What makes him, in my view, the greatest living electric guitarist? His greatness is not as immediately obvious as other guitar icons. But if you listen closely, his tone, his feel for notes (nobody bends like Beck), his complete mastery of the entire instrument (and I mean entire instrument, when I saw him live I saw him play most of a song with a slide on the strings just above the pick-ups…nobody does that), his use of effects, his placement and choices…just unmatched. He can play fast and impress you with technique, but he often doesn’t go that route. He is much more interested in sounds and textures that he can conjure than just playing a fast solo. I saw Beck and Stevie Ray Vaughan on a co-headlining tour in 1989. At the time I came away thinking that SRV definitely bested him. I didn’t really know what to think of the Beck set. First of all, it was about twice as loud as SRV’s. He works with volume too. I love SRV, and to my young ears his speed, grace and bombast were more obvious than Beck's talents. Now, though, I would rather listen to Jeff Beck play over SRV nine times out of ten.
He has always had a tough time keeping groups together. He notoriously cannot keep singers around. Some of the music he plays on (his own or as a guest for others) is honestly mediocre, but even there, his playing can be genius. It will be a completely mediocre song, he will step up and solo and blow you away, then step back and the song becomes mediocre once again. He is a cagey fellow with a wicked sense of humor. He enjoys restoring classic cars as much as playing, and will disappear from the music scene for years at a time to tinker in his garage. When he was inducted into the Rock and Roll Hall of Fame as a member of The Yardbirds (years later he went in again on his own), he gave the funniest speech I have ever heard given at the Rockhall inductions. “I should be honored to be up here but I’m really not. They kicked me out of the band (turning to his former bandmates and Clapton and Page), so f*** you guys.”
Note: Jeff Beck was the lead guitarist for The Yardbirds from 1965-66, taking over after Eric Clapton left. There was a brief period where Beck and Jimmy Page shared lead duties, but then Beck was sacked. This discography begins after the Yardbirds.
Truth (Jeff Beck Group) (1968) ****
Beck-Ola (Jeff Beck Group) (1969) ****
Beck’s original line-up for his Group is the most celebrated, featuring Ron Wood on bass, Nicky Hopkins on piano and a young, gritty singer by the name of Rod Stewart. They had the chops and attitude to match the other classic rock groups of the day, like Zeppelin, Cream or The Who. But the Achilles Heel was lack of songwriting. Both records are full of covers, although they are appropriately turbo-charged, much like the blues numbers on early Zeppelin records. Truth, especially, is held up as a foundational record for hard rock and metal, although I personally prefer the ramshackle, offhanded, heavy yet loose Beck-Ola. With some more time and stronger material, this group could have been one of the giants.
Rough and Ready (Jeff Beck Group) (1971) **
Jeff Beck Group (Jeff Beck Group) (1972) **
After the disintegration of the first line-up, Beck organized mach II of his Group. A bit more faceless, although Max Middleton brings some songwriting and a jazzier influence to the table. It is a shame that this material is generally so mediocre and features vocals from third rate Robert Plant wannabes Alex Ligertwood and Bobby Tench, because Beck’s playing is more adventurous and interesting on these records than on the more celebrated first two releases under the Jeff Beck Group banner. They also explore some jazzier and funkier directions vs. the blues rock of the previous two records. “Ice Cream Cakes” from JBG is the perfect example of great yet crappy. A funky groove is ruined by generic cock rock lyrics and vocals, while Beck is throwing out killer licks and using subtle feedback brilliantly. I’d probably give these records at least an additional star each if they would just strip off the vocal tracks.
Beck, Bogert & Appice (Beck, Bogert & Appice) (1973) *
Live in Japan (live) (Beck, Bogert & Appice) (1973) *
Beck enters the power trio sweepstakes to leaden, dull hard rock effect.
Blow By Blow (1975) *****
Wired (1976) *****
Jeff Beck with the Jan Hammer Group Live (live) (with Jan Hammer Group) (1977) **
There and Back (1980) ***
Beck always had problems with vocalists, who tended to just get in the way. Even when it was Rod Stewart. So the solution is obvious - jettison the singer altogether. Beck would hardly ever work regularly with a vocalist again. This is his most celebrated period, and Blow By Blow is an undisputed fusion masterpiece. It all comes together on BBB, Beck’s brilliant tones and playing, and a backing band that matches his complexity, along with 5th Beatle George Martin producing. This stands up with any of the essential records of jazz/rock fusion. While most essential entries in that genre come primarily from the jazz side of the ledger, Beck approaches it from the rock side. “Scatterbrain,” “Cause We’ve Ended As Lovers” (the solo at the end is just gorgeous)and the immortal “Freeway Jam” are Beck’s most lasting works. Wired is almost as good, less jazzy but with a harder edge and much funkier. His live hook up with Jan Hammer and his group is pretty bad, but it is all Hammer’s fault, with his cheeseball bumblebee keyboard lines. Even Beck’s brilliant playing can’t save most of that record.
Flash (1985) *
Beck tries for mainstream rock/pop/hair metal success, and the results are predictably bad. Here he has a legion of faceless hair metal vocalists/screamers to get the songs on the radio. Only his gorgeous hit cover of “People Get Ready” with Rod Stewart on vocals is worth salvaging.
Jeff Beck’s Guitar Shop (1989) ****
I have spent many hours of my life listening to and thinking about this record. It is either a subtle, quirky masterpiece or a missed opportunity. Critics seem to be similarly split. Hooking up with keyboardist Tony Hymas and drummer Terry Bozio, you’d think it would be all hard rock bombast, but instead it is an eclectic mix of styles (reggae here, atmospherics there, hard rock and then a ballad…) Beck is uncharacteristically restrained on many tracks too, just playing fragments and laying back. Is he a bit timid since he has been out of the game for several years, or is he so confident that he doesn’t need to wow you every second? That is the thing, the record never really answers that or any other questions. So, I’ve decided that I love it. The fragmentary “Where Were You” may be the most beautiful thing Beck has ever recorded.
Beckology (compilation box set) (1989) ***
Frankie’s House (soundtrack) (1992) **
Crazy Legs (1993) **
Best of Beck (compilation) (1995) ****
The high profile he gained from Guitar Shop (and the accompanying co-headlining tour with Stevie Ray Vaughan) turned out to be a false dawn, at least for another decade or so. He was relatively quiet in the 90’s, recording an atmospheric soundtrack (Frankie’s House) and a note for note covers tribute album of the songs of Gene Vincent (with Beck meticulously recreating the solos of his hero Cliff Gallup) (Crazy Legs). Other than that, it was only a couple of compilations. Box set Beckology is fantastic for his early career with The Yardbirds and the Groups, but misses the mark when covering the fusion era, while Best of Beck is a necessarily scattershot single disc sampler that nonetheless does the trick for neophytes. The primary downside to both of these collections is that they were released before what is arguably his most exciting period.
Who Else! (1999) ****
You Had It Coming (2001) *****
Jeff (2003) ***
Live at BB King Blues Club (live) (2006) ***
Live in Tokyo ’99 (live) (1999/2006) ****
Official Bootleg USA ’06 (live) (2006/2007) ***
Live at Ronnie Scott’s (live) (2008) *****
Emotion & Commotion (2010) ***
Live and Exclusive From the Grammy Museum (live) (2010) ***
Rock and Roll Party Honoring Les Paul (live) (2011) ***
From 1999 forward, Jeff Beck has had his most prolific and many could argue (I would) his most interesting and daring period. Emerging from seeming oblivion, he came back with Who Else!, a record that explores modern electronic music with his guitar slashing, stabbing and darting every which way. He sounds completely at home in this completely modern environment. Those first three studio records form a trilogy of sorts and are a peak only matched by Blow By Blow and Wired. I think You Had It Coming is the most daring and best of them all. Live at Ronnie Scott’s is the definitive modern live Beck and is probably the best place to start for this period. But, since he is not shy about playing around with effects in the studio, in the live setting he is somewhat more limited in the sounds that he can conjure. So the Ronnie Scott’s set is not as sonically interesting or diverse as those studio efforts from 1999-2003. On the other hand, the band he has for the Ronnie Scott's set is out of this world good, and the setlist is fantastic.
ABOVE: Here is "Scatterbrain" from Live at Ronnie Scott's (also available on DVD)
Bottom Line: Beck has one of the more challenging discographies because of his own sporadic work habits, his inability to keep steady line-ups together beyond a couple of records, and the varying degree of quality of his material. While his playing is almost always brilliant, it is sometimes above the material. Truth is essential early blues rock (although I prefer the more fun Beck-Ola) from his initial Jeff Beck Group. Blow By Blow is his masterpiece and one of the finest fusion records ever made, and follow-up Wired is also essential. Who Else! and You Had It Coming are musts, and Live at Ronnie Scott’s is his best live outing. After you try those, head to Guitar Shop. None of the compilations do him justice simply because they are all pre-1999.
6 comments:
Throwing the gauntlet
In order to issue this challenge, Dez, I have to use the way-back machine and run all the way to August of 2008 (Really? That was really six years ago?) digging up a post that lands squarely in the middle of one of Dez’s “Top 100 Record Guides.”
Let’s start here:
#56. James McMurtry – Where’d You Hide the Body?
Rock / Pop? Seriously, Dez? McMurtry? Look, there’s this whole movement that’s been going on for a few years, and I can see you wanting to embrace it. As far as I’m concerned, the Americana revival has its roots in the 90’s alt-country movement, but has really come into its own over the last ten years (and I’m not talking about that whiny Mumford and Sons / Lumineers / Arcade Fire stuff the kids listen to). Your challenge, should you choose to accept it? Break away from your comfort zone. Your record guides are unquestionably great, but it’s time for some new material. As a peace offering, I’d say there are easily hints of Americana in your several of your existing guides / catalogues, however, if you’re not over here, I think you’re missing out:
www.musicfog.com
Gauntlet’s thrown Dez, I’m counting on you.
p.s. - I should mention – I come here a lot, I never comment. Keep up the good work.
But I'm comfortable in my comfort zone. First of all, thanks for reading and commenting, Anonymous.
I always appreciate suggestions for new avenues to explore. I definitely appreciate Americana. You mention the 90's alt-country movement (one of the few bright spots in 90's music, in my opinion). I am a big fan of the Uncle Tupelo/Son Volt/Jay Farrar/Wilco/Jeff Tweedy family tree. Like Whiskeytown and some Ryan Adams.
At the same time, country is probably one of the genres that I appreciate the least.
I will check out the site, but give me some names! Tell me who I should be listening to in the genre.
In the 90's I was a huge fan of some of the artists in what was called the Newgrass movement. Bela Fleck, Jerry Douglas, Sam Bush, Tony Rice, etc. In part because these guys took older genres and brought an unparalleled virtuosity and spirit of exploration to it all.
Dez,
Thanks for the response – glad to hear you’re interested in branching out. I guess when I think “country” I think of that tripe they play on F.M. radio these days. Is Americana country? Sure, to a degree but it’s also a lot of other things, and using some of your artist references, in my mind it’s also Newgrass, Folk, the family tree of Alt-country, and to some degree Southern Rock (but maybe not in the way you’re thinking). I guess in reading through your site, I think it encompasses things like early Mellencamp (still a Cougar), early Springsteen, including some of the “experimental” albums spread throughout his career (Nebraska, Ghost of Tom Joad), and the epic country album (for Englishmen) Tumbleweed Connection. I had to break this into two comments because of blogger’s character limit.
Where to start - where to start that’s not too, “Country?”
Okay, I can do that – some singles from each of our categories in no particular order, plus a couple of “Folk / Country” albums that hopefully fit the bill:
Alt-Country:
This is going to be the toughest pick for me, because based on what you’ve said, I’m guessing your interpretation of what qualifies as “Country” is a bit different than mine.
Singles from MusicFog:
Chris Knight- “North Dakota.” This would make Nebraska-era Springsteen weep with sadness, and stare at the wall in self-reflection. The musicianship’s not necessarily astounding for the genre, but the story-telling and delivery can be heart wrenching. If you like this, there’s a heck of a lot more where it came from.
Guy Forsyth – “Old Time Man.” Not actually sure where this fits, so I’m depositing it here. Again, something about one guy, a guitar, and telling a story. I think he’s maybe better known for his blues music, but this song from his recent album, The Freedom to Fail, really hits home for me. I have to admit, I kind of just fell into this recently, and haven’t vetted much of his other stuff, but I like this.
Part 2:
New Grass:
What is New-Grass anymore? There are so many acoustic acts these days that incorporate bits and pieces of traditional bluegrass, that in my mind it’s a tough call. Also, this is my weakest category, and I’m going to have to punt here a little. I think for this particular “genre” I’m going to have to just trust you to thumb through the MusicFog catalog (which is actually a bit easier to do over on their Youtube channel). Is there an immediate successor to Bela, Jerry, or Sam? I don’t know, but I’m betting that if there is, they’re here somewhere. Honestly, I feel like the whole Americana thing incorporates so many aspects of New-Grass that they can be hard to separate if the composition isn’t obviously folk/country, blues or rock.
Southern Rock (Going whole album here):
Newsflash - not dead as a genre. This is an easy pull for me, although the album’s a bit dated. Drive By Truckers – Southern Rock Opera. Concept Album? Check. Tribute to the history of Lynyrd Skynrd? Check. An entire song about the Governorship of George Wallace? Check. I think this one will hit you both musically and as a history buff, but you have to listen to it beginning to end in sequence (probably not a problem on CD, but I keep getting my A/B sides mixed up on the turntable(even though they’re color-coded). You might feel more comfortable in a sleeveless t-shirt while you listen to this, if that’s your thing.
Folk / Country (going whole album here):
Old School:
Townes Van Zandt – Live at the Old Quarter. Worth it for some epic Townes tracks that aren’t heard on a lot of his other albums, even with all the standards that are here. Still crisp with the guitar, he can still remember the lyrics for the most part, and is pretty much at his peak IMO. “Mr. Mudd and Mr. Gold,” makes the album for me – and makes me wish Steve Earle would stop “honoring” Townes by covering it with his lackluster renditions.
New School:
Adam Carroll – Looking Out the Screen Door. Well-crafted stories. Sweet guitar picking in spots. What “Country” should be, I guess, and a “complete” album to boot. Not a bad song on this album in my opinion. Try “Snow Cone Man” to get a feel for it. Unfortunately I think he’s gone downhill from here.
Ryan Bingham – Junky Star. Although this album is a little more over-produced than I care for in places, I’m gonna go out on a limb, and say it’s not too country for you. McMurty-esque guitar work in places. Good lyrics, and a voice that peels paint. Bingham and Ryan Adams should get together and do something that would blow all our minds, if Adams was inclined to harken back to the days of Faithless Street.
Thanks for the opportunity to give you some music to branch out on. Hope I’m hitting a few things you haven’t tried already.
Palladia, a music video channel I get, shows the "Jeff Beck live at Ronnie Scott's" all the time, and I watched it again last night. Great stuff.
I remember buying "Guitar Shop" in high school after reading all about Beck in, probably, Guitar World. It mostly eluded me, but I, like you, was obsessed with "Where were You." I put it on every mix I made for years.
Anonymous, thanks so much for the suggestions. I will absolutely check those out. I actually have the Townes Van Zandt record you suggested, although I haven't listened to it in a long time. I'll pull it out again.
ANCIANT, Beck is fun to watch as well as listen to. His slide work doesn't get talked about much, but he is great with it.
Post a Comment