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Beck Album - Odelay
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Release Date:1996-06-18
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Type:Unknown
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Genre:Rock, Adult Alternative, Indie Rock
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Label:DGC
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Explicit Lyrics:Yes
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UPC:075021017955
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Review - AMG :
Beck's debut, Mellow Gold, was a glorious sampler of different musical styles, careening from lo-fi hip-hop to folk, moving back through garage rock and arty noise. It was an impressive album, but the parts didn't necessarily stick together. The two albums that followed within months of Mellow Gold -- Stereopathetic Soul Manure and One Foot in the Grave -- were specialist releases that disproved the idea that Beck was simply a one-hit wonder. But Odelay, the much-delayed proper follow-up to Mellow Gold, proves the depth and scope of his talents. Odelay fuses the disparate strands of Beck's music -- folk, country, hip-hop, rock & roll, blues, jazz, easy listening, rap, pop -- into one dense sonic collage. Songs frequently morph from one genre to another, seemingly unrelated genre -- bursts of noise give way to country songs with hip-hop beats, easy listening melodies transform into a weird fusion of pop, jazz, and cinematic strings; it's genre-defying music that refuses to see boundaries. All of the songs on Odelay are rooted in simple forms -- whether it's blues ("Devil's Haircut"), country ("Lord Only Knows," "Sissyneck"), soul ("Hotwax"), folk ("Ramshackle"), or rap ("High 5 [Rock the Catskills]," "Where It's At") -- but they twist the conventions of the genre. "Where It's At" is peppered with soul, jazz, funk, and rap references, while "Novacane" slams from indie rock to funk and back to white noise. With the aid of the Dust Brothers, Beck has created a dense, endlessly intriguing album overflowing with ideas. Furthermore, it's an album that completely ignores the static, nihilistic trends of the American alternative/independent underground, creating a fluid, creative, and startlingly original work. ~ Stephen Thomas Erlewine, All Music GuideReview - Yahoo! Music - Chris Morris :
Writers began chucking around the word "genius" in the face of this tirelessly exploratory record, on which the Dust Brothers production team matched their work on the Beastie Boys' Paul's Boutique. It contains such zany yet radio-friendly tracks as "Devil's Haircut," "The New Pollution" and the anthem "Where It's At."Review - Yahoo! Music - Rob O'Connor :
It's come to my attention that music critics like to make comparisons based on similarities. It's convenient shorthand for explaining what a particular piece of music sort of sounds like--except that in nearly all cases it doesn't. Take this Beck album, for example. Its emphasis on hip-hop beats, crackling vinyl, raps that stray from the genre's unusually tight subject restraints and odd musical breaks suggest something along the lines of the Beastie Boys. "Devil's Haircut" has the Beasties' smartass policy down cold. While "The New Pollution," with its liberal palette of sounds, creates the sort of trippy color of another era's one-word troubadour, Donovan. "Lord Only Knows" and "Sissyneck" feature slide guitar to suggest those British blues-rock titans, the Rolling Stones. "Where It's At" and "High 5 (Rock The Catskills)" sounds like the booming jive of a blaxploitation rent party in full swing. What has all this comparison shopping done for you? Probably not a whole heck of a lot. So let me just say that what makes Beck an alright guy isn't who he sounds like, but rather who he doesn't. Beck's got a great sense of rhythm, consistently experiments with new sounds to layer his unpredictable song structures, jumps genres from country-folk to rap-folk to other cool hyphenated musics and he never takes himself too seriously even when it seems like he might be upset about something worth being upset over. Yes, you figured it out; he sounds absolutely nothing at all like Bruce Springsteen. What better recommendation do you need? Review :
{$Beck}'s debut, {^Mellow Gold}, was a glorious sampler of different musical styles, careening from {\lo-fi} {\hip-hop} to {\folk}, moving back through {\garage rock} and arty {\noise}. It was an impressive album, but the parts didn't necessarily stick together. The two albums that followed within months of {^Mellow Gold} -- {^Stereopathetic Soul Manure} and {^One Foot in the Grave} -- were specialist releases that disproved the idea that {$Beck} was simply a one-hit wonder. But {^Odelay}, the much-delayed proper follow-up to {^Mellow Gold}, proves the depth and scope of his talents. {^Odelay} fuses the disparate strands of {$Beck}'s music -- {\folk}, {\country}, {\hip-hop}, {\rock & roll}, {\blues}, {\jazz}, {\easy listening}, {\rap}, {\pop} -- into one dense sonic collage. Songs frequently morph from one genre to another, seemingly unrelated genre -- bursts of noise give way to {\country} songs with {\hip-hop} beats, {\easy listening} melodies transform into a weird fusion of {\pop}, {\jazz}, and cinematic strings; it's genre-defying music that refuses to see boundaries. All of the songs on {^Odelay} are rooted in simple forms -- whether it's {\blues} ({&"Devil's Haircut"}), {\country} ({&"Lord Only Knows,"} {&"Sissyneck"}), {\soul} ({&"Hotwax"}), {\folk} ({&"Ramshackle"}), or {\rap} ({&"High 5 [Rock the Catskills],"} {&"Where It's At"}) -- but they twist the conventions of the genre. {&"Where It's At"} is peppered with {\soul}, {\jazz}, {\funk}, and {\rap} references, while {&"Novacane"} slams from {\indie rock} to {\funk} and back to white noise. With the aid of {$the Dust Brothers}, {$Beck} has created a dense, endlessly intriguing album overflowing with ideas. Furthermore, it's an album that completely ignores the static, nihilistic trends of the American alternative/independent underground, creating a fluid, creative, and startlingly original work. ~ Stephen Thomas Erlewine, All Music Guide
| Track Listing : |
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| 14 |
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Ramshackle (E-Album Version) |
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| 15 |
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Computer Rock (E-Album Version) |
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