Pnyc Live [Enhanced, Live]

Most live albums pretty much lose the feel of the original studio albums -- sometimes they sound tinny and distant. No such sound here. "Live: Roseland NYC" has not only an orchestra, but the jazzy trip-hop of Portishead's two albums, and the beautiful voice of Beth Gibbons. No wonder it was so good.

Portishead hit the big time with their sophomore album "Dummy," an exquisite blend of smoky jazz and subtle trip-hop. Which, admittedly, sounds like the wrong kind of music to play live, but it works wonderfully here. Portishead includes an almost equal mix of songs from their two albums -- six from "Portishead," five from "Dummy."

And surprisingly, the songs sound like simple redos of the mysterious, melancholy songs from Portishead's too-short career, not stage banter and stripped-down versions of lush songs. It's more than a little unusual to have a band's third album be a live one, but in this case it seems perfectly acceptable.

Backed by an entire orchestra, horns and some wicked turntables, the band plays remarkable versions of their songs. "All Mine" is even more beautiful and haunting than in the album, and "Sour Times" is even more breathtaking than it was originally. Most of the others are faithful renditions, given a powerful new twist with the strings and horns -- only a couple feel less cohesive in a live setting.

Frontwoman Beth Gibbons is known as having a lovely pop voice, and she is in excellent form here. A lot of singers are exposed in live performances as having less-than-stellar vocals, but Gibbons' performance demonstrates what a beautiful voice she has.

"Live: Roseland NYC" is a demonstration of what a good live album should be, showcasing one of trip-hop's best bands. Definitely worth checking out, both as as an accompaniment to Portishead's studio albums, and as a good listen itself.

Despite what everybody says about "Dummy", Roseland Live is their best album. This recording takes some of the best tracks from Dummy and the self-titled LP...and the hollow-ish echo-chamber quality of Portishead's studio albums unexpectedly comes alive. The first track begins slowly (what orchestras call an "overture") and builds to the thump-thump-thump of the live drums which immediately gets you hooked. Astonishing album. Portishead remains detached and trip-hoppy as usual, but the live drums, real orchestra, and Gibbons' wails pretty much put this album in the pantheon of post-mod classics. The "Roads" track recorded in Norway is too beautiful.

Caveat to the Portishead novice: listen to their studio albums first. The Live album is better as a compliment to the studios, not the other way around.

You probably know the score with live albums. If the sound is bearable without needing to be under the influence of mind-bending substances, if the recording is decent, if the group was up to par without resorting to peculiar versions of their own songs without making them better, if the audience isn't screaming stuff reminiscent of the Jerry Springer show, and if the Hell's Angels arent involved in a brawl during the show (see Iggy Pop's classic 70s live album) then you might (emphasis on 'might') have a half decent album in your hands.

This is totally, undisputably and unquestionanly NOT the case here. Because, this live album is so good it actually comes across better than Portihead's studio albums!

Stunning as this might sound for a live recording it is nevertheless the truth. The reasons why this is true are intriguing. To start with, this the blending of a live classical orchestra and an electronic band. Which, of course, could've been another recipe for disaster (has been in countless of cases before with other more 'organic' bands) but it didnt. What in fact happened was that this concert demonstrated that the mix of classic and electronic music is one that can work wonderfully without harming the charm of the overall atmosphere.

Furthermore, Portishead actually perform versions of their now well-known songs that are actually trippier than the originals. There's tons of psychedelia here to be had, and come to think of it, i wouldnt be able to name another album where a classical orchestra is involved where i could mention 'psychedelia'in the same sentence.
This is of course extra-rewarding. Portishead's songs when they are good they are brilliant. Some of them here, and especially the slightly less than brilliant ones are transformed to re-worked masterpieces.
I havent had the chance to see Portishead live yet, but If I'd see anything that comes remotely close to this performance I'd consider myself extremely lucky.
For the time being I'll stick with this.