Beck
Few Rock songs had the impact of "Loser." Not only was the thrash Rock approach compelling, the lyrics refused to be ignored. "I'm a loser baby, so why don't you kill me." Coming just as Grunge was peaking or about to go over the high side (take your pick) "Loser" struck a receptive chord and became a Gen X anthem. Well, somebody had to do it. As the accompanying "Mellow Gold" album hit the streets Beck was dubbed the "next big thing."
L.A. native Beck was born in '70 with the moniker Beck David Campbell. Growing up in a musical family, Beck dropped the Campbell and took his mother's maiden name, Hansen, after his parents split. Only able to handle public education to the 9th grade, Beck bailed and became immersed in the local Punk-Folk scene. Interestingly, Beck didn't seem poised to become one of the '90s cultural linchpins. Influenced by Blues legend Mississippi John Hurt and Folk great Woody Guthrie, Beck favored acoustic accompaniment for his preachy lyrics, which put him in line to be the 1,312th Bob Dylan clone. Fortunately he was spared this inglorious fate. Gaining local notoriety, Beck met Hip-Hop producer Karl Stephenson. The two collaborated on some indie projects with the song "Loser" catching all the attention. Soon the DCG label tapped Beck.
Beck's music, like L.A., had a "no there, there" quality. It was a synthesis of just about everything that came over the transom. Beck even managed to secure for himself a significant amount of artistic freedom. Namely, CDs that both he and his label felt were "non-commercial" could be released on indie labels. The electronic/experimental (read: clamorous) "Stereopathic Soul Manure" and the Folk oriented "One Foot In The Grave" went the indie route. Fans, and they were numerous, bought it all.
In '96, two years after his major label debut, Beck released "Odelay." With "Where It's At" and the explosive "Devil's Haircut," the CD stands as his best Rock effort. Produced by the Dust Brothers, "Odelay" solidified Beck's icon status. Alienation, the quest for freedom and the desire to set things right - all the old Folkie themes updated and delivered with catchy hooks and driving beats.
The mellower "Mutations" came out in '99 followed by the "all-over-the-board" "Midnite Vultures." The infamous Dust Brothers returned in '05 for "Guero," Beck's sixth major label effort. The next year Beck issued "The Information."
Though released only a year after "Guero," "The Information" reportedly took three years to complete. The "quasi Hip-Hop" set contained the single "Nausea" and peaked at #7 on the Billboard album chart.
By early '08, Beck was working on his next album with the ubiquitous Danger Mouse (Brian Joseph Burton) who had recently produced The Good, The Bad & The Queen and Black Keys. Beck's "Modern Guilt" was issued in July ('08).
It all comes down to "Mellow Gold" and "Odelay." These are not purely Rock (or any subset) CDs but they are as close as he comes and as compelling as he gets. That's not to say any of his other adventures don't have good music, it's just not Rock. "Mutations" delivers Bossa Nova and Blues while "Midnite Vultures" moves from Hip-Hop to Country.
"Guero" starts strong with "E-Pro," a dose of Grunge propelled by Beastie Boy's beats. Little wonder it topped the Modern Rock charts. The Spanish slice-of-life Rap of "Que Onda Guero" is certainly engaging. "Guero" is a slang term for "whites" Beck heard while growing up in L.A. Add to that the light, airy pop of "Girl" and it looks like Beck is off on another of his eclectic romps. But the set quickly falls into a modern-folk vibe and stays there. "Black Tambourine" is a good acoustic ramble and "Earthquake Weather" features the talents of Jack White. Still, these tracks don't measure up to what kicked off the album. Word is, Beck was trying to recapture is "Ode-Lay" audience here. He sure started in that direction but that's not where he ended.
"The Information" is the usual Beck collection of styles. There's Funk, Crunk but unfortunately, no Punk. He takes elements of Jazz, Folk and even New Age to produce yet another a low key album. Not surprisingly, the most accessible track is titled "Elevator Music." It along with the Jazz tinged "Think I'm In Love" and the Folk-ish "Nausea" have something going for them. No doubt, these songs and much of the album will likely find a home at "quality Rock" stations or on the sound system of your local Starbucks.
Given that "Modern Guilt" is a Beck album and produced by Danger Mouse, there are the obvious loops and electronic embellishments. There's also a very accomplished Rock n' Roll record.
As the title implies, Beck deals with issues of culpability, both his own and others. But he (and Danger Mouse) do it by mining late-'60s' sounds for a hazy, elusive feeling - which in this case works well. The set's first two tracks, the psychedelic laced "Orphans" and "Gamma Rays," which sounds like a Fillmore jam with Beach Boys/Jefferson Airplane (something that never occurred way back when) are the most obvious retro numbers and stand among the set's many excellent songs.
The title track is a vigorous acoustic Rock song. Sharp drums propel the synth stained "Walls" and "Replica" has a hypnotic appeal. Moving out of the '60's "Chemtrails" takes a Tears For Fears dense pop approach while "Volcano" falls straight out of the Pink Floyd songbook. But the real stunner is the raucous "Profanity Prayers."
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