Out of Season [US Bonus Track] Beth Gibbons & Rustin Man

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CD - Enhanced

  • Release Date: 10/07/2003
  • Original Release: 2002
  • Sales Rank: 48,019
  • Label: SANCTUARY RECORDS
  • UPC: 060768464827
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CD$14.99
 
  • Overview
  • Tracks
  • Editorial Reviews
  • Customer Reviews
  • Details & Credits
Track List
Click on LISTEN or link to hear an audio clip.
To listen to samples you'll need a Windows Media Player

Out of Season [US Bonus Track]

1LISTENMysteries 4:39
2LISTENTom the Model 3:42
3LISTENShow 4:26
4LISTENRomance 5:10
5LISTENSand River 3:49
6LISTENSpider Monkey 4:11
7LISTENResolve 2:51
8LISTENDrake 3:54
9LISTENFunny Time of the Year 6:49
10LISTENRustin Man 4:24
11LISTENCandy Says Live / Bonus Track 5:22
12Mysteries (video) / Beth Gibbons Multimedia Track

Editorial Reviews

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.] Andy Kellman, All Music Guide



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Customer Reviews

  • Listener Rating:
  • Ratings: 2Reviews: 2

Out of Season [US Bonus Track]by Anonymous

Reader Rating:
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August 27, 2005: 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.

Out of Season [US Bonus Track]by Anonymous

Reader Rating:
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March 21, 2004: 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.