Imagine everyone’s surprise, then, upon hearing Trailer Park for the first time in 1996. When Orton finally did get around to recording her debut release, she wound up enlisting the help of producer Andrew Weatherall, the man who helmed Primal Scream’s rave-centric masterpiece Screamadelica the prospect of him teaming up with an emerging dance vocalist like Orton made perfect sense on paper. Due to her Orbit connection, it wasn’t too surprising that Orton would soon make her rounds with the electronica crowd, famously becoming a siren for the Chemical Brothers on virtually every one of their early full-lengths.
Though SuperPinkyMandy had an extremely limited Japanese release (less than 5,000 copies were produced), the album served as an admirable if somewhat unremarkable showcase for an emerging new songwriting talent.
It was during that year when Orton released her true-blue debut: SuperPinkyMandy, a dance-rock disc that emerged from her fruitful collaborations with electronic whiz-kid (and then-love interest) William Orbit. Then again, such a detail as that only adds to Orton’s unmistakable charm she’s never been a big fan of convention.īeth Orton’s story actually starts back in 1993, right as dance and club music began carefully nudging its way into the British mainstream. The problem with re-evaluating Beth Orton’s debut album is simple: Trailer Park isn’t actually her debut album.
