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0898

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After a band meeting on 30 January 2007, they decided to split. [3] They released a statement on 31 January 2007, in which they joked that their reasons for splitting were "musical similarities" – an ironic reference to "musical differences" which are often cited as the reason for a band's split. "The band would like to thank everyone for their 19 wonderful years in music," the statement also said. Bourne, Diane (15 February 2007). "Why does it always rain on us?". Manchester Evening News . Retrieved 29 August 2023.

Abbott toured the UK and Ireland with Heaton in May/June 2014 performing at sold shows including London Shepherd's Bush Empire, Salford Lowry and Hull City Hall. The tour was accompanied by publicity appearances on a variety of TV and radio programmes, including The One Show, Live at Edinburgh Castle, Sunday Night Live at the Palladium, and Aled Jones' ITV show Weekend. 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. 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..." Item Display – RPM – Library and Archives Canada". Archived from the original on 7 March 2016 . Retrieved 7 March 2016. It's All Two Beautiful". NME. 23 November 2000. Archived from the original on 29 January 2009 . Retrieved 14 August 2008.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 release

The album was a critical success, with reviewers praising its production, lyrics and distinct tone, although some critics recognise the album as being under-rated. The album appeared on numerous lists of the best albums of 1992; Vox ranked it 18th, [4] NME ranked it 44th [5] and Robert Christgau placed it 53rd. [6] The album was certified "Gold" by the British Phonographic Industry (BPI) for sales of over 200,000 copies. [7] French album positions". infodisc.fr. Archived from the original on 20 August 2008 . Retrieved 1 March 2010. 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). Solid Bronze compiles the Beautiful South’s hits up to 2001 (to less effect than Carry on Up the Charts), adding a few new songs. Gaze introduces Alison Wheeler, yet another female vocalist as foil for Heaton and Rotheray. She stayed with the band for an offbeat collection of covers, Golddiggas, Headnodders & Pholk Songs, which ranges from the Zombies to S Club 7 to the Travolta/Newton-John duet “You’re the One That I Want” from Grease. “This Old Skin,” credited to the Heppelbaums, appears to be the sole original. The first six songs are so damn good that it's downright heartbreaking that the other six suffer terribly in comparison (even though most of them are decent enough), and ultimately despite my sentimental attachments I have to give the record a B+ (though it's close). Apparently some Paul Heaton fans consider 0898 something of a disappointment, but I'm not sure why; the good songs here are just as sly and disarming as the ones on the debut, and they have a much fuller and more colorful sound to boot, courtesy of producer Jon Kelly (who worked with Kate Bush on Never for Ever). Catchy in-song shifts of tone and tempo abound, plus the singing doesn't have any of the cloying qualities that ruined big chunks of Blue Is the Colour.Although Heaton has led bands for decades, he’s released only one album as a solo artist, Fat Chance, under the name Biscuit Boy. [ Glenn Kenny / Scott Schinder / Michael Zwirn] Superbi is a more credible addition to the catalogue. Heaton’s “The Rose in My Cologne” shows a clear ’70s soul influence, while “Manchester” is a rousing tribute to his adopted hometown (“If rain makes Britain great / Then Manchester is greater”). Wheeler is in fine form on yet another alternating-vocalists duet, “When Romance Is Dead,” and there are other engaging moments in a more-of-the-same vein. The band’s stylistic sources remain British music hall, Bacharach, American soul and lite jazz, and Heaton’s lyrics invariably circle around the same topics. In 1990, The Beautiful South released its second album, Choke. Two singles—"My Book" and "Let Love Speak Up Itself"—charted outside the Top 40, but the album also provided the band's only Number 1 hit, a Hemingway/Corrigan duet called "A Little Time". The video, featuring the aftermath of a domestic fight, won the 1991 BRIT Award for Best Video. [4] Third album and Corrigan's departure

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