Given the scope of their influence, it’s astounding to think that Portishead’s catalog totals three records (I know, I know, I’ll get to NYC Live in a minute). Not only did the Bristol-based trio make an immediate and formative impact on ‘90s trip-hop, I’d argue they transcended the genre, resulting in a body of work that sounds pretty timeless.
Portishead’s blend of jazz, hip-hop and electronica (i.e., trip-hop) might’ve felt revolutionary at the time, but the key ingredient was always Beth Gibbons and her evocative vocals. A potent mix of haunting and ethereal, her voice perfectly complemented the dark, brooding instrumentals (courtesy of Geoff Barrow and Adrian Utley). Gibbons added an emotional layer that set Portishead apart from many of their contemporaries.
So, yeah, three albums–honestly, they’re all essential in this writer’s book. That said, I tend to look at these album rankings as a way to comprehensively celebrate a band or artist. And with the thought of a new Portishead album feeling more and more outlandish with each passing year, revisiting remains the only option on the table.
Per usual, there are a few caveats I need to get out of the way…
*Caveat Number One: I normally gloss over (or simply bypass altogether) live albums, but this ranking will include Portishead’s 1998 live release because, a. It’s essential listening, and, b. It’s easily one of my favorite live performances ever.
**Caveat Number Two: I will not, however, be including any of the umpteen side-projects. From Beak> (RIP?) to Beth Gibbons’ solo work, many of these releases are far too noteworthy to merely lump in with Portishead.
***Caveat Number Three: It should go without saying, but I’m going to say it regardless: I have nothing but profound admiration for Beth Gibbons and Portishead. Any critique offered here is deeply subjective and reflects personal taste rather than objective quality.
****Caveat Number Four: I’d like to file anything that I’ve written below under the ever-so-subjective ‘prisoner of the moment’ category. If I were to repeat this process six months from now, my results would probably change (actually, probably not for this one).
Alright, let’s get this show on the road…
4. Portishead (1997)
The fact that Portishead’s nearly-flawless second release winds up at the bottom of this list is more a testament to the overall quality of their catalog than anything else. While Portishead largely feels of a piece with the trio’s debut, both sonically and stylistically, there are moments of tangible growth and experimentation. Be it the decision to create most of their own samples or the deeper shades of that oh-so-effective ominous atmosphere, Barrow and Utley judiciously indulged their experimental tendencies. For her part, Gibbons sounds exponentially more confident behind the mic, drawing upon a variety of new vocal personalities to showcase. She’d already demonstrated her substantial chops on Dummy, but Portishead is where Gibbons showed her versatility.
Still, Portishead is at its best when it echoes the simmering, swooning sounds of Dummy. Where the debut was immersive and cohesive, the follow-up feels more direct, abrasive, and occasionally, shrill. The highs are still incredibly high, but they’re admittedly fewer and further between. As a result, Portishead isn’t quite as satisfying as a complete album experience, even if it remains a stellar collection of songs. Something has to be last on this list, but by no means is Portishead a sub-par release – it’s merely a victim of the trio’s own impeccable standards.
All Mine (Highlights)
“All Mine,” “Over,” and “Only You” were all released as singles and for good reason as they represent Portishead at its most accessible. The album-opening, “Cowboys,” on the other hand, is a stark, lo-fi departure that perfectly sets the stage for much of what follows.
The Rip (Lowlights)
There are a handful of moments on Portishead where the treble-heavy production pushes the mix into uncomfortably shrill waters. “Half Day Closing,” in particular, finds an otherwise otherworldly performance from Gibbons rendered painful to listen to (which, on second thought, was probably the point).
Deep Water (Best Deep Cut)
With a brilliant mix of understated guitars and horns serving as the foundation for one of Gibbon’s most soulful vocals, “Mourning Air” is a hidden gem that, for whatever reason, was the lone exclusion for this album from the band’s 1998 live release.
Not Like You Do (Favorite Lyric and/or Moment)
If I tremble or fall, I’m reaching out in this mourning air – “Mourning Air”
3. Roseland NYC Live (1998)
Documenting Portishead’s July 24, 1997 concert at New York City’s Roseland Ballroom (which sadly closed in 2014), Roseland, Live NYC was released (on both CD and video) back in late 1998. Not only is Portishead’s one and only official live release one of the best sounding concert recordings of all time, it also may very well be the band’s defining statement.
You see, the genius of this record lies in the way the pioneering trip-hop trio were able to reinterpret selections from their first two studio LPs without sacrificing any of the haunting details. Little (if anything) is lost while some impressive new ground is gained through the music’s translation from the studio to the stage–a credit to everyone involved.
All Mine (Highlights)
While fan-favorites like “Cowboys”, “Glory Box”, and “Only You” come off predictably well, “Humming” and the showstopping “All Mine” are elevated to another plane of awesomeness by way of the pitch-perfect orchestral embellishments.
The Rip (Lowlights)
Let me start off by saying that if I had to recommend a single Portishead release to someone unfamiliar with the band’s music, I’d probably choose this. Unfortunately, the original release (and subsequent re-releases) are a prime example of needless tinkering from the powers that be. It was frustrating enough that the original CD and VHS release had different track listings, but the 25th anniversary only further complicates matters with a third (and still incomplete) version of the show. To make matters worse, the only way to listen to the full Roseland show is via the currently out-of-print video release–grr!
Deep Water (Best Deep Cut)
“Sour Times” might’ve been Portishead’s biggest single (at least here in the states), but it receives a dramatic re-working via a slow-burn-to-a-crescendo performance that culminates with Portishead going ‘amps-to-eleven.’ Recorded months after the Roseland gig, this fresh take on an admittedly ‘played out’ single provided an emotional climax to an already captivating set. Unfortunately, this ‘Spaghetti Western’ version is only available on the original CD release (yep, they omitted it from the re-release), hence the ‘deep cut’ nod here.
Not Like You Do (Favorite Lyric and/or Moment)
And little by little, the sands move through time, And I can live a lie but I think I know better – “Sour Times”
2. Third (2008)
After an 11-year hiatus, Portishead returned with Third, an album that surprisingly (and boldly) sidestepped the trip-hop template they’d pioneered. This departure was a bit of a risk, especially for a band that had spent much of the previous decade dormant, but the experimental approach ultimately paid off. The reception to Third was overwhelmingly positive, with critics praising its innovative sound and the band’s willingness to push boundaries. It debuted at number two on the UK Albums Chart and many publications named it one of the best albums of 2008 (and has even popped up on some greatest albums of all time lists).
Moving away from their signature sound, Portishead incorporated elements of krautrock, psychedelic rock, and electronica, creating a darker, more abrasive sonic landscape. Gone are the R&B-tinged trip-hop standards, replaced with songs that function more like a collection of vignettes. In lesser hands, the results might have sounded disjointed, but Third is a surprisingly cohesive work. Most importantly, everyone sounds refreshed and inspired. I’d hoped at the time that this was a sign of things to come, but with each passing year it seems more and more likely that Third will be Portishead’s swansong–a fitting move for a band that always left us wanting more.
All Mine (Highlights)
The album-opening “Silence” continues the trio’s tradition of setting the perfect tone, “We Carry On” showcases some newfound krautrock influences, and “Threads” would be the band’s best closer (if not for “Glory Box”). “The Rip,” however, stands as one of Portishead’s most captivating tracks, with its haunting arpeggios and Beth Gibbons’ ethereal vocals building to a mesmerizing climax.
The Rip (Lowlights)
The appropriately titled “Machine Gun” might be a fan-favorite, but it’s easily my least favorite Portishead song, if for no other reason than that punishing fuzzed-out drum loop–my (many) fillings ache just thinking about it.
Deep Water (Best Deep Cut)
“Small” gets the nod here–at nearly seven minutes, Portishead’s longest studio recording is a certifiable masterclass in atmosphere and tension.
Not Like You Do (Favorite Lyric and/or Moment)
I can’t divide or hide from me, I don’t know who I’m meant to be, I guess it’s just the person that I am – “Magic Doors”
1. Dummy (1994)
There are few debuts as fully realized as that of Portishead’s 1994 release, Dummy. With an unflinching adherence to a jarring, introspective aesthetic, the potency of the album is no less muted by the passage of time. In fact, Dummy remains as indefinable now as it was then. And while it doesn’t necessarily sound like a ‘90s’ album, it’s clearly one of that decade’s most important releases.
While subsequent releases more than earn their keep within the context of the band’s catalog, at no point did Portishead’s star shine brighter against the backdrop of their peers than on their debut. It’s the sort of transcendent record where the scope of ambition is overshadowed only by the precision of its execution.
All Mine (Highlights)
American radio may have clung to the single “Sour Times,” but the song is far from the album’s only accessible track. Be it the passionate pining of “It Could Be Sweet,” the underwater pulse of “Wandering Star,” or the brooding sample-work of the crowd-pleasing “Glory Box,” Dummy is a satisfying mix of both sonic innovation and melodic accessibility. Still, if I had to pick one song to play our alien invaders, I’d go with “Roads.”
The Rip (Lowlights)
Dummy is perfectly paced and every single track here contributes a key moment to the overall experience. That said, the moody, sample-driven “Biscuit” feels borderline redundant–if I had to cut something, it’d probably be the first (and only) thing to go.
Deep Water (Best Deep Cut)
One of the few exclusions from Portishead’s Roseland NYC Live release, “It’s A Fire” is a freaking brilliant slice of organ-drenched R&B. Given the straightforward arrangement and Gibbons’ soulful delivery, the song is easily one of Portishead’s most conventional moments. It’s also one of their best.
Not Like You Do (Favorite Lyric and/or Moment)
Give me a reason to love you – “Glory Box”
Parting Thought:
Parting Thought: Like I mentioned above, there has been no talk of a new Portishead release from, well, anyone. Rumors have persisted in recent years, but the trio has remained busy with an increasingly long list of side-projects (all of which I highly encourage anyone reading this to check out). To that point, I’m of two minds when it comes to a hypothetical fourth Portishead release.
On one hand, it’d be a cryin’ shame for a band of this caliber to only leave behind three albums. On the other, there’s something to be said for pushing away from the proverbial table while you’re ahead. Of course, as Gibbons recently proved with the ridiculously fantastic Lives Outgrown, a long absence doesn’t automatically equal an underwhelming return. Fingers crossed…
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