Review
Nestled like a cherished secret in the heart of the 90s, Beth Orton's "Central Reservation" hails from March 9, 1999, unfolding a soundscape where folk, jazz, and dreamy electronic threads weave together, wrapping you in their mesmerizing embrace. Departing from the polished electronic beats of "Trailer Park," this album sways gently toward more earthy, organic tones. It invites us to lose ourselves in lush orchestration, with upright bass and strings whispering mystical tales akin to the tenderness of Van Morrison's "Astral Weeks."
Orton wasn't alone in her journey. She roped in folk legend Terry Callier, groove master Dr. Robert, and the ever-soulful Ben Harper—turning this album into something of a tender reunion of kindred spirits. Toss in Ben Watt's production magic, and you've got an uncanny richness that envelops each track. With songs like “Stolen Car” and the haunting “Sweetest Decline,” every note feels like an intimately handwritten letter addressed to you and you alone. “Stolen Car,” the wonderful flagship song, grabbed its anchor on the UK Singles Chart, making its electrifying entrance.
As the applause roared, critical hearts opened wide, showering accolades, and garnished with a Mercury Prize nomination, shining brightly at the 2000 BRIT Awards. Over in the pages of time-honored reads like “1001 Albums You Must Hear Before You Die,” praise nested comfortably. Floating atop the UK charts at number 17, sailing through the Billboard charts albeit landing at a more modest number 110—yet climbing to the arousing lands of Heatseekers—the album indeed earned its lively fandom. Orton wrangled everything, not through singular vision but via harmony amongst brindled voices— proffering folk, jazz, and dreamy melodies to any heart willing to pause and partake in her serene creation. - Lorelei
