Uneasy Listening

One of the most critically acclaimed albums of 1995 was 'Dummy' by Portishead. Fronted by the enigmatic Beth Gibbons, Portishead were founded by Geoff Barrow (who had previously worked with Massive Attack) and also featured the multi-instrumentalist Adrian Utley.

Portishead emerged out of the Bristolian scene at roughly the same time as Tricky (whose 'Maxinequaye' album they beat to win the Mercury), and only a few years after Massive Attack) had released their seminal 'Blue Lines' album. Lazily labelled as being 'trip-hop', Portishead were more theatrical and elusive than the indie bands like Blur and Pulp who were thrust into the mainstream at about the same time, but also completely different to dance acts like the Prodigy. In fact, their probably best described as being totally unique - after all, how many bands would release a short 15 minute film complete with gender-bending, murder and conspiracy as a way of selling records?

The album sleeve is dominated by grainy stills from the said film, entitled 'To Kill A Dead Man'. They set the tone for ten bare and understated tracks that comprise the album.

The opener 'Mysterons' is a paranoid sounding song with some unusual and spooky sounding effects offset against some modern scratching. A creepy drumroll add to the feeling that this could be straight out of a 1950's black and white horror film.

The following track was their biggest hit. 'Sour Times', which revolves around a bitter chorus from Gibbons of 'nobody loves me, it's true', almost sounds eastern European with its unusual instrumentation. The track features a sample from Lalo Schifrin's 'The Danube Incident', one of many tracks that Portishead adapted for their album.

'Strangers' is a bit faster paced, although retains some of the paranoid and introspective sentiments of the previous two songs. Gibbons's vocals are distorted somewhat on this one to give it a 1930's feel, a little bit like some of Billie Holliday's work. Clashed with a contemporary dance beat, it makes for an interesting listen.

'It Could Be Sweet' sees their sound stripped down to concentrate on Gibbons. Her smoky smouldering voice is hard to describe - delicate, but forceful at the same time. More of a chilled out track, this one has a really nice melody and a memorable chorus although it was never released as a single.

By contrast, 'Wandering Star' is driven by a one note sequence on a Hammond Organ, and sees a return to the paranoia of 'Mysterons'. Another distinctive vocal performance from Gibbons and some scratching from Barrow on the track give it a real edge but perhaps this track is most notable for the writing credits being given to ten different people - surely a record!

'Numb' is my favourite track on the album, and is known to many as soundtrack to the car advert with the dolphins in the street. Although it is only the scratched introduction featured on the ad, it is the impassioned but frail delivery of Beth Gibbons that makes the track outstanding, and first drew me to Portishead. The dance beat is also a reminder that the band were willing to take risks and be multi-directional. The effect is a timeless track that should have had a bigger impact than merely selling a few motors...

The seventh track 'Roads' is much slower than the others, almost bluesy. With the Beth practically singing through tears, the song sounds as though it has been plucked from a death scene from a film with its melancholy guitar line and elegant strings.

With its dirty instrumental arrangements and a bluesy trumpet, 'Pedestal' sounds a little different from some of the other tracks on offer here. Gibbons voice sounds stronger here, and is one of the best tracks off the album in my opinion.

'Biscuit' is based upon a slowed-down sample from Johnnie Ray's 'I'll Never Fall In Love Again' and is all about caution in entering a relationship. The eerie snippet of Ray's work offsets Gibbons' fretful vocal and the whole of effect of the song is uncomforting to say the least.

The end of what is a disconcerting, disengaged but strangely appealing album is perhaps their best known work. 'Glory Box' was probably the song which properly launched them into the big time. A lush string arrangement taken from Issac Hayes's 'Ike Rap III' is the centrepiece, with Gibbons's pleas of 'I just want to be a woman' deliciously layered over the top of it. Complete with a distorted guitar solo half-way through and some hip-hop beats springing from nowhere towards the end, 'Glory Box' is a fantastic way to finish 'Dummy' even if it feels a bit more polished than some of the other songs on it.

Despite being quite old now, 'Dummy' still sounds fresh, and still as haunting all these years on. They have so far managed only one more album since, although a third is anticipated at some point within the next year. Although it could never be described as easy-listening, and certainly not chill-out music as we know it, it is widely regarded as being up there as one of the classic British albums of the 1990's.