From its kaleidoscopic array of junk-culture musical styles to its assured, surrealistic wordplay, Beck's debut album, Mellow Gold, is a stunner. Throughout the record, Beck plays as if there are no divisions between musical genres, freely blending rock, rap, folk, psychedelia, and country. Although his inspired sense of humor occasionally plays like he's a smirking, irony-addled hipster, his music is never kitschy, and his wordplay is constantly inspired. Since Mellow Gold was pieced together from home-recorded tapes, it lacks a coherent production, functioning more as a stylistic sampler: there are the stoner raps of "Loser" and "Beercan," the urban folk of "Pay No Mind (Snoozer)," the mock-industrial onslaught of "Mutherfuker," the garagey "Fuckin' With My Head (Mountain Dew Rock)," the trancy acoustic "Blackhole," and the gently sardonic folk-rock of "Nitemare Hippy Girl." It's a dizzying demonstration of musical skills, yet it's all tied together by a simple yet clever sense of songcraft and a truly original lyrical viewpoint, one that's basic yet as colorful as free verse. By blending boundaries so thoroughly and intoxicatingly, Mellow Gold established a new vein of alternative rock, one that was fueled by ideas instead of attitude.
Midnite Vultures is flourishing with a deranged sense of psychedelia that disorient the senses, while mesmerizing the mind with surrealistic melodies.
Surrealism has often been defined as an artistic movement that deviates from the conscious laws of reason and convention. It is a philosophy dedicated to exploring the most obscure realms of the human imagination. Surrealism originally began as an expressionistic approach to visual art, but the ideology of imaginative indulgence transcended into other art-forms such as film and music. Beck has once been described as a composer whose music spontaneously transcends through genres, while simultaneously reinventing them. Beck's pervious albums, like Mellow Gold and Odelay!, displayed a distinctively eccentric and innovative musical style. Amalgamating different genres such as Folk, Hip-hop, Rock and Electronica to create an unusual listening experience that is directly inspired by the unconventional nature of surrealism.
Beck's prior albums have constantly exposed us to his experimental tendencies, but none of those experiences even come close to the utter abnormality of Midnite Vultures. This is Beck showing absolutely no restrain, as he takes us on a metaphysical journey to the most abstract dimensions of his mind. "Nicotine & Gravy" is perhaps the essence of what Midnite Vultures is all about. The song is composed by an excessive barrage of psychedelic effects flowing along a mellow arrangement of bass and drums. But as we descend further and further into "Nicotine & Gravy", we find the song being constructed by a diverse musical landscape that arrives to an eruptive medley of kaleidoscopic sounds.
Midnite Vultures introduces an eccentric style of ambient music. "Peaches & Cream" displays the typical musical approach of the album, exhibiting condensed layers of sounds comprised from the rhythmic groove of Funk music and trancing instrumental elements. As I said before, this album is flourishing with a deranged sense of psychedelia that disorient the senses, while mesmerizing the mind with surrealistic melodies. We can really see Beck's growth as a songwriter in this album. The lyrical content still contains Beck's usual delivery of nonsensical comedic witticism, but the instrumental sections demonstrate innovative orchestral techniques that we hadn't really seen in his past albums.
In songs like "Hollywood Freaks" and "Get Real Paid", we find Beck returning to some of his past tendencies as he revisits his Hip-Hop and Electronic roots. We have seen Beck incorporate both electronic and sampling effects in his music before, but they were always an occasional decorative arrangement. In Midnite Vultures, electronic sequences serve to play a prominent role in the musical structure of almost every song on the album, adding a higher level of spontaneity to the music. "Milk & Honey" and "Mixed Bizness" perfectly display all of the different approaches Beck uses with electronic effects, from eruptive discharges of cosmic sounds to inducing a more melodious dancing atmosphere. In the end, Midnite Vultures proves to be highly entertaining because it's simply Beck doing what he does best- altering the norms of musical orchestration while blending several different musical elements to create a truly captivating musical experience
Alt-alt singer/songwriter Beck’s 1996 breakthrough release, Odelay, gets the deluxe treatment – and hold up very well. While Beck first came to people’s ears thanks to 1994’s Mellow Gold hit single, “Loser”, more than a few folks were calling him a one-hit wonder – until he followed Gold up with the double-platinum, double-Grammy-winning Odelay. Now, over a decade later, Odelay is re-released as a double-disc with a grab-bag of nineteen extra outtakes, unreleaseds, foreign b-sides, and remixes, but it’s how well Odelay still plays that steals the show.
The lo-fi alt-rap Beck employed on Odelay was shocking and original in its day, but instead of feeling like old hat now, it just comes across as more flowing, catchier. That’s certainly true with singles “Devil’s Haircut”, “The New Pollution”, and hit “Where It’s At”, which is the perfect combo of indie-cool and indie-irony, having fun and making fun at the same time. Other indie-cool tracks that hold up well include the backwoods-y “Hotwax” and single “Sissyneck”, and the re-release lets the sadder Beck we’d come to know later on shine through, minus some of the weirdness, on “Lord Only Knows”, “Readymade”, “Ramshackle”, and single “Jack-Ass”. However, most of the really fuzzed-up techno-rock pieces, like “Derelict”, “Novacane”, and “Minus”, still feel kind of clunky – but “High 5 (Rock The Catskills)” still stands out. Disc one still contains three more tracks from the Odelay sessions, “Deadweight”, “Inferno”, and “Gold Chains”. “Deadweight” was a single in its own right in 1997, off the A Life Less Ordinary soundtrack, and it’s certainly more memorable than that Ewan McGregor/Cameron Diaz flop. Tropical like how Beck’s next record, Mutations, would be, “Deadweight” might have fit better there, but gets more of a chance to stand out here. “Inferno” and “Gold Chains” are previously unreleased outtakes from Beck’s time with Odelay producers, the Dust Brothers: a good-but-meandering funky techno-fuzz rap, and a good-but-meandering lo-tech folk-rap.
Disc two is sixteen tracks that, unsurprisingly for the unusual Beck, vary in style, length, quality – you name it. Things start off with three remixes, a twelve-minute drum & bass remix of “Where It’s At” by UNKLE, a sped-up remix of “Devil’s Haircut” by Aphex Twin (dubbed “Richard’s Hairpiece), and another “Haircut” remix, by Mickey P., done like a live punk song (called “American Wasteland”). There’s also an alternate, improved, lo-fi garage-rock version of Stereopathic Soulmanure’s “Thunder Peel”, and the disc ends with two new versions of “Jack-Ass” – a better, more orchestral version, thanks to adding strings (called “Strange Invitation”), and a Spanish language version with a mariachi band (“Burro”).
Lo-fi and techno-fuzz get the biggest play on the rest of the tracks, mixing them all up a bit too much. However, there are some key standouts, such as the early-on cool, laid-back, techno-fuzz rap of “Clock”. Meanwhile, the sad and restrained Beck comes out orchestral with his guitars on “Brother” near the end, to be followed by disc two’s top track, “Devil Got My Woman”. Beck recorded this cover of a Skip James classic at the world-renowned Sun Studios in Memphis, just before the doors on the place closed forever, and this ‘Beck blues’ is unlike anything this wide and prolific artist has done before.
Like any expanded double-disc re-release of a classic (such as Sonic Youth’s Daydream Nation (Deluxe Edition) – QRO review, or U2’s The Joshua Tree: Remastered – QRO review), two questions must be asked: is the original material as good as it was, and are all the extras worth my time? For Beck’s Odelay – Deluxe Edition, the original holds up and then some, and there are definitely some special pieces among the extras.
To most of you Beck is known as the musical chameleon who mixes a huge array musical styles, to create alternative pop that is highly unique. In this album however, there is a different side of Beck...the singer-songwriter Beck as opposed to Beck the sonic contortionist. It's a more emotional side...focussing on his voice and his acoustic guitar. Despite the frequent use of an orchestra...the songs on this album are so incredibly naked and heartfelt...it's hard to believe it's the same guy who wrote "Where It's At" or "Sexxx Laws". The transition from becoming singer-songwriter seems to have gone very smoothly, while it is anything but. This album is produced by Nigel Godrich...known for his work with Radiohead...and he captures the intimacy of the music perfectly. This album is nowhere nearly as original or complex as Mutations or Odelay...or playful as Midnite Vulture...but it's got some really solid heartfelt songs that are just so brilliantly composed...to a degree that this is IMHO Becks best record. In fact this is one of the best records I've ever heard.
The Golden: Age A very nice slow, atmospheric, acoustic ballad...very lullaby-ish. The mood is similair to "No Suprises" by Radiohead...Beck sings the song in a very light, semi-soft tone. You have some really nice backing vocals...who are not too obvious...but add alot to the song. All in all great opener. 4/5
Paper Tiger: This song has some odd production...with the guitar and orchestra parts being produced much sharper and louder...while the drums, bass and vocals have a more muffed production. This song is the closest thing to the experimental Beck on this record. The orchestra provides some cool random melodies now and then. Pretty decent. 3.5/5
Guess I'm Doing Fine:A straight forward, depressing song... I absolutely adore the intro melody of the acoustic guitar...it's really short but grabs me immediately. Courtesy to the flawless production. Becks sings a bit lower tone...it fits the song...which has the feeling of being lost, and lonely...a struggle towards acceptance. The title already suggest about the mood of the song. 4.5/5
Lonesome Tears: Bear with me, I'm a sucker for artsy music...and for those who know me long enough on the forums know it's impossible for me to hate this song. The song is downright gorgeous...it's rhythm-based, but melodies are dominated by the orchestra and the vocals. The intro immediately captures how beautiful this song is. The lyrics are something I really relate to. The song isn't as depressing as the title suggests, I interpretate it more as fighting against your sadness. In other words it's a hopeful song. The chorus is very arranged...an epic wall of violins really...but fortunately they don't overshadow Becks emotional vocals. The most beautiful part of this track is around 1:57....I love the amazing melodies that come right there inbetween before the second verse. In the end the song builds up more and more...like a music orgasm of sorts....it's like you've been traveling in space and are ready to land. You'll hear what I mean when you hear it yourself. The song carries out a bit too long....but hey...still, a very beautiful song. 5/5
Lost Cause: Big sigh...after the last track...you've earned a breath or two. This is nonetheless another song that does justice as the followup of the first four tracks. It starts with strange electronic soundscapes...but immediately greeted by a lofi beat and the gorgeous acoustic guitars. I love the way Beck sings on this track...he sings in this very somber tone...really effortless, almost as if the words blurt out completely naturally. Very soothing track. 4/5
End Of The Day: Another lullabyish track, a bit more muffed in production. It's got some melancholic guitar melodies and keyboard samples. The opening lyric is already very easy to relate to: "Seen the end of the day come too soon, not alot to say, not alot to do". The song carried on a bit long...but it's still decent. 3.5/5
It's All In Your Mind: The song is mostly just driven by Beck and his guitar...and some cello's. I love the volume in Becks voice, which is hard NOT to notice when he starts singing...you can easily tell this is the same producer who did the Radiohead albums...it's just magical. It's another beautiful song. 4/5
Round The Bend: Orgasm song number 2...but this one is more timid then Lonesome Tears...but not in anyway less beautiful. It starts slow paced (no drums) with the orchestra in an almost echo-ing production, with a low strumming acoustic guitar. Beck sings in a very emotional crooning voice...it perfectly fits this song. The great thing about this is that despite the volume of the orchestra...the song never loses it's intimacy. This is -the- perfect song to fall asleep to. 5/5
Already Dead: As the title suggests...this is another depressing song...you'd think?...but the vocal lines and guitar melody are suprisingly uplifting. The brilliance of this song comes around in 52 seconds...it's hardly noticable. Beck changes the melody very subtlely...without losing flow of the verse melody...and still make the chorus a bit more depressing sounding. It's got some cool country licks after every chorus. I love the way Beck plays in this song...I dunno jack about guitar playing...but judging by ear, the way he progresses the melody in this song is brilliant in my opinion. 4.5/5
Sunday Sun: Orgasm no. 3. The first thing that pops through your head is the simple, yet TIMELESS sounding piano melody. It's been awhile since I've heard such a brilliant simplistic melody. Chris Martin would eat his ****ing HEART out hearing this song. The melody is awesome in the chorus...and the drums are drivven by light percussion. I love the Flaming Lips-esque backing vocals, no wonder they became Becks backing band while he toured for this album. This song is just brilliant by the way. I've lost all words for it. 5/5
Little One: This song starts with a haunting guitar melody that would make Kurt Cobain proud. The amazingness just queus along on this album. Like I said...this song is haunting, full of cool little twists. It switches from arranged chorusses...to the timid guitar driven melodies. Another great song. It's got a really cool music jam near the end with experimental beats and a piano solo...just when you think things couldn't get better...geez..do you really want to keep reading this review? Haven't I glorified things enough?! 4.5/5
Side Of The Road: Apperantly enough. The final track is a quiet acoustic bluesy track. Really nice way to end an album opposed to saving the most orgasmic track for last...this albums just drifts away. "Let it pass on the side of the road". 4/5
I definately recommend buying this album. Hard to go wrong here. It may take a few listens to get a familiarized with all the songs...but once you do, chances are you'll realize how great this album really is.
