Right now, early in my listening to Central Reservation (took me eight years, but finally there), it feels like a 5 star work. But I'm not sure it will be that eight months from now after I've spent a lot of time with it. It may be one of those CDs that grabs at first and then slowly or rapidly loses its grip, e.g. -- for me -- almost anything by the alt country group Son Volt.
Time, as it always does, will tell.
Meanwhile, things I like a lot about Central Reservation: Beth Orton's quirky voice, melancholy, flinty, little girl-like but a bit grating all at once. Like, to wander to another distant corner of the female singer-songwriter universe, Mary Gauthier, Orton's distinctive vocals are a perfect match for her frequently off kilter lyrics. And that's the second big thing to like about this CD -- those lyrics, not so much taken as a whole, but in the occasional sudden line or two that make you sit up and say, "Hey, I never thought of it that way, but that's RIGHT." Examples: in Stolen Car, in singing of the enduring energy of a love thought gone, "your fingers like fuses." Or, in Couldn't Cause Me Harm, on a sometimes scary relationship, "I can feel your heart/especially when it's on the roof of my mouth." Or, on Love Like Laughter, the opening line that captures what good music can always do, "Some of the worst wrongs get righted on three chords."
What I don't like about Central Reservation is that these good things happen in a dozen acoustical songs, including two takes of the title cut (the second is better), whose arrangements are often almost indistinguishable from one another, varied only by a slightly more uptempo beat, a drum set here and there, a tambourine shake. Orton's lyrics reward careful listening, but the problem for me -- why in eight months this may be 4 stars rather than 5-- is that the music doesn't invite the listener into those lyrics; at its worst, it's lulling to the point of drowsiness. It also doesn't help that half the songs go on for more than five minutes. A "Concrete Sky" or two, dropped into this mix, would have done wonders.
Best cuts: Stolen Car, Couldn't Cause Me Harm, Pass in Time, Feel to Believe.
August 31, 2007this is a stunning piece of work that sits comfortably next to the recordings of nick drake. each artist conveys a beautiful spirit of wistfulness, melancholy, and joy at any given turn. beth orton has the voice of an angel and to me this is her strongest set of songs, so far. I almost alway listen to this cd late in the evening because it seems to demand a quiet setting to bring out its riches in their fullest. i highly highly recommend that you get this.
February 13, 2007I am working my way backward with Beth Orton, I started with "Comfort of Strangers" and now "Central Reservation". Her work comes from so many different places, folk, rock, country, some electronic. I like it all so far, but am a bit partial to the folky stuff. I like the lyrics on this album, I find them poetic and moving at times. Most of her music does take a while to get into, but most challenging music does. I think her voice is in good spirits on "Central Reservation". I like all the songs on this CD, but "Sweetest Decline" and "Blood Red River" are the ones that move me the most.
May 24, 2006 |  | A WHISPER FROM UR CHILDHOOD |  |
BETH ORTON....IS A NAME WHICH I INSTINCTIVELY REALISED THAT I M GONNA STAY WITH HER FOR A LONG TIME WHEN I FIRST HEARD HER IN CHEMICALBROTHERS ALBUM ..SINCE THEN I FIND ALL HER RATHER ANYTHIN SHE SINGS AMAZIN ..AND INNOCENT ...I LOVE U ...BETH
December 27, 2005Okay, let's be honest--Beth Orton is NOT the best singer out there. She could benefit from a few more voice lessons. That said, she isn't painful to listen to, and in fact her song-writing and guitar playing make her someone I even enjoy listening to. A good album, I'd recommend it especially for those who like meaningful lyrics and soulful music.
September 9, 2005More reviews at Amazon.com ...
(154 reviews)