0898

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Taken up to eleven with "Hold Me Close (Underground)", where the singer promises that they'll carry on making love, even when they're dead. Regardless, the subsequent Miaow is similarly satisfying. “Good as Gold (Stupid as Mud)” and “Prettiest Eyes” focus more on intimate details rather than the sweeping generalizations all too common on the band’s early discs. (The record is, however, exceedingly nasty in tone toward the end, with the brutal S&M imagery of “Mini-Correct” contributing to Heaton’s reputation as a snarling misanthrope.) New singer Jacqueline Abbott (who replaced Corrigan and is similarly underused) steps out front for a competent but pointless reading of Fred Neil’s “Everybody’s Talkin’.” The Beautiful South had no US record deal at this point, so the album’s UK success went untested overseas.

THE PUMPKIN (1992) Contains the band's first eight "music promos" and footage (*) from their March 1990 American tour. [23] Corrigan chose to leave the band after the release of the album to pursue a solo career. Although her decision was partly prompted by a desire to record and promote her own material (which was not getting exposure within the Beautiful South), she had also had ethical disagreements over some of Heaton's lyrics, most notably "Mini-correct", "Worthless Lie", which he had composed for the following album Miaow (1994), but also for the 0898 Beautiful South single "36D", which criticised the British glamour industry via scathing comments about glamour models, and she thought he should have targeted the media instead. [22] In 1997, Hemingway admitted "we all agree that we should have targeted the media as sexist instead of blaming the girls for taking off their tops". [22]Early hit "You Keep It All In" was a pleasant-sounding ditty with the lyrics "Last night, the conversation we had last night/When all I wanted to do was stab you in the heart..." Bigger Is Better in Bed: The other half of "Perfect 10", although the singer notes that there's a range of size that she can tolerate and too large might cause some problems. "Well if he's XXL, well what the hell/Every penny don't fit the slot." VR1058 I keep trying to ride the coattails of excitement that were created when I discovered The Beautiful South in 2010, and a lot of the excitement abuzz with this new discovery came from my Prefab Sprout craze. I hadn't heard another sophisti-pop band until my ears came into this second one, The Beautiful South. You can bet that Miaow was a Tallahasseean delight, though I walked around and had a really really sad (and it could have become sadder if the crime rate of that area had made me into a logical statistic, but it had not) night the first time I heard them. The transformation that this band, the feelings their music come alongside to my life, and the way that they conceive their trusty brand of sophisti-pop is so wonderful... sometimes. I think, though, that a lot of my love has worn off with that mentioned, the debut, and even Blue is the Colour which tries to be as accessibly jazzy and soulful as can be. An album like this one might seem a bit snide or exclusive in comparison.

Quench falters, despite the funky Heaton-Abbott duet “Perfect 10,” which salutes plus-size romance and begs to be covered by an American R&B or hip-hop group. Abbott’s “How Long’s a Tear Take to Dry?” reconciles fueding lovers, and the album closer, “Your Father and I,” is one of Heaton’s most finely wrought duets of male/female relations, with alternating verses by Abbott and Heaton deflating one another’s pretensions. The rest of the album, however, is less catchy or profound than simply tedious. Alcohol is the dominant lyrical obsession —“Look What I Found in My Beer” tellingly offers a drinking problem history of Heaton (or someone very like him). This is one of those albums almost designed to put you off your stride, from the slightly sinister artwork of terrapins with human faces in place of their shells, to the point where no one seems to have ever made a definitive decision on whether the title for this album is 0898 or 0898 Beautiful South, there's a lot going on in and around this album beyond the music it contains. The third initial bandmember was Dave Rotheray, a songwriting guitarist who'd previously played with Hemingway in two other Hull bands, The Newpolitans and The Velvetones. At the time Rotheray was studying for a PhD at the University of Hull and living on Grafton Street, where Heaton also lived. Rotheray and Heaton became the songwriting team for The Beautiful South, which was conceived as a quintet with Heaton and Hemingway (who was no longer drumming) as the two lead singers. The core band was completed by David Stead (ex-Luddites/Vicious Circle) on drums and former Housemartins roadie Sean Welch on bass guitar. Also important to the band's sound was studio keyboard player Damon Butcher - though never an official member of the group, he would end up playing virtually all the piano and keyboard parts on the band's albums. Debut album releaseThe album Quench (1998) was released with similar commercial success, again reaching number one in the UK album charts. " Perfect 10", the first single to be released from the album, also provided the band with further singles chart success. The album is also notable for being more uptempo, and being the first on which Heaton and Hemingway's former Housemartins colleague Norman Cook (Fatboy Slim) was used in a consultancy role. [14] Painting It Red release and Abbott's departure [ edit ]

The Beautiful South". Brit Awards. 19 February 2014. Archived from the original on 20 October 2013 . Retrieved 30 March 2014.

Notes

On 11 April 1992, 0898 Beautiful South entered in the UK Albums Chart at number 4, [8] which was considered something of a disappointment after the band's previous albums both reached number 2. [8] It stayed on the chart for 17 weeks, [8] and was later certified "Gold" by the British Phonographic Industry (BPI) for sales of over 200,000 copies. [7] The album peaked at number 47 on the Canadian Albums Chart, becoming their last album to chart there, [42] whilst on 20 April 1992, it entered the German Album Charts at number 40, becoming their first album to chart there. [43] Although 2000's Painting It Red (2000) made number two in the UK charts, the album suffered promotion and touring difficulties, and a substantial number of the CDs were faulty. Jacqui Abbott left the band in the same year, discouraged by the pressures of touring and needing to concentrate on looking after her son, who had just been diagnosed with autism. [12] [13] [14] After completing their tour obligations, the band marked time with a second greatest-hits album ( Solid Bronze) in 2001, and took time off to refresh themselves. Heaton embarked on a solo career under the Biscuit Boy (a.k.a. Crakerman) alias [15] and released the Fat Chance album in 2001. Although critically acclaimed, the album did not sell well and was reissued under Heaton's own name the following year. Gaze The album Quench (1998) was released with similar commercial success, again reaching number one in the UK album charts. "Perfect 10", the first single to be released from the album, also provided the band with uncharacteristic singles chart success. The album is also notable for being more uptempo and being the first on which Heaton and Hemingway's former Housemartins colleague Norman Cook was used in a consultancy role. [11] Painting It Red release and Jacqui Abbott leaves

Sutherland, Ben (1 February 2007). "The South's bitter-sweet legacy". BBC News . Retrieved 28 February 2014. Abbott reunited with Paul Heaton in June 2011 to perform in his musical The 8th, while in 2013 they recorded a new album What Have We Become?, released on 19 May 2014; it reached Number 3 in the UK album chart. Clark, Graham (8 August 2022). "Interview With Dave Hemingway - Ex Beautiful South Singer". The Yorkshire Times . Retrieved 30 August 2023.

I love you from the bottom of my troping case...

Larkin, Colin (2011). The Encyclopedia of Popular Music (5th edn) . London, UK: Omnibus Press. p.2006.