Central Reservation

If the color beige was an album.

British folktronica, huh? You know, on paper, I should have disliked this, but I didn't. I didn't really LIKE it either. I just... experienced it. It would be very hard to hate this album. It's just so inoffensive. But that's, to some degree, why it's hard to love it too. It has no sharp edges, pushes no boundaries, and doesn't ask anything of the listener. It just... exists quietly in the corner out of everyone's way. Every track lingers just a little too long and Beth spends just a little too much time singing wordless nothings for no reason. Her voice is excellent. I just wish she was singing something interesting.

At the expense of noodling, this album is exceptional, especially considering I've never heard of the artist let alone the album. Throughout the album we get a series of emotionally charged tracks with generally gentle and simple arrangements. Orton's voice is gentle and breezy, but on occasion tastes metallic due to the heaviness and tumultuousness of some of the lyrics. Examples would include some of the last few songs on the album, which are in spite of being on an album with no bad songs, probably my favourite part of the record. The album is generally described as a ''folktronica'' work, but I really didn't see a lot of that. With the exception of a few songs like Stars All Seem To Weep and the last track of the album, which is basically the title track remixed. The overarching genre here is folk and to an extent alternative folk. Most songs on the release are longer than 5 minutes, but they all just seem to breeze by since another one the album's major features is its sheer diversity in scope and structure of the songs at hand. You never feel like a song has been rehashed (last track aside) or repeated. The arrangements are always simple but more is less here. Undeniably one of the most underrated singer/songwriter albums of the 90s. In a world of musicians and singers like Alanis Morissette, Fiona Apple, Sinead O'Connor, Tori Amos and PJ Harvey, this gem seemed to have slipped under the radar. Let's change that. 10/10

This album feels like going out for the day with your mom for a day when you are 7, and while you've long since forgotten what you did, you remember what it felt like. Being softly cradled and warmed by some soft and immutable force that you'll never be able to articulate, but one we've all felt. Beautiful use of Orton's soft, slight and occasionally wailing voice. The arrangements are never dense, but soft and ones that lull and lightly pull you to keep listening. Like soft pirouettes in a slowly dying house. Beth Orton gives us rest in the quiet in-betweens of life. These simple memories that we are forgetting, but somehow it feels comforting to do so. Childhood ended, we've moved on, but that deep yearning never will. (7/10, may end up as an 8 if I keep listening)

Another album that I can't even remember listening to. Dull.

Unnnngh big nostalgia bump for this album - takes me straight back to uni. I think I'd still give it 5 stars even without the familiarity, but who can say? Fave track - "Stolen Car" - such a fantastic album opener. The title track is great too...

This was interesting. I wasn't really feeling it for the most part until I took a nap in the corner of an empty classroom in between classes, and then it hit different. Do with that information what you will.

High-quality beige wave is my after-one-minute review. This passed through my evening with the apologetic air of a vicar’s fart, but it did awaken a lost craving: I time for some Butthole Siurfers.

So glad I got this recommendation today firstly because it’s a good album but also I’ve had a run of sub-par music from female artists on here and was feeling sexist. Bad bits: sometimes veers off into quite poor trip-hop production, and that near-shout middle part of her voice wears a bit after a while. That’s it though, the rest l like a lot. It definitely wanders as an album, and in this case I like that, it meanders gently. When singing softly her voice is beautiful and in few places she stretches her vocals quite powerfully. Most of the songs are thoughtful and atmospheric and in “Pass in time” really quite moving.

Can see why it was called Modern Sounds, the big band feel, makes it bright, sharp and punchy. None of these tracks sound like Country and Western songs, so I'm assuming they are standards/classics in C&W which makes Charles reinterpretation of them so striking, he's placing a big band aesthetic over them, making them feel new and impactful. Charles has great phrasing, he can stretch and hold a note so well. Not many words in some of the lyrics, but he lets them float over the music. He also hold and bend notes so well, to fit to fill the phrasing and tempo of each song. More a fan of the uptempo numbers, but the slower ones show off the versatility of Ray’s voice/tone.

Dull. I even listened to this in a hipster coffee shop and felt nothing

I normally love this type of music. But I kept losing interested. There are splashes of stuff I really dig, but then it would be back to various vocalizations and “vibes” I wasn’t vibing to. 2.5/5

Wow. I’d heard vaguely good things about this album before but never checked it out until now. This was absolutely beautiful, quite minimalist folky arrangements with Orton’s stellar voice shining through

90s coffee shop realness

“Beth Orton is a name that’s been on my radar over the years,” I thought earlier today, before listening to Central Reservation. If you’ve read enough music magazines over the course of the last 25 years, there are a lot of names that might end up on your radar, so it wasn’t really a surprising thought for me to have. “Oh wait…did Beth Orton sing on “All I Need” and “You Make it Easy” from Air’s Moon Safari?” I thought while listening to the first few tracks on my drive home. “I’ll have to Google that when I get to the house”. “Nope, that was Beth Hirsch, you dummy,” I said to myself as I was proven wrong by Google and came to the realization that I have no idea about Beth Orton at all. Right about now, I’m sure you’re like, “Wow, what an interesting story, dumbass.” …and you’re right, it’s not interesting. Point is, maybe I come off as a know-it-all sometimes, but really I’m just a “don’t-really-know-anything-at-all” most of the time and I’m willing to bet some of you suffer from that affliction too. So when I tell you that this is a great record, with beautiful instrumentation to match Beth Orton’s beautiful voice, even if it feels a little dated in a few spots, you should trust that I know what I’m talking about. Or, maybe I don’t. …why is this record making me have an existential crisis right now? I gotta go….I’ll talk to you tomorrow.

I'm not sure who she was trying to channel: Carol King, The Cranberries, Joni Mitchell, or some other coffee house half-talent. This was a bland, monotone album. This is what you play when you want to encourage your houseguests to leave and not come back.

One of my all time favorite artists and one of her best albums. I hope everyone enjoys this as much as I do.

I really love Beth Orton's voice and delivery. Stolen Car is an absolutely amazing song, her voice carries a great melancholy and passion. Central Reservation and Stars All Seem to Weep really stand out as well. Much of the rest does have a samey feel, but the vibe is great.

What a voice, what a singer, what a record. And what a concept – break her out of full trip-hop constraints and watch the music soar in charming and humane directions. The light-touch production throughout is a major plus, allowing the mix of acoustic instruments and electronica/chill touches its full effect. The upbeat songs are playful, even frolicsome, and the ballads fully affecting and almost touching at times. "Sweetest Decline" is perfectly lovely, both title cuts are richly melancholic and "Pass In Time" utterly inspirational. The album lags late, it must be admitted but the peaks are too good for the overall effect to be much diminished. One admits a deep engagement with this and her other early records upon their release and during a particularly meaningful (certainly changeful) and mostly happy time of one's life – maybe even the best and most meaningful. That counts of course, but the music retains nearly all its warmth and many merits. Few artists had a better run than Beth O during those millennial-straddling years and her record of just a year or two ago suggest her ongoing power.

Solid mildly pleasant folk pop. 5/10

"Central Reservation," Beth Orton's sophomore album, beautifully melds folk and electronic elements, creating a sound that resonates with the essence of Joni Mitchell while infusing a modern accessibility that defined the late 1990s. Orton's introspective lyrics and ethereal vocals echo Mitchell's poetic storytelling, yet her incorporation of contemporary production techniques and understated beats makes the album feel fresh and relatable for a new generation. This balance of timelessness and modernity invites listeners to connect deeply with the music, showcasing Orton's ability to bridge the gap between classic folk influences and a more current aesthetic.

Exquisite voice

This is an absolutely top-tier singer-songwriter album in my eyes. Real feeling an emotion behind the vocals, simple but beautiful hooks, and and evokes calm with some tracks and raw vulnerability with others. I'd never heard of Beth Orton before this, but this record makes me want to research her discography much deeper. Notable Tracks: - Stolen Car - Couldn't Cause Me Harm - Pass in Time - Central Reservation - incredible song - Feel to Believe 9/10

It’s okay, not too good. Very folky and electronic, her vocals are a bit annoying in some parts, not very soothing. Some songs are fun to listen to, I think I would recommend listening to it because it is an enjoyable experience. 6.9/10.

I liked her wistful way of singing, perhaps for one song at a time. I don't love a whole album of her voice. Her songs are pretty but aside from "Stolen Car," nothing really stands out to me.

Beth Orton creates a very playful, warm, delicate and pleasant sounding record with Central Reservation. The production is stellar, the lyrics are touching and Beth's voice is incredible. If there are things to criticise, it has to do with the editing process, non-lexical vocals, and very sparingly, a lack of energy or focus. Some tracks went on for too long. This was especially noticible on So Much More and Pass In Time, with the last two minutes dragging on and introducing nothing new. While most of the record is extremely well produced, Feel To Believe is not up to standard. Lastly, I am not a great fan of the jazzy "la la la" or "da da da", as they are the greatest reason for some tracks not elevating themselves to more than being background, chamber pop. Bonus points for the futuristic elements on Stars All Seem To Weep, which reminds me of Portishead's best. A solid 3/5, just shy of reaching 4/5.

The wiki page mentioned the influence of John Martyn, which I didn’t hear initially, but now I’m aware of it it’s very noticeable. A fusion of American pop/rock singer-songwriters like Alanis Morrisette and the British jazz/folk of John Martyn, and sometimes the lush orchestration of Nick Drake. And the very British electronic dance music tilt. A lovely album in itself, but extra credit for bringing these different elements together so well. Also, the lines 'The smile on your lips was the deadest thing, alive enough to have strength to die' are taken from Thomas Hardy's poem Neutral Tones, and I really like it when artists reveal that they read stuff. Orton is around the same age as me, maybe she also studied the poem for her A Levels. 5/5 for just using the quote to be honest.

Surprisingly amazing.

This album had constant rotation for years and that only stopped when it was stolen.

Went back and forth with my opinion on this one for a while, but then the album shed the -tronica part (with it, as a genre, there was and is much more exciting stuff around) and it became a Five. Reminded me of listening to Suzanne Vega's '85 debut (album #9), a 15 years younger 90ies version of it, just without the great sensation of discovery, but I can't hold this against the music. Which is lovely.

Strong opening track, this is my kind of music

This has been a special album to me since my first listen. The haunting sounds simply captivate me on all levels. A true classic.

Just beautiful.

Excellent album for the morning or relaxing. 1/27/24

Really good album. Reminded me a little of Sharon Van Etten. Would listen to again.

Enjoyed a lot

Really liked this. Never heard of her before, will listen to more.

absolute HEAT! - 10/10

This really surprised me. It's not my normal fare, but I found myself captivated. Best new discovery so far, just over 200 albums in!

Extremely soft, it's rich with smooth and nice melodies. Most songs take their time but almost all of them reward with substantial dividends. There's an icy, mournful and timeless quality to Orton's voice, particularly when the tracks are more natural sounding. I don't think there was a weak moment, save for my opinion of the ending of "Devil Song" being slightly unfulfilling. Beth fits my tastes, and I blame my ignorance for letting her early efforts pass me by.

Central Reservation Trailer Park is irriguous with memories of Grey, She Cries Your Name in particular, but I’m not sure I’ve listened to this, which feels a bit strange considering how much I listened to TP. This feels very long at nearly an hour, and the ‘folktronica’ of it is so redolent of late 90s dinner party music, and although it sounds and feels different from Tracy Chapman it does share a similar unthreatening placidity to it, a slightly horizontal sense of somniferousness, so much so that I kept finding myself losing interest at points, and particularly over the last 10 or 20 minutes. It starts off brilliantly though with Stolen Car, an excellent track, a great melody and the guitar that sounds like a cello and morse code is fantastic. Sweetest Decline has a nice jazziness to it, even if it does carry the slight flatus of the cocktail bar, but Couldn’t Cause Me Harm is really good, more excellent guitar and another great melody. So Much More is one of the lulls, passing me by on each listen. However the next two songs don’t pass me by; Pass in Time is a lovely duet with a superb string arrangement and the title track is excellent, the pizzicato sounds, strings and guitars supporting the song beautifully. Stars All Seem to Weep is another dip, the whole sound of it feels spiritless and dated, its colourlessness is eye-catchingly mundane, and it’s not surprising that Ben Watt from EBTG produced it, as that is their stock in trade. However, a little like So Much More, it's followed up by a great song, in this case Love Like Laughter, which has a lovely flowing melody and organ line. I think Blood Red River and Devil Song suffer a little from being side by side, they seem to be thematically and sonically commutual, and although they are both good songs, they do contribute to that sense of drift over the back half. I wasn’t keen on the lo-fi sound of Feel to Believe on the first few listens, but it grew on me, the slightly raw and unpolished feel is welcome after the slumberousness of the preceding few tracks. Ben Watt then returns to spray some of his trademark hebetude all over the final track, and although this one fares better than Stars All Seem to Weep, it isn’t a patch on the original version earlier on the album. 10 or 15 minutes shorter (and without the Ben Watt produced tracks) I think it would be an easy 4, even pushing a 5, but at an hour the somnifacient sense of drift does creep in and vaguely diminishes the whole, perhaps even putting it on the threshold of 3 and 4. But, ultimately, there is too much great music on here, particularly in the first half, and her superbly charismatic, agreeably distinctive voice and songwriting skill makes it a 4. 🛣️🛣️🛣️🛣️ Playlist submission: Central Reservation

Gorgeous.

Vulnerable but strong.

some songs were misses for me but the ones I liked, I really liked!!! will be revisiting this album in the future, it might grow more on me. stars all seem to weep is my favorite!!!

A real nostalgia listen - I love Central Reservation

Lovely voice. It feels very contemplative and peaceful.

Beth Orton nouus offre un superbe album qui fait du bien après la daube country offerte par Emmylou juste avant. Il est bon de rapeller que tout cela n'aurait pu arriver sans l'intervention de ce bon vieux William Orbit. Ce dernier a en effet vite abandonné la musique après son exécrable album entrevu il y a quelques mois de cela, pour se reconvertir dans la contrebande de cigarettes. A cette occasion, il rencontrera une Beth Orton des plus dévergondée dans une soirée de bas-étage londonienne, et finira par la lancer dans la musique. Le succès ne vint pas immédiatement pour Beth, les productions techno d'Orbit venant ruiner sa superbe voix, mais après quelques années et une séparation des plus attendues, Beth pu nous offrir ce superbe album non entâchée de la présence du parasite Orbit.

Beth Orton once described Van's Astral Weeks as album 'that has been willed into being' which I thought was a lovely turn of phrase. She draws upon a similiar poetic sensibility to deliver this fantastic album (Sweetest Decline is a song straight out of the Van playbook)

- at times beautiful, at times pedestrian but always sincere. 3.5 but leaning towards 4 ...... -

Nice laid back atmosphere here. Nice folk/singer-song with an indie twist

Sometimes you just have to accept that not everything is for you. This is not for me. I got through it without turning it off, it wasn't offensive at all, it's just bland. And not for me.

Never heard of this but I'm going indie folk stuff. Yeah it is, she can sing though. A full hour might be a stretch. Yeah, it is a stretch. This started out alright, even good, but became a real chore. It just doesn't fucking end. 2/5.

I would have given this a 1 but she did at one point collaborate with my arch enemy, Nick Cave. So that will bring her rating down to a -423513. The providing rating system is much more limiting than that so I'll have to go with a 1

Every song sounds like a buildup to a song that never arrives. Way too much reverb on the voice.

Slightly more interesting than that Norah Jones album, but still unlistenable. More music to be piped into mall bathrooms.

Que aburrimieeeeento!

Unexpected gem. Unfamiliar with Beth Orton prior to this. Superb songwriting, powerful vocals. And a new album out this year to boot too.

sehr schön!

very relaxing

What sensual sumptuous perfection this enormous velvet cushion of on album this is. I feel the myelin sheaths on my jangled nerves firming up, and my telomeres are lengthening. Oh, thank you! A wonderful reminder of a cherished and well worn album in my CD collection which hasn't seen the light of day in a decade. If music were a drug (it is, let's be honest) then this is surely what people seek when CBD, Special K, X and others are assiduously procured and layered. Yes some music and art is there just to sooth (I will save you the quote). This one does and with a signature flourish and lilt that is altogether Beth. (at the time we also called of the artist Jewel to sooth, and also Portishead, Natalie Merchant, Cowboy Junkies (this one feels related somehow) , Mazzy Star... all different but serving a similar purpose, ). So good to hear it again. This album has healing properties. Im sure it life extending. But artistically surpasses anything I remember. My speakers are much better today! The clarity and detail of the vocals and instrumentation is a surprise. This isn't just a nostalgic swoon. (and yet, I'd say most of my friends and contemporaries have owned a copy of this album. If they had taste) What a wonderful joy it is to hear the sweeping, warm, joyous floating sounds of the inner inimitable Beth Orton. She's like an Angel coming to tuck us in at the end of a long day, under a perfectly cool or warm blanket and tell us the golden hour will go on forever, and that our friendships and loves will never change, so its okay to just lie down, right here where we are, carefree, on the nature strip (the Australian term for central reservation), what is there not to love? Plus it recalls friendships and good times. I'm pretty sure everyone I know in my 1990s cohort loves this album (if would be freakish if they didn't know it). It goes well with Wine etc... often played on romantic evenings, and at the hookup end of parties, its like a sweeping soundtrack, and it keeps rising like arousal, my breast swell as she says “it all right” - oh the way she calls me “darling” - I don't know if I am more aroused or sated. Shaking myself awake... I am Curious. How do others respond? Will other generations get it on the first listen as we did, or was it a time and space moment? On easy 5.

Beth in her pomp. This and Trailer Park are her best work, and this one is underpinned by some great songwriting. I saw her at a BDO in 2000 and she was superb, an amazing voice. I'm not really sure why she described as "folk", probably a record label thing, but this is really worth a good solid listen, great record.

Another long time favorite, this is a great album. I love Orton's voice here. Trailer Park and Daybreaker are also amazing.

This album will always remind me of my first year living in the city. $0 in the bank, mostly not a care in the world. Getting that first job and feeling like I won the lottery every two weeks. Discovering the city and always on the hunt for music. I bought this down in St. Marks Place and its newness vibed with mine.

i went on a walk, it rained on me and then i saw a rainbow. i was high the whole time

Awesome.

I really enjoyed this! I had heard the name before, but had no idea what Beth Orton was about. A surprise five is probably the top tier win in this mission. This album felt like a weekend morning in the sun chilling and vibing with the women in my life. Tasting notes of traditional folk, Joni Mitchell, Bran Van 3000, and trip hop. Fun!

weird little ladies are my favorite kind

Chill, nice, really good. I love this and will definitely listen to more by Beth Orton.

I’ve already had this album. I thought there weren’t supposed to be any repeats!

I don't even need to re-listen to this album. One of my faves of all time. Memories flood back... 2 in a row: 5 "I can't get enough of great music" stars.

I had never heard of Beth Orton before, but I instantly loved this album. It was very Natalie Merchant/Suzanne Vega/Bjork, and I love all of them. Orton has a really unique way of singing and the writing, arrangement and production were are spot on. I listened to this album twice and probably would have gone for a third go-round if I hadn't run out of time to listen. Five stars.

Muito bom, até incorporei no meu acervo pessoal

I really connected with the soft, soothing Beth Orton's voice and her mellow melodies. I will want to come back to this, for sure.

Wow, should have listened to this long ago. Exactly my kind of thing.

Really great voice and sound, my wife owns this CD so there was a lot of nostalgia listening to this and it just matched my mood well today, 5 stars for me.

Enjoyed discovering all these songs. I recognized Stolen Car, but never connected it was Orton.

Favorite Songs: Stars All Seem to Weep, Stolen Car, Sweetest Decline, Central Reservation (Both Versions) Least Favorite Song: Feel to Believe Holy shit I think I just found the perfect album to listen to while walking to class in the winter. Beth Orton has the voice of an angel.

I really like this one! 5

Easy listening

What an album and what a voice! From stolen car I was hooked and listened through a few times. After a few tough listens in a row, this was a welcome break.

Chill, but excellent.

Крутейший минималистичный полуфолк-полуэлектрик рок. Очень круто.

Love this and never heard of it. Diving in now. 5 *

Damn.

Felt like it cut right to me.

The first track is an absolute banger. Really hooked me in. The following tracks so far are a bit bland. Very sad moments in Buffy

"Stolen Car" is a killer opening number for this album... a good song is a good song... and if this is folk/electronica, then the opening track is a prime example... "Sweetest Decline" is a smooth R&B tinged slow jam... Beth Orton is a great singer... she has a clear tone... and can yodel a bit, but only tastefully... she doesn't beat you over the head with that technique... her vocal on this song is top notch... "Couldn't Cause Me Harm" gets the congas goin'... another good song... her voice reminds me a bit of Natalie Merchant on it... but smoother... "So Much More" and the epic "Pass In Time"... wow... her musical ideas remind me of Neil Young in a way... and it keeps on going... the title track, as well as "Stars All Seem To Weep" and the organ driven gem, "Love Like Laughter"... the hauntingly beautiful "Blood Red River"... "Feel To Believe" picks up the mood at the end... and the album closes with a bad ass version of the title track reprise... FIVE STARS... i gotta give it up... love it."

Immediately, stolen car the first song in the album took my breath away. It’s a mixture of rock, folk/country and gives almost Elle McDonald vibes with the almost Irish twang that she adds to her songs. So far one of the best albums I’ve listened to in a while. Amazing vocals and cool guitar solos Sweetest Decline is automatically more mellow but still just as beautiful

I’d only ever half listened to this before but wow is it magical. Stolen Car has always been a classic but the whole album is just as wonderful.

pleasant music - brilliant voice - wow

Flawless album. Fantastic voice and surprisingly good musicianship for what seems like a little indie artist.

Orton’s vocals caught my attention back when this record came out. I wasn’t sure I liked her voice but the more I listened the more she grew on me. I really like this album quite a lot: the music, the vibe (folk to trip hop), her vocals, and her lyrics. I played this a LOT when it came out. Side note: I never understood what the title referenced (and never bothered to try) until literally this year. I wasn’t sure watching a cycling race and the British commentator pointed out that the riders would have to split around the “central reservation” in the road. The median strip!

Lovely

I love this album and I love her voice. Some amazing songs here.

I am admittedly biased on this album, as I've been one of her (probably few) US fans since hearing the video for Stolen Car back when it was released. I feel lucky to have seen her perform twice on the Daybreaker tour back in 2002. Her voice has a calming melancholy tone and with some interesting songwriting it works for me. Ben Harper playing guitar on two tracks doesn't hurt either. It is a welcome surprise to see this album come up on this list. I don't feel bad about throwing this one on the turntable for another listen. I think it's outstanding and is one of my favorites.

fabulous voice, folk/americana/folktronica (whatever), I played this a lot when it came out

Love Beth Orton!

Orton's voice and lyrics set you into a unique space.

like a weighted blanket

im in the central reservation eating bugs and shit