Dummy [VINYL]

Product Information

Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. I highly recommend to get this record, it has good mixing, good pressing and is an all-around great album.

I have opened the cellophane wrapping down one side of the replacement so that I could manually check this item and I can confirm that the two discs/vinyls are correctly labelled as side 1, side 2, side 3 and side 4. Distinguished from Portishead - Portishead and Portishead - Portishead which has Sterling RJ in the runout of Side C (making that a 2000s pressing) and Portishead - Portishead which has TML-M in deadwax and UMG rather than PolyGram on label. Over its 40 years in business, PIAS has grown to be one of the largest independently-owned music groups in the world, carving out its own in-house recorded music division PIAS [Recordings]. Not quite a band, hardly a strictly electronic project, they had to invent their own kind of virtuosity, one that encompassed musicianship, technology, and aura. Some later issues also include the remix "Sour Sour Times" plus the "To Kill A Dead Man" track (from the film which led to Portishead's record contract and the cover image used on "Dummy").

Anyone who has had the pleasure of seeing Jalen perform live knows that he is one of the most captivating performers on today's soul scene. A3 samples Weather Report from " Elegant People" courtesy of MCA Music/Sony Music Entertainment Inc.

These questions keep you coming back, trying to puzzle out its intimidating balance between bleakness and blankness. The first 1,000 copies of the reissue will be pressed on blue vinyl, with subsequent copies “reverting back to heavyweight black vinyl.Recorded at Hive Mind Studios in Brooklyn, NY, with the help of producer/arrangers Mike Buckley and Vincent Chiarito (both members of Charles Bradley's Extraordinaires) and crack team of a-list musicians, his upcoming album blends heavy arrangements and introspective lyrics with sophistication, leaving the listener in a blissful wash of wonderment. Once they had their songs engineered on 24-track tape, they’d take the final product and feed it back into their samplers; some material they even pressed onto vinyl dubplates, to manipulate the way a hip-hop producer would cut up breakbeats. Dummy’s closest antecedent was Massive Attack’s Blue Lines, and not by coincidence: Barrow had worked as an errand boy and tape op in Bristol’s Coach House Studios while that record was being made. Track B4: Jhonnie Ray [sic] from " I'll Never Fall In Love Again" courtesy of Carlyle Music Publishing/Sony Music Entertainment Inc.

It’s dark, dank, and quintessentially Bristol, mingling a chilling harbor fog with the resin of a thousand spliffs left to burn down in a haze. Gibbons’ voice is the center of the music; she elevates the recordings from tracks to songs, from mere head-nodders to forlorn lullabies. I’m not normally fussed about format as long as the end product sounds good, but this one feels right on record. The galumphing rhythm feels like a heavy burlap bag being dragged over railroad ties, but Gibbons’ voice—a home-recorded demo that made the final edit—is a slender thread pulled taut. Dummy arrived at a moment when young people were craving soundtracks for the comedown—but what happens when you follow Portishead all the way down, as far as they want to take us?

Over the last few months he has disarmed packed rooms of rowdy concert goers, leaving them silent as they hold fast to every syllable sung. Though the LPs won’t include any additional material (“with the songs remaining exactly as recorded on the original release”), each copy will include a download card of the original album. Even more remarkable is how they treat Johnnie Ray’s “ I’ll Never Fall in Love Again” on “Biscuit,” slowing its refrain down to 16 RPM and turning a sticky-sweet wad of ’50s bubblegum into a druggy dirge. With the exception of two UK singles released shortly before the album, there was no advance warning of the wind blowing in from the West Country. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.

Some lines stand out as clearly as dog-eared diary entries: “Give me a reason to love you/Give me a reason to be a woman”; “Nobody loves me, it’s true/Not like you do”; “How can it feel this wrong? When her words are hazy, her diction tricky, it might as well be part of a grand and treacherous strategy, like a boxer’s footwork catching you off guard before the knockout punch lands. Haven't read about anyone else having this issue but just throught I'd put this information out there.Reddit and its partners use cookies and similar technologies to provide you with a better experience. As much as Portishead’s sound was part of electronic music’s widespread mellowing, the musicians themselves had little truck with the rave scene; their own roots were closer to the dub and breakbeat traditions that had long been cornerstones of multicultural Bristol. Can see this is the predominant reporting on this product, and I see far too many complaints about sibilance, suggesting the "blame" rides solely on the vinyl manufacturer, mastering process, etc. The metallic rattle at the center of “Sour Times,” an extended Lalo Schifrin sample, might be an alarm clock bouncing across the surface of a trampoline.