CDN$ 4.89 + CDN$ 3.49 shipping
In Stock. Sold by marvelio-ca
+ CDN$ 3.49 shipping
Used: Very Good | Details
Condition: Used: Very Good
Comment: Item in very good condition ready to ship!! Guaranteed to play!!
Compare Offers on Amazon
Add to Cart
CDN$ 4.91
+ CDN$ 3.49 shipping
Sold by: nagiry
Add to Cart
CDN$ 4.91
+ CDN$ 3.49 shipping
Sold by: dodax-online
Add to Cart
CDN$ 4.92
+ CDN$ 3.49 shipping
Sold by: BestSellerRecordShop
Have one to sell? Sell on Amazon

Image Unavailable

Image not available for
Colour:
  • Sorry, this item is not available in
      

Daybreaker


Price: CDN$ 4.89
Only 1 left in stock.
Ships from and sold by marvelio-ca.
15 new from CDN$ 4.89 22 used from CDN$ 0.01

Customers Who Bought This Item Also Bought


Product Details

  • Audio CD (July 30 2002)
  • Number of Discs: 1
  • Label: EMI Music Canada
  • ASIN: B000069HH2
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (61 customer reviews)
  • Amazon Bestsellers Rank: #50,474 in Music (See Top 100 in Music)

1. Paris Train
2. Concrete Sky
3. Mount Washington
4. Anywhere
5. Daybreaker
6. Carmella
7. God Song
8. This One's Gonna Bruise
9. Ted's Waltz
10. Thinking About Tomorrow

Product Description

Product Description

Out of print in the U.S.

Amazon.ca

Like Beth Orton's previous offerings, her third album makes a slight first impression. Sure, the jangly acoustic guitars, drifting melodies, and robust voice are pleasant enough, but it is only after a while that the true potency of the songs becomes apparent. "Nobody can keep you from the one you know you are," she sings quietly on "Mount Washington." Fueled by her mother's early passing, each of Orton's songs is accordingly anchored by a deep sense of sadness and loss. Despite the occasional electronic flourishes at the hands of collaborators such as the Chemical Brothers and Everything but the Girl's Ben Watt, and the beaming West Coast harmonies she shares with pal Ryan Adams, Daybreaker is a supremely personal record. "There's a concrete sky falling from the trees again and I don't know why," she muses on "Concrete Sky." And like Tim Buckley and Nick Drake--the hopeless folk icons that came before her--there seems to be a sublime urgency in her work that suggests a seemingly innocent song like "Thinking About Tomorrow" is not so much about optimism as fate. --Aidin Vaziri

Customer Reviews

4.0 out of 5 stars

Most helpful customer reviews

1 of 1 people found the following review helpful By L. B. Ivarsson on Jan. 30 2003
Format: Audio CD
You want the truth? You can't handle the truth!! So you've bought this one, and now you wanna see what other people think of it, right? And you stumble upon a 1 star review and your blood starts to boil... So what do you do? Of course you push the button "NOT HELPFUL". But you have already bought it so no matter what's written - it's NOT HELPFUL for you. Get it?
Stay away from this one!
Beth Orton seem to be the critics pet and that is a sign that you should be "careful"... Orton's voice is very delicate or slender, and sometimes she is (wrongly) described by media as the new potential star in the singer/songwriter tradition.
This album does not include any song with hit potential but Orton has managed to write at least one song, "Carmella" with a melody you find yourself humming on from time to time. "Concrete sky", a duett with Ryan Adams, and the mentioned "Carmella" are the only two good songs, but that doesn't make up for the rest of the tracks that leaves you nothing but emotional empty.
If you looking for a good album in this line of music I suggest you buy the more talented Aimee Mann instead!
Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again.
1 of 1 people found the following review helpful By A. Brown on Aug. 12 2002
Format: Audio CD
I loved Beth Orton's last album, "Central Reservation." This album; however, lacks everything that made her last release great. Songs need a chorus or at least something of interest to make them listenable. Not even the William Orbit-produced tracks are worth buying. I would recommend getting some of her previous releases and leaving this one alone. Even die-hard Beth Orton fans are sure to be disappointed in this release. It lacks inspiration. It's a shame that someone with so much talent could release such a bad product.
Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again.
Format: Audio CD
Beth Orton, what have you done?
It seems that she has performed a stylistic change that ends up smothering the album in a downtempo mood. As with a previous reviewer, I agree in that Orton has made a significant stylistic change. Gone is the juxtaposition of folk with electronic, the inventive, the unpredictability of her first two albums. It has been replaced by a careful (in my opinion, too careful) post-production tweaking that makes the album sound...routine. This is NOT to say the album is a bad one. Certain songs hit amazingly sweet points, such as "this One's gonna hurt'. I think that 'Thinking about tomorrow' can stand on its own merits, sweetly fading into the background. For me, the only stylistic shakeup is the wonderful, unexpected 'Anywhere', showing the old Beth's ability to suprise. While definitely worth a listen (or for that matter, repeated listens), this album is more for the established fan. Newcomers should be directed to the stunning 'Central Reservation' or the equally sublime 'Trailer Park' before purchasing this album.
Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again.
By A. Granger on Dec 2 2003
Format: Audio CD
beth orton sings like an angel. and it's prolly because she is. a british one, maybe with bad but forgivable teeth simply because, well, she's cute as a frekin button (just check out the cover art on 'central reservation'). her third full length lp after two other great records (trailer park and central reservation), here beth orton ditches some trip hop found more in her first two albums for some more straight up folk guitar work (not to say there is no hint of trip hop in here, it's just not so much in the front). on central reservation, the songs fly by up until track 7, 'the stars all seem to weep', one of my favorite songs on the album and undoubtedly the track with the most electronic feel, and then things get simpler yet strangely more dense with introspection and darker lyrics and sounds. near the end, feel to believe, a strict-folk affair, ends the album perfectly, kind of summing up her entire sad philosophy, though without despair, more hopeful than bleak, as if her body was out of her control (the passive, introspective staple of most folk greats).
on daybreaker, you get more folk and definitely more of a rewarding experience than her first two lps, that is if you can ditch the kneejerk reaction that this orton album is not nearly as accessible as her first two. when i first purchased daybreaker, the week it was released, i was kinda disappointed. i wanted a whole album of well produced songs like 'the stars all seem to weep' but instead here was an orton album that was really rough around the edges. but it was still a grower...
i lost my copy of daybreaker a few months after i purchased it (i seem to lose all my favorite cds: american music club - mercury, san francisco, sparklehorse - it's a wonderful life, a cat power lp).
Read more ›
Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again.
Format: Audio CD
Why do I like Beth Orton? This is the imponderable question I still face after the third week of Daybreaker's undisputed reign on my CD player. Comparisons with Joni Mitchell don't hold up, because (a) Mitchell can actually sing and (b) her songs work whether they're done a cappella or with just a guitar or being mangled by Judy Collins and an orchestra. Orton's songs could only possibly be performed by herself, with her arrangements (and those of her electronica collaborators), and quite frankly, she has a voice like Björk with laryngitis and a hangover. And yet...this album is utterly compelling, and gets more so with repeated listening. Her impressionistic lyrics have the same sneak-up-from-behind impact as those of early Suzanne Vega, and her arrangements are as magpie-like in their eclecticism as Beck's but more restrained, perhaps a little more grown-up (not that any of us wants Beck to grow up any time soon). Whatever the reason, these songs are far more than the sum of their parts. So, I give in, both to Armstrong's indisputable dictum and to Orton's inscrutable talent. I'm in the process of buying all her back catalogue. Resistance, apparently, is futile.
Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again.

Most recent customer reviews



Feedback