1999 – The beginning Bugge Wesseltoft asked Beate to record a Jazzland rec album in 1999. Beate was allowed to create the record she desired by the company. Beate was the first to take on the entire work. She composed, arranged, wrote text, programmed, recorded, and produced. In her six-square-meter apartment, Beate did everything possible. She shared her 6 x 6 meter apartment with her Macintosh. The majority of the music was recorded in her flat. However, due to space limitations, Bugge’s Room was used for the strings, vibraphone, and drums. Marius joined the project as a helper. Marius was responsible for the groove elements, while Beate wrote the lyrics, melodies, and harmonies. There were some exceptions to this rule. This work was done in private and would be called “Home”. Marius’ contributions to the album were immense and the original title of “Beate S. Lech”, was dropped. The duo formed “Beady Bell” and worked together for one-and-a half years to produce their new album. 2001 – Beady belle’s first Norwegian promo single was “Ghosts”. It was heard extensively on Norwegian radio. Their second single was “Lose and Win”. Beady Bell’sEfirst international single, which included the songs “Ghosts”, and “Moderation”, was released in May 2001. “Home” was distributed throughout Europe, as well as in Japan and Korea during the summer 2001. It was later released in Australia. Universal International awarded Beady Belle “European Priority”. Beady Belle toured the globe performing their music after the “Home” album was released. (Check “Concerts”) Since 2001, Beady Belle has been touring the world. 2003 saw things really take off. The spring 2002 season began with the work on cd number 2 “cewbeagappic”. Beate and Marius again did it all on their own, with the help of many talented musicians. International singles included “Bella” (in German) and “When I start to cry (in English). CEWBEAGAPPIC is a title that attempts to describe Beady’s music. They couldn’t find it in the dictionary so they created it. Marius and Beate set out to refine their creative output. Beate states, “We tried to make an album closer to the listener by removing embellishments and emphasizing what the music is all about.” The strings are not meant to be a richly arranged harmonies. They serve only to bring the musical theme in the forefront. The sound of the strings is sharper and clearer. One can also hear the musicians’ breath. International singles were “Skin-deep” (and “Closer”) from this album. The members of the band have gone through many changes in the three years since “Closer” was released. The most significant change was Beate’s motherhood, which had a profound impact on the direction of the new album. Erik Holm, a drummer was another big change. Beady Belle is very grateful for the encouragement and support of many talented artists. Jamie Cullum, a UK jazz/pop musician, came backstage after a concert in London in 2005 during a European tour. He was a huge fan. This meeting led to a huge tour of the UK, including concerts in Germany and France. Cullum was supported by Beady Belle. Another American pop/soul artist was also on tour in Europe to promote her album. India.Arie was the one who did this. Trevor Nelson interviewed her at BBC. She spoke long about her favorite band, Beady Belle. India.Arie contacted Beady Belle to thank her for her kind words. The contact led to new collaborations and the funky duet “Self-fulfilling”, which was released on Beady’s fourth album. Beady Belle’s fourth album, “Belvedere”, was released in 2008. Publication: February 2008. This album was leading the group into a smoother, more soulful and at times offered an almost “Nashville”-flavoured textural landscape. Jamie Cullum joins the collaboration between Beady Bell and Jamie Cullum on “Intermission music”, where he sings. Geir Sundstol’s skillful playing enhanced the soulful, almost jazzy sound of “Belvedere”. Jorn Oien played with his brilliant jazz approach. He used both grand piano, wurlitzer, and other keyboards as he did on previous albums and tours. Beate says that Norway’s best male singer is Jarle Bernhoft. You’ll understand what she means when you listen to his raw yet smoothed backing vocals on this album. The album “Belvedere”, produced by Anders Engen and the band, was more laid back. The literal meaning of Belvedere is “beautiful sight”, and the nine tracks on the album were filled with beautiful sounds. If your ears can see, Belvedere will welcome you into its friendly territory. The band has been touring all over Europe and America since the album’s release, but they also play in Norway. Finally, Beady Belle was able to reach a large Norwegian audience. The first single from Belvedere was “Intermission music”, featuring Jamie Cullum. The 2010 – Synthesis of old and new Beady Bell’s fith album, “At Welding Bridge”, is released September 2010. This album is a synthesis, or a welding, between the first three albums and the fourth. The electronic and symphonic elements of the first three albums were absent on the fourth. The first album was meticulously and completely produced, while the fourth album was simpler live recorded. The country elements were added to the fourth album. The fifth album combines both the electronic and country elements. There are electronic elements, but the symphonic elements can be found in the wind arrangements, horn and bass clarinet of Hild Sofie Tafjord, and Lars Horntveth, which give the album a mysterious, woody tone. This album has required strong musicians. No compromises! Their unique playing style is combined into a new sound. Geir Sundstol plays country guitars, Bjorn Lier plays rhythm guitars, David Wallumrod plays organ, wurlitzer and clavinet etc, Jorn Oien plays grand piano and piano, while Tommy Kristiansen plays Runaway Mind slide guitar. The majority of “At Welding Bridge”, which takes many musical conventions from country music, sets expectations of a predictable country course and then jumps sideways into an urban cool jazz style or has that vibe fade in a smoky haze with smooth soul cool (“The Storm”, “Ambush”). Beady Belle are not purists. The stylistic juxtapositions are seamless blended and never feel clunked together. The country sound, especially the guitars, has a lot in common with the LA sound from the seventies.
