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Beth Orton - Central Reservation (1999) [FLAC] [Aksman Vinyl Rip] [24-96]

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Description

Music : Folk : Lossless
Thank you to Aksman
for this encoding

 

Artist: Beth Orton
Release: Central Reservation
Discogs: 1878600
Released:
1999 / 2008-03-28
Label: Heavenly / Classic Records
Catalog#: HVNLP  22 / RTH-2011
Format: 2 x Vinyl, LP, Album, Remastered
Country: US
Style: Electronic, Rock, Folk
Rock, Downtempo

Tracklisting:

A1. Stolen Car (5:25)
A2. Sweetest Decline
(5:39)
A3. Couldn't Cause Me Harm (4:48)
B1. So Much More (5:41)
B2. Pass In Time
(7:17)
B3. Central Reservation (Original Version) (4:50)
C1. Stars All Seem To Weep (4:39)
C2. Love Like Laughter (3:07)
C3. Blood Red River (4:15)
D1. Devil Song (5:04)
D2. Feel To Believe (4:04)
D3. Central Reservation (The Then Again Version) (4:01)

Album Review - pastemagazine


Beth Orton’s second album, Trailer Park, was a statement of
purpose into a UK music scene that was still feeling the last waves of Britpop and was quickly getting ensconced in
various strains of dance music. Her association with electronic artists and producers like the Chemical Brothers and
Andrew Weatherall certainly helped draw some necessary attention to her work. But her meshing of folk-pop with trip-hop
only worked in small moments.

The gentle colliding of worlds felt much more solid and purposeful on her
follow-up, 1999’s Central Reservation, which is being re-released this week with an added disc of live sessions,
remixes and b-sides.

Orton seemed at this time to have worked out the kinks of this new sound she was helping
shepherd into being. The songs on this album felt much more mature, free of the cute, but lightweight sentiment of a
song like “Someone’s Daughter” (featured here on disc 2 in acoustic form). In its place is a much
more sensual side (“I can still smell you on my fingers and taste you on my breath,” she sings on the title
track) as well as an unusual facility for blues songwriting (see the ominous “Devil Song”). No matter what
it all seems to come out in breathy Sandy Denny-like tones, but she can’t fight who she is.

Another
key to the success of this album are the producers who helped Orton tap into the varying sides of her musical
personality. Mazzy Star songwriter David Roback taps into the dark shades of violet and midnight that curl around the
outside of her voice by keeping the music acoustic and sparse. Victor Van Vugt, who worked on Trailer Park, maintains
her then-modern pop sound with downtempo beats and lucid bass tones. And Everything But the Girl member/house producer
Ben Watt aimed to do as he did for his wife Tracey Thorn: turning Orton into a dance floor diva. He came damn close to
succeeding.

The second disc does as all these deluxe reissues do, filling in the gaps in and around the
recording of the main album. There is some context here with a handful of demos, including versions of the title track
and “Couldn’t Cause Me Harm” that show how complete Orton’s vision for this album really was.
The “Sessions at West 54th” material is nice to have, especially to hear how she adapted many of these songs
for acoustic guitars, even if the recording quality feels a little tinny in comparison to the rest of the LP. The only
unnecessary addition was the Latin house remix of “Central Reservation” tacked on for the fans who must have
everything.

As nice as this package is, the only thing that really makes this reissue worth picking up is the
interview with Orton in the booklet, where she goes over her changing relationship with the album and these songs.
Otherwise, this set feels like an odd choice considering there wasn’t any remastering involved and therefore how
close it sounds to the original CD issue (which can likely be picked up used at your local record shop). But if it is
keeping this fine album in circulation, and hopefully getting some money to Orton so she can keep making music (her most
recent LP Sugaring Season was one of the best albums of 2012), we should welcome this with open arms.

http://www.youtube.com/watch?v=vHqB8xuNfB8

Audio Information

Thanks to Aksman for this
rip.


Track listing

Side A
"Stolen Car" – 5:25
"Sweetest
Decline" – 5:39
"Couldn't Cause Me Harm" – 4:48

Side B
"So Much
More" – 5:41
"Pass in Time" – 7:17
"Central Reservation" (Original
version) – 4:50

Side C
"Stars All Seem to Weep" – 4:39
"Love Like
Laughter" – 3:07
"Blood Red River" – 4:15

Side D
"Devil
Song" – 5:04
"Feel To Believe" – 4:04
"Central Reservation" (The Then
Again version) – 4:01


Technical Log

RCM Hannl 'limited' with "Circulating
Brush"
Music Hall MMF 9.1 Turntable 
Tonearm: Pro-Ject 9cc evo with Pure Silver Wires
Cartridge:
Nagaoka MP-500
Brocksieper Phonomax (Tube Phono PreAmp) (temporarily replaced by "ProJect Tube-Box 2 SE)
E-MU 0404 external USB 2.0 Audiointerface
Interconnections : Silent Wire NF5
WaveLab 6 recording software
iZotope RX Advanced 1.21 for resampling and dithering 

Vacuum cleaning > TT > Brocksieper Phonomax
> E-MU 0404 > WaveLab 6 (24/192) > manual click removal >
analyze (no clipping, no DC Bias offset) >
converted to 24/96 (16/44.1) with iZotope RX Advanced 1.21 
> split into individual Tracks > FLAC encoded
(Vers. 1.21)

No silence been removed, please burn gapless to match original tracklayout.                                                             

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