Hometown: Norwich, England
First Recordings: early 1990s

Members:
Beth Orton -vocals, guitar
Ted Barnes -guitar
Ali Friend -bass
Sean Read -keyboards & piano
Dr. John -piano
Ben Harper -guitar
Ben Watt -keyboards, beats, programming
Terry Callier -guitar, vocals

Related artists:
Ben Harper, Everything But The Girl, Red Snapper, William Orbit, Terry Callier, The Chemical Brothers

Notes:
Born in December 1970 in Norwich, England, Orton made her recording debut with William Orbit and the duo Spill, whose only release was a version of John Martyn's "Don't Wanna Know About Evil." She collaborated with Orbit again in 1993, co-writing and singing "Water From A Vine Leaf" for the Strange Cargo LP. Orton began to achieve renown when she appeared on the song "Alive Alone," the final track on the surprise hit Exit Planet Dust LP by The Chemical Brothers. Her debut EP She Cries Your Name came out on Heavenly Records in 1996, followed close after by her stunning first full length album Trailer Park. In 1997, Orton collaborated with obscure jazz-folk legend Terry Callier to great effect for her Best Bit EP. Her latest release, Central Reservation, is her first for a major label, Arista Records.

Beth Orton is one of those incredibly rare recording artists who seems to have arrived in our awareness fully formed, a singer and songwriter whose abilities are so far beyond her years or experience that it is tempting to think of her as either a reincarnation or an alien. If her debut album, Trailer Park, was a revelation, than her latest release, Central Reservation, is a miracle.

The rave-influenced electronic trappings of the first record appear but briefly here, replaced by strings and shuffling (real) drums, pianos (a Dr. John cameo is a huge highlight), beercans, and various other organic instruments. The change suits Orton amazingly well, focusing more energy on songs and singing than was allowed by her previous musical backdrops. On her first record it seemed as though Orton was a woman determined to establish a unique musical identity, melding two genres (electronica and folk) previously unmelded. This time out, she seems more comfortable to do what comes naturally, without fear that her talents will go without notice. A mellow, melancholy vibe runs through Central Reservation, giving the feeling that nobody should be in a big hurry to figure shit out, but that we should just allow life in all of its pain and beauty to engulf and overwhelm us.

What seemed like a prodigious ability on previous recordings turns out to have only been an inkling of what she is capable of as a vocalist and writer. Beth Orton is posessed not only of remarkable range, but a startlingly advanced understanding of emotive phrasing as well. She writes like someone twice her age, who has experienced life to such a degree that she cannot help but share with us all that she has seen, done, and imagined.