believe" with remarkable warmth and honesty. It's a risky move creatively as well as commercially -- after all, the club culture was the first to champion Orton's talents -- but it pays off handsomely; for all its brilliance, elements of Trailer Park already feel dated, but the new material possesses a timelessness that recalls the best of Nick Drake or Sandy Denny, with a haunting beauty to match. And while much has been made of the melancholy that pervades her music, ultimately Central Reservation is first and foremost a record about hope and survival; its emotional centerpiece, the seven-minute "Pass in Time" (a spine-tingling duet with legendary folk-jazz mystic Terry Callier), grapples with the death of Orton's mother, but its underlying message of healing and perseverance is powerfully life-affirming -- her music hasn't merely discovered the light at the end of the tunnel, it's now bathing in it.

© Jason Ankeny /TiVo

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Central Reservation

Beth Orton

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1
Stolen Car
00:05:25

Trevor Smith, Engineer - Ted Barnes, Composer, Lyricist, Guitar - Henry Olsen, Bass Guitar - Will Blanchard, Composer, Lyricist, Drums - Sean Read, Composer, Lyricist, Keyboards, Piano - Lascelles Gordon, Percussion - Ben Harper, Guitar - Mark "Spike" Stent, Mixing Engineer - Giles Hall, Engineer - John Wood, Recording Engineer - Beth Orton, Composer, Lyricist, Guitar, MainArtist, AssociatedPerformer, Vocal - Jan Kybert, AdditionalStudioProducer - Peter Hill, Assistant Engineer - Victor Van Vught, Producer, Engineer - Paul "Pdub" Walton, Assistant Engineer

(P) 1999 Sony Music Entertainment UK Limited

2
Sweetest Decline
00:05:39

Trevor Smith, Engineer - Ted Barnes, Guitar - Will Blanchard, Drums - Sarah Wilson, Cello - Howard Gott, Violin - Lascelles Gordon, Percussion - Dr. John, Piano - Oliver Kraus, Cello, Performance Arranger - Mark "Spike" Stent, Mixing Engineer - Calina de la Mare, Violin - Giles Hall, Engineer - Ruth Gottlieb, Violin - John Wood, Recording Engineer - Beth Orton, Composer, Lyricist, Guitar, MainArtist, AssociatedPerformer, Vocal - Lucy Wilkins, Violin - Jan Kybert, AdditionalStudioProducer - Beki Doe, Violin, Performance Arranger - Becca Ware, Viola - Peter Hill, Assistant Engineer - Victor Van Vught, Producer, Engineer - Paul "Pdub" Walton, Assistant Engineer - Jerry Meyhan, Bass Guitar - Dmitri Van Zwanenburg, Violin - Robert Spriggs, Viola

(P) 1999 Sony Music Entertainment UK Limited

3
Couldn't Cause Me Harm
00:04:47

Ted Barnes, Composer, Lyricist, Guitar - Ali Friend, Bass Guitar - Will Blanchard, Composer, Lyricist, Drums - Sean Read, Composer, Lyricist, Keyboards - Lascelles Gordon, Percussion - Mark "Spike" Stent, Mixing Engineer - Giles Hall, Engineer - John Wood, Recording Engineer - Beth Orton, Composer, Lyricist, Guitar, MainArtist, AssociatedPerformer, Vocal - Jan Kybert, AdditionalStudioProducer - Peter Hill, Assistant Engineer - Victor Van Vught, Producer - Paul "Pdub" Walton, Assistant Engineer

(P) 1999 Sony Music Entertainment UK Limited

4
So Much More
00:05:41

Trevor Smith, Engineer - Ted Barnes, Guitar - Ali Friend, Bass Guitar - Will Blanchard, Drums - Sean Read, Keyboards, Piano - Lascelles Gordon, Percussion - Beth Orton, Composer, Lyricist, Guitar, MainArtist, AssociatedPerformer, Vocal - David Roback, Mixing Engineer - Victor Van Vught, Producer, Engineer

(P) 1999 Sony Music Entertainment UK Limited

5
Pass in Time
00:07:17

Will Blanchard, Drums - Dave Friedman, Vibraphone - Dr. Robert, Producer, Guitar, Mixing Engineer - Terry Callier, Background Vocal - Beth Orton, Composer, Lyricist, Guitar, MainArtist, AssociatedPerformer, Vocal - Dick Meaney, Engineer

(P) 1999 Sony Music Entertainment UK Limited

6
Central Reservation (Original Version)
00:04:50

Ted Barnes, Acoustic Guitar, Electric Guitar - Mark "Spike" Stent, Producer, Mixing Engineer - Beth Orton, Composer, Lyricist, Producer, Acoustic Guitar, MainArtist, AssociatedPerformer, Vocal - Jan Kybert, AdditionalStudioProducer - Paul "Pdub" Walton, Assistant Engineer

(P) 1999 Sony Music Entertainment UK Limited

7
Stars All Seem to Weep
00:04:39

Ben Watt, Producer, Engineer, Guitar, Keyboards, Programmer, Mixing Engineer, AssociatedPerformer - Andy Bradfield, Mixing Engineer - Beth Orton, Composer, Lyricist, MainArtist, AssociatedPerformer, Vocal

(P) 1999 Sony Music Entertainment UK Limited

8
Love Like Laughter
00:03:06

Trevor Smith, Engineer - Ted Barnes, Composer, Lyricist, Guitar - Ali Friend, Bass Guitar - Will Blanchard, Drums - Sean Read, Keyboards - Lascelles Gordon, Percussion - Ben Harper, Electric Guitar - Mark "Spike" Stent, Mixing Engineer - Beth Orton, Composer, Lyricist, Guitar, MainArtist, AssociatedPerformer, Vocal - Jan Kybert, AdditionalStudioProducer - Victor Van Vught, Producer, Engineer - Paul "Pdub" Walton, Assistant Engineer

(P) 1999 Sony Music Entertainment UK Limited

9
Blood Red River
00:04:14

Sarah Wilson, Cello - Howard Gott, Violin - Oliver Kraus, Cello, Performance Arranger - Calina de la Mare, Violin - Giles Hall, Engineer - Ruth Gottlieb, Violin - John Wood, Recording Engineer - Beth Orton, Composer, Lyricist, Producer, Guitar, MainArtist, AssociatedPerformer, Vocal - Lucy Wilkins, Violin - David Roback, Producer, Mixing Engineer - Beki Doe, Violin, Performance Arranger - Becca Ware, Viola - Andrew Waterworth, Bass - Peter Hill, Assistant Engineer - Dmitri Van Zwanenburg, Violin - Robert Spriggs, Viola

(P) 1999 Sony Music Entertainment UK Limited

10
Devil Song
00:05:03

Ted Barnes, Mandolin - Lascelles Gordon, Percussion - Giles Hall, Engineer - Beth Orton, Composer, Lyricist, Guitar, Harmonium, MainArtist, AssociatedPerformer, Vocal - David Roback, Producer, Acoustic Guitar, Mixing Engineer - Peter Hill, Assistant Engineer

(P) 1999 Sony Music Entertainment UK Limited

11
Feel to Believe
00:04:02

Beth Orton, Composer, Lyricist, Producer, Guitar, MainArtist, AssociatedPerformer, Vocal - Mike Benn, Engineer

(P) 1999 Sony Music Entertainment UK Limited

12
Central Reservation (The Then Again Version)
00:04:01

Ben Watt, Producer, Engineer, Guitar, Keyboards, Programmer, Mixing Engineer, AssociatedPerformer - Andy Bradfield, Mixing Engineer - Beth Orton, Composer, Lyricist, MainArtist, AssociatedPerformer, Vocal

(P) 1999 Sony Music Entertainment UK Limited

Presentación del Álbum

On her stunning sophomore album, Central Reservation, Beth Orton slips free of the electronic textures that colored her acclaimed 1996 debut, Trailer Park, stripping her music down to its raw essentials to produce a work of stark simplicity and rare poignancy. With the exception of a pair of Ben Watt-produced tracks ("Stars All Seem to Weep" and a remix of the title cut), Central Reservation rejects synthetic sounds and beats altogether in favor of an organic atmosphere somewhere between folk, jazz, and the blues; the focal point is instead Orton's evocatively soulful voice, which invests songs like "Sweetest Decline" and "Feel to Believe" with remarkable warmth and honesty. It's a risky move creatively as well as commercially -- after all, the club culture was the first to champion Orton's talents -- but it pays off handsomely; for all its brilliance, elements of Trailer Park already feel dated, but the new material possesses a timelessness that recalls the best of Nick Drake or Sandy Denny, with a haunting beauty to match. And while much has been made of the melancholy that pervades her music, ultimately Central Reservation is first and foremost a record about hope and survival; its emotional centerpiece, the seven-minute "Pass in Time" (a spine-tingling duet with legendary folk-jazz mystic Terry Callier), grapples with the death of Orton's mother, but its underlying message of healing and perseverance is powerfully life-affirming -- her music hasn't merely discovered the light at the end of the tunnel, it's now bathing in it.

© Jason Ankeny /TiVo

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