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Portishead | 
| Artist: Portishead
Label: Universal / Island
Category: Music
List Price: £8.99
Buy New: £4.98
You Save: £4.01 (45%)
New (64) Used (20) Collectible (1) from £2.49
Rating:  18 reviews
Sales Rank: 1610
Media: Audio CD
Running Time: 50
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 4.7 x 0.4
MPN: 539189
UPC: 731453918924
EAN: 0731453918924
ASIN: B000003TSP
Release Date: June 18, 1999
Shipping: Eligible for Super Saver Shipping
Availability: Usually dispatched within 24 hours
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| Tracks:
| • | Cowboys | | • | All Mine | | • | Undenied | | • | Half Day Closing | | • | Over | | • | Humming | | • | Mourning Air | | • | Seven Months | | • | Only You - Portishead | | • | Elysium | | • | Western Eyes |
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| Editorial Reviews:
Amazon.co.uk Review
With Dummy, their 1994 debut, Portishead not only created a classic of turntable-derived soul, but defined their sound so exhaustively as to spawn a host of imitators. So what to do for a follow-up? As it happened, the answer was simple--refine the template. This self-titled album simply ups the ante on everything that made their debut so special: the brooding sense of menace, that deep streak of romantic fatalism. Much is made of the cinematic quality of Portishead's music--and indeed, many of these tracks sound like they should be accompanying some existentialist spy flick from the mid-1960s. But ultimately, it's singer Beth Gibbons that's their greatest asset: her vocals gliding effortlessly from the furious ("Cowboys") to the forlorn ("Mourning Air"); from the exuberant ("All Mine") to the exhausted ("Only You")--and all set to the group's most ambitious and expansive arrangements to date. A majestic, damaged and frequently terrifying masterpiece. --Andrew McGuire
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| Customer Reviews: Read 13 more reviews...
 superiority without a doubt ... July 17, 2008
harrowing, infectual and experimental sounds make this a far superior offering to the pedestrian dummy.thats no too say dummy is lazy or derivative it has some great tracks and a consistant theme but i think it never really climaxed like this self titled lp. cringeworthy certainly not gorgeous and expressive absolutely rarely groups have the integrety to produce music that attempts something new and in doing so pushes the boundaries for a greater experience in their second helping i strongly reccomend this for anyone who is ready to emerce themselves in the greatness this sublime album has to offer
raf!!
The Genius of the Portis' November 2, 2006
4 out of 7 found this review helpful
Totally amazing, one of the greatest albums ever made. Dark, brooding, with awesome scratching, beautiful and unsettling singing and, in my opinion, superior to Dummy. Love driving at night or smoking at home to this absolute classic. You'd be a fool not to hear it.
 Second album blues... March 11, 2006
5 out of 5 found this review helpful
If this had been Portishead's first album, everyone would be raving that it was the greatest thing that ever happened in early nineties music. It wasn't and people aren't. And while there aren't quite the high points of Dummy - Like Sour Times, Roads and Glory Box, I think this second offering is more consistent than the debut. All Mine, Over, Only You are all fine songs. It's claustrophobic and classy, it's blue and brooding. I wish Beth Gibbon would sing more, she has quite an amazing voice. Portishead rock. Please can they release something again soon?
Trip-hop noir January 18, 2006
14 out of 14 found this review helpful
Portishead created a unique sound in their debut "Dummy," combining smoky jazz and trip-hop. So an equally good follow-up was a pretty tall order. Enter the self-titled "Portishead," which ups the eerie noir feel while not abandoning the cool electronic edge. In the months before their return, it seems appropriate to revisit their older material.
"Did you feed us tales of deceit,/Conceal the tongues who need to speak?/Subtle lies and a soiled coin,/The truth is sold, the deal is done," Beth Gibbons intones, sounding like a slightly gleeful robot. That sets the tone for "Portishead," giving it a darker tone than its predecessor -- darker songs, darker vocals, darker music.
The jazz overtones are still there, bubbling up in songs like the distant "Over" and "Seven Months," which sounds strangely like fellow trip-hop artist Emiliana Torrini. Only the downtempo "Over" and softly poppy "Western Eyes" break from this cooler sound, sounding warm and unaltered. The rest of the album is a different story.
Somehow it adds to the noir atmosphere to have darker, colder sounds woven in with the jazzy trip-hop. "Humming" includes a strange background beat that sounds exactly as you would imagine a UFO. This dark, experimental edge makes it a bit harder to get into than their debut album, but when you do get into it, it's almost frighteningly intense.
The jazzy percussion is one of the first things you notice about this, paired with horns and thick synth. It's surprisingly heady to listen to. Also cold and distant -- which seems appropriate, since the simple lyrics focus on loneliness, melancholy, sadness and loss ("Why should I forgive you,/After all that I've seen,/Quietly whisper,/When my heart wants to scream?").
Beth Gibbons plays around with her vocals this time around -- while Gibbons's voice is normally very pretty, in a few songs she twists it into creepy monotones. It's a bit jarring at first, compared to her usual melodic singing, but it suits the darker songs here. The filtered, eerie intonations in "Cowboys" are downright spine-chilling.
Portishead, presently working on their long-awaited third album, made a triumphant second album. While not as easily accessible as their debut, it's definitely an entrancing experience.
eek January 30, 2004
6 out of 7 found this review helpful
Until I heard this, I thought Dummy was the best triphop album I've ever heard. With this album, Portishead have taken all the dark energy and searing emotion from the previous work and amplified it to the point of agony. It's impossible to imagine how Portishead-Portishead could ever be improved upon; perhaps the band peaked too early. This is a classic in its genre, taking the listener on a intimate ghost-train ride through the darker side of the human psyche. My favourite track is Elysium. It plods along, dark, cynical and unstoppable, then falls into a gentle trough which lulls and relaxes the listener. When the main dirge and evisceral vocals kick in again, it makes me want to hide in the cupboard. I love this album. Only downside - the singer's Shirley Bassey impressions are a little shrill. Tweeters everywhere beware...
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