"If the voice don't say it, the guitar will play it," raps
Saffron on "Pork-U-Pine," the third track on
Jeff Beck's minimally titled
Jeff. And he does.
Beck teams with producer
Andy Wright, the man responsible for his more complete immersion into electronic backdrops on his last outing,
You Had It Coming. This time the transition is complete.
Beck used electronica first on
Who Else!, moved a little more into the fire on
You Had It Coming, and here merges his full-on
Beck-Ola guitar heaviness with the sounds of contemporary spazz-out big beats and noise.
Beck and
Wright employ
Apollo 440 on "Grease Monkey" and "Hot Rod Honeymoon," and use a number of vocalists, including the wondrously gifted Nancy Sorrell, on a host of tracks, as well as
the London Session Orchestra on others (such as "Seasons," where hip-hop, breakbeats, and old-school
Tangerine Dream sequencing meet the guitarist's deep blues and funk-drenched guitar stylings). As for atmospherics,
David Torn (aka producer Splattercell) offers a shape-shifting mix of glitch tracks on "Plan B" for
Beck to wax on both acoustically and electrically, and make them weigh a ton. But it's on cuts like "Trouble Man," a purely instrumental big drum and guitar skronk workout, where
Beck truly shines here. With a rhythm section of
Dean Garcia and
Steve Barney -- and
Tony Hymas appears as well --
Beck goes completely overboard: the volume screams and the sheer crunch of his riffs and solos split the rhythm tracks in two, then four, and finally eight, as he turns single-string runs into commentaries on everything from heavy metal to East Indian classical music.
The industrial crank and burn of "Grease Monkey" is an outing fraught with danger for the guitarist, who has to whirl away inside a maelstrom of deeply funky noise -- and
Beck rides the top of the wave into dirty drum hell and comes out wailing. For those who feel they need a dose of
Beck's rootsier and bluesier playing, there is one, but the context is mentally unglued. "Hot Rod Honeymoon" is a drum and bass sprint with
Beck playing both slide and Texas-style blues à la
Albert Collins, letting the strings bite into the beats. The vocals are a bit cheesy, but the entire track is so huge it's easy to overlook them. "Line Dancing With Monkeys" has a splintered Delta riff at its core, but it mutates, shifts, changes shape, and becomes the kind of spooky blues that cannot be made with conventional instruments. His turnarounds into the myopic rhythms provide a kind of menacing foil to their increasing insistence in the mix. Before gabber-style drum and bass threaten to break out of the box,
Beck's elongated bent-note solos tame them. "JB's Blues" is the oddest thing here because it's so ordinary; it feels like it belongs on an updated
Blow By Blow. In all this is some of the most emotionally charged and ferocious playing of
Beck's career. Within the context of contemporary beatronica,
Beck flourishes. He find a worthy opponent to tame in the machines, and his ever-present funkiness is allowed to express far more excess than restraint. This is as fine a modern guitar record as you are ever going to hear. ~ Thom Jurek