Review by LarryG
2½ stars out of 4
Beth Orton is one of the more interesting singer/songwriters to
emerge in the last few years. She's an expressive writer, a real poet
with a deep sadness underlying her work. Orton has often found
appealing music to accompany her words. In the past, she worked with
the Chemical Brothers with Orton's cool reserve appealingly
contrasting the beats. Trailer Park, her solo debut, was a good mix of
straight folk songs, folk rock and a few songs with a good dance beat.
On Central Reservation, I miss the folk rock. Orton creates
interesting characters with her lyrics but the music can drag. It
doesn't always draw you to the words like it should. Orton's singing
can be awkward and whiny.
When the music is as strong as the lyrics, Central Reservation
is very impressive. Orton's naturally melancholy vocals have more life
when they keep up with a steady beat. On Stolen Car, Orton's vocals
appealingly twist around the music, speeding up and slowing down her
delivery. Strings added to the generally stark sound add to the good
tense atmosphere. Referring to a manipulative ex, Orton sings,"while
every line speaks the language of love, it never held the meaning I
was thinking of." Sometimes the quiet approach works. With a moody
piano from Dr. John and strings, Sweetest Decline has a nice, jazzy
feel. Stars All Seem to Weep has atmospheric keyboards plus beats for
the trip hop sound Orton has succeeded with before. She sadly sings of
being beyond a time "when food and love was all that left a hunger."
Some of the slower songs are just boring and need some energy. So Much
More has a sad, pure emotion but it's almost musically inert. Orton's
voice is often a little unsteady but on Pass In Time she's plain out
of tune and her harmonies with a male singer are pretty awful. Blood
Red River, about a sad journey from the Lilac Lily Glade, asks the
question, why must people always want what they can't have? The Devil
Song tells about how tryin' to rectify can get you lost a little
further. The lyrics of those songs and the ache in Orton's voice are
fascinating but the music is drab and unprepossessing and Orton's
awkward, quavering voice can lose you.
There are two versions of the title track on Central
Reservation. They illustrate how Orton benefits when her music is more
vibrant. Orton comes alive on the dance mix by Ben Watt of Everything
But The Girl, who similarly benefitted from a remix of their hit
Missing. The buoyant beat matches Orton's lyrics about emerging from a
successful romantic encounter with a sense of optimism and
possibility. The quieter version is nice but doesn't express the same
joy.
In the end, Central Reservation is a matter of taste. Many
thoughtful folk fans think it was one of the best records of '99. If
you're looking for a quiet, reflective, literate restrained performer
and can tolerate Orton's shaky voice and sometimes awkward, downbeat
presentation, Central Reservation is the CD for you. I find it a
little wearing and would appreciate a little more musical action.
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