Counting down to the Number 1 Song Of All Time! On screen is the latest song added to the Top 1000.
This is a "Work in Progress" so be patient.. please! (Ok.. Moan, what the hell)
Thursday, April 05, 2007
Number 636 - Jeff Beck
Number 636 Jeff Beck "Cause We Ended as Lovers" (1975) .
Mr Beck, no not that Beck .... sheesh, ended up with Rolling Stone Magazine in their "OMG, I AM A ROLLING STONE TOP 100 GUITARISTS.. GTFO!" (yank pwnn tugg) @ Number 14, oddly enough Kurt Cobain was 2 possies higher @ Number 12 (Did he play guitar? Really?) Oh c'mom you peeps dont know the top 20? sigh, ok here is the list for the ones who dont know ....
Interesting list huh? Dont agree with it huh? well nor do i, anyhow, about Jeff Beck (No, not that Beck! Give it a rest will ya?)
Blow by Blow typifies Jeff Beck's wonderfully unpredictable career. Released in 1975, Beck's fifth effort as a leader and first instrumental album was a marked departure from its more rock-based predecessors. Only composer/keyboardist Max Middleton returned from Beck's previous lineups. To Beck's credit, Blow by Blow features a tremendous supporting cast. Middleton's tasteful use of the Fender Rhodes, clavinet, and analog synthesizers leaves a soulful imprint. Drummer Richard Bailey is in equal measure supportive and propulsive as he deftly combines elements of jazz and funk with contemporary mixed meters. Much of the album's success is also attributable to the excellent material, which includes Middleton's two originals and two collaborations with Beck, a clever arrangement of Lennon and McCartney's "She's a Woman," and two originals by Stevie Wonder. George Martin's ingenious production and string arrangements rival his greatest work. Beck's versatile soloing and diverse tones are clearly the album's focus, and he proves to be an adept rhythm player. Blow by Blow is balanced by open-ended jamming and crisp ensemble interaction as it sidesteps the bombast that sank much of the jazz-rock fusion of the period.
One of the album's unique qualities is the sense of fun that permeates the performances. On the opening "You Know What I Mean," Beck's stinging, blues-based soloing is full of imaginative shapes and daring leaps. On "Air Blower," elaborate layers of rhythm, duel lead, and solo guitars find their place in the mix. Propelled by the galvanic rhythm section, Beck slashes his way into "Scatterbrain," where a dizzying keyboard and guitar line leads to more energetic soloing from Beck and Middleton. In Stevie Wonder's ballad "Cause We've Ended as Lovers," Beck variously coaxes and unleashes sighs and screams from his guitar in an aching dedication to Roy Buchanan. Middleton's aptly titled "Freeway Jam" best exemplifies the album's loose and fun-loving qualities, with Beck again riding high atop the rhythm section's wave. As with "Scatterbrain," Martin's impeccable string arrangements enhance the subtle harmonic shades of the closing "Diamond Dust." Blow by Blow signaled a new creative peak for Beck, and it proved to be a difficult act to follow. It is a testament to the power of effective collaboration and, given the circumstances, Beck clearly rose to the occasion. In addition to being a personal milestone, Blow by Blow ranks as one of the premiere recordings in the canon of instrumental rock music. ~ [Mark Kirschenmann]
What Does Rolling Stone think about Beck (Jeff! Not Beck. GOD!!!) Jeff Beck seems finally to have figured out that he is not going to replace the great Sixties group which bore his name and featured Mickey Waller, Rod Stewart, Nicky Hopkins and Ron Wood. After some trying moments with a couple of abortive bands whose principal purpose was to give him someone to play with, this all-instrumental album points a newer, healthier direction for the man whose playing is more emblematic of the Yardbirds than either Jimmy Page, who followed him, or Eric Clapton, whom he succeeded. Beck's music here is new only for him. It is closely connected to Stevie Wonder's, Herbie Hancock's and perhaps most of all, to that of the Mahavishnu Orchestra, his current touring partner. The only axe Beck has to grind is his Gibson; there are no statements here, only his usual flurry of notes. His affection for Max Middleton's keyboard playing seems more sensible than it did with the group that made Rough and Ready. Middleton is derivative of Chick Corea and Hancock, but it hardly matters. His principal function is to complement Beck and he does that well. Richard Bailey's percussion is a little freer than it needs to be, often as not, but then, this is not rock & roll. Aside from "She's a Woman," where Beck's guitar literally sings a verse, there is little here to distinguish one song from another. But the tunes blend together pleasantly and the second side, particularly, contains some hints that Beck may finally have found a mode in which he is once more comfortable. His exhibitionism can find full play within the ensemble instrumental complex, as it never could when it had to worry about being upstaged by a vocalist. And in places, he is even lyrical. George Martin produced, but without orchestral charts to arrange, he seems to have had very little to do, other than balance the mixes. Chances are that Beck will make better records, if he chooses to continue to work within the framework established here. The important thing about Blow by Blow, however, is that Beck seems finally to have found something to do with his talent other than waste it. [Dave Marsh is the music critic for 'Newsday.' (RS 188) ] For John Lennon seeNumber 492ɿ For Paul McCartney seeNumber 583 For Stevie Wonder seeNumber 657 For Ron Wood seeNumber 689˿ For Jimmy Page seeNumber 577ν For Eric Clapton seeNumber 537Ȫ
Rolling Stone Top 500 Songs ranked this song at Number (Whats this? A Clapton benficiary week?) and the Album ranked at (Hey he is only the 14th best guitarist in the world yanno)
This song has a crowbarred rating of 71 out of 108
Welcome to "The Definitive 1000 Songs of All Time 1955 to 2005" & the Mellow Mix Volumes.This site is merely to question Rolling Stone Magazine's Top 500 Songs. Everyone has songs they
like and everyone has dislikes. Remember music is like clothing.. there are many styles,
so why on earth would all people want to wear jockey "Y" fronts???
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