JEFF BECK

Gaining fame as one of the three guitarists employed by the legendary 60's band The Yardbirds (the other two, of course, were Eric Clapton and Jimmy Page, who need no introduction), Jeff Beck probably had the most erratic career of the three, due to his attitude problems and long spells between his albums, some instrumental, some featuring vocalists.  I'm not terribly familiar with his output, but I figure what I've heard is a good enough place to get started - his 1975 all instrumental landmark Blow By Blow.

--Nick Karn

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TRUTH (1968)

(reviewed by Kevin Baker)

I most confess to something. I doubted that Goerge Starostin's assertion that this one rocked almost as hard as Led Zep's debut. How could anything ever hope to top that leaden monster? This one doesn't top it, but I'll be a monkey's uncle if it doesn't try real hard to do so. This may be the same Jeff Beck who went on to play jazz-fusion stuff like Constipated Duck, but you wouldn't guess it. You have nasty-sounding distorted guitars, pounding drums, thumping bass, and Rod Stewart. Can you imagine how great Led Zep would have been if Rod Stewart had been in the place of Robert Plant? And this is coming from a major Zephead (well, at least until Houses Of The Holy)!

But forget Rod Stewart. While he's certainly a perfect singer for this hot mama, Jeff Beck owns this album. The playing is impeccable, and whatever tone Beck decided upon is perfect for this baby.  I guess Beck was feeling nostalgic about his old stint in the Yardbirds, so they open with a Yardbird's cover. I have yet to hear the original, but Shapes Of Things is a pretty cool hard rocker, but it's not a highlight. Let Me Love You is, though. Here's where we hit the blues-rock side of Jeff Beck like a "ton of lead" to quote ZZ Top. I also learned that Led Zep partially borrowed from this song for one of the songs on the BBC Sessions, but I'll make you guess which one.

Then we have a fine song Nazareth also did on it's debut. Tim somebody-or-another originally did this, but there's no way he could have done it as well as either Beck and Co. or Nazareth. Rod Stewart really is the star of the show on this one. And hey, more fodder for the Zep comparisons! They also do You Shook Me! But it's not as good. Instead of being a screechin' guitar workout with some harmonica and organ, this one's more of a showcase for organ and piano. Plus, it's soooo short. It ends on an odd note, with that note being a sort of atonal gargle from Beck's guitar. I think J.P. Jones also played the organ.

The next song is an ode to the Mississippi with some tight timpani, which is followed by a folky guitar version of Greensleeves. Then we decide to rock my plimsoul, and curiously enough that's the name of the next song. It's pretty good, but what in tarnation is a plimsoul? For that matter, where'd the term tarnation come from? The next song is basically a "metallic" take on Ravel's Bolero, even though it's called "Beck's" Bolero. I actually find it to be one of the best songs on here. The guitar is absolutely spellbinding. Then we have a blues epic called "Blues De Luxe." It is indeed a live blues performance, and I'll be a tri-horned frog in a tunic if Rod Stewart doesn't steal the show here too. It's raw and vital and a really cool song. We close on a Howlin' Wolf cover that may be the heaviest song on here. Overall, we have a fine heavy blues-rock album here that's almost on par with LZ I, but not quite.

OVERALL RATING: 9

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COMMENTS

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Kevin's review sums this baby up perfectly except I think I actually prefer Truth to Led Zep 1, Beck is in sparkling form throughout but Rod Stewart absolutely shines.

This and the following Beck-Ola album surely serve as a testament that Rod is greatest waste of a vocal talent in the history of rock. The real tragedy is that so many have not even heard his work from this period. If you're a Zeppelin fan and you've not discovered Truth and Beck-Ola you need to and quickly, much as I admire Robert Plant I fear Rod would have been the better bet.

BLOW BY BLOW (1975)

(reviewed by Nick Karn)

This album is a showcase of the Jeff Beck Band's excursions into jazz and funk, with a bit of the signature hard rock style thrown in, and for the most part the results are successful and quite original as well - probably one of the most notable all-instrumental albums as a collection of (often lengthy) jams built on distinct guitar, bass or organ melodies that may not always be memorable as individual compositions, but the seamless flow of all the songs together leaves a definite impression afterwards, and they rarely ever get boring, even if it takes a couple listens or so to get into the overall sound of the record, which was produced by none other than George Martin himself of Beatles fame, of course.

Speaking of The Beatles, one of the major highlights here just happens to be an instrumental reworking (mostly anyway) of the Lennon-McCartney composition "She's A Woman", which has a totally relaxing jazzy atmosphere with melodic solos coming through - it also features talk box guitar pushing the song forward.  Stevie Wonder also contributes two numbers here in the excellent ballad "Cause We've Ended As Lovers", which is an extremely effective slow piece that proves to be just as resonant without any lyrics, and the solid engaging funk of "Thelonius".Blow By Blow is good for a few intriguing song titles as well - the best of them being another cool funkster "Constipated Duck" that boasts another nice groove.

"Air Blower", meanwhile, produces a multi-part feeling fairly well near the end of the tune, and "Scatterbrain" makes an impression through a gripping orchestrated vibe that closes the first half.  The most celebrated number, though, is the one that really fits its' title - "Freeway Jam" really gives off the impression of a drive on the freeway through its' engaging uptempo guitar line that flows through the entire piece, and the actual 'jam' is no slouch either.  The remainder of the album, the opening "You Know What I Mean" and the closing "Diamond Dust", are nice contrasts to each other, the former more easygoing guitar funk and the latter a huge orchestral 8 minute ballad that's overlong and maybe too overdramatic but still nice.  In all, the dynamics and atmosphere of this album are certainly nice and make this effort worthy for any guitar fanatics' collection.

OVERALL RATING: 8

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