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Jeff Beck

Jazz Rock/Fusion

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Jeff Beck Loud Hailer album cover
3.90 | 40 ratings | 2 reviews | 21% 5 stars

Excellent addition to any
prog rock music collection

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Studio Album, released in 2016

Songs / Tracks Listing

1. The Revolution Will Be Televised (3:53)
2. Live In The Dark (3:47)
3. Pull It (2:09)
4. Thugs Club (5:15)
5. Scared For The Children (6:07)
6. Right Now (3:57)
7. Shame (4:40)
8. Edna (1:03)
9. The Ballad Of The Jersey Wives (3:50)
10. O.I.L. (Can't Get Enough Of That Sticky) (4:41)
11. Shrine (5:47)

Total time 45:09

Line-up / Musicians

- Jeff Beck / lead guitar, co-producer

- Rosie "Bones" Oddie / vocals
- Carmen Vandenberg / rhythm guitar
- Giovanni Pallotti / bass
- Davide Sollazzi / drums

Releases information

Artwork: Rosie Oddie and Hayden Kays

CD ATCO Records ‎- 081227944452 (2016, Europe)

LP ATCO Records ‎- R1 555546 (2016, Europe)

Thanks to katatonia for the addition
and to Quinino for the last updates
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JEFF BECK Loud Hailer ratings distribution

(40 ratings)
Essential: a masterpiece of progressive rock music(21%)
Excellent addition to any prog rock music collection(54%)
Good, but non-essential (15%)
Collectors/fans only (3%)
Poor. Only for completionists (8%)

JEFF BECK Loud Hailer reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by admireArt
4 stars The fury and grace of the restless underGod!

Jeff Beck is back and as always his experimental, donīt give a damn!, daring spirit is attached. Good news for those who enjoyed my favorite "You Had It Coming", 2001, and the inexplicably undervalued "Emotion & Commotion", 2010 his previous studio release. Bad news for those who are still expecting Jeff Beck to fit his Rock/Jazz/Fusion PAīs address, again.

So, as I was mentioning, his "electronic" electric guitar songwriting+performace taints most of the atmosphere of "Loud Hailer", 2016.

"The Revolution Will Be Televised", track one. A heavy bassed and femenine electronic guitar blues counterpointed by intelligent and a black to the bone female distorted voice and lyrics. 4.5 stars

"Live in the Dark". Track 2, a Jeff Beck's contemporary Heavy Rock song, amazing in virtuosity, but kept straight in line, even to simplicity, if you wish. (Of course Jeff Beck's simplicity is not simple, but that only matters to actual guitar players.) 4 stars.

"Pull It", gets even heavier. No vocals, the kind of "say yes to excess", that always works wonders for such an adventurous fellow. Short and efficient. 4 stars.

"Thugs Club" track 4, gets down and dirty with Jeff Beck's famous heavy bassed/drummed boogie like, street wise stomps and his unique unpsychedelic-into space incursions. An intelligent and political focused lyric becomes the best excuse for Jeff to make his personal "bare to the bone", explosive guitar statements of the topic in hand. 4.5 stars.

Track 5 dims the lights down to a slow paced/romantic Roger Waters' like composition, "Scared for the Children". In fact the kind that happened when he played alongside the Pink's main man, nice, not unique, but nicely achieved. 3.5 stars.

"Right Now". A well written set of "protest-song" like lyrics triggers the nastiness back. Unapolagetic and daring, again, his "electronic" electric guitar, high rising Rock, deep bottom Blues shines on. 4 stars.

For those acquainted with Jeff Beck's track structuring, there are always his formidable, dream like instrumental pieces, "Shame" (4 stars) is a kind of short composition in that vein, but actually it serves as the opener for "Edna", track 8.

"Edna", is the kind of track which covers the more than well established protocols of Heavy Prog/Rock, Jeff Beck's way of course, with an epic riff which reminds me of the also extraordinary and underrated and long gone Gary Moore. 4.5 stars.

"The Ballad of the Jersey Wives", track 9. Even I, an avid follower of Beck and Hendrix, could never bare Funk in any of its forms but some Bryan Ferry's or David Bowie's or Talking Heads' or even Frippīs kind of ones and some not all. Besides those exceptions, Funk and I do not match. 3 stars (because of the show stopper solo in the past middle of the song, not because I am trying to be impartial).

"O.I.L." is a lyric/melody wise like blend which sounds like a cross between Knopfler/Dylan/Waters + Beck, in an uplifting hymn like Rock prayer. Beautiful, not exactly unique, but performance will make up for your time. 3.9 stars.

"Shrine" closes this release while bringing back some years in time. What to say, Prog was not even born yet and less as we now know it now. Phil Spector made big fame and money reuniting exquisite black female voices in the then named girl groups. To cut it short if you ever heard and listened to "The Ronettes" and felt caught by their unorthodox harmonics, as I did, you are in for a memorable, true to the bone and heartfelt contemporary rendition of those girl-groups years. If not, a good chance to check out Phil Spector's super famous "wall of sound". 4 stars.

Summing it up by numbers >

****4, (almost everything but Jazz/Fusion), PA stars.

Review by Neu!mann
4 stars Jeff Beck is back, and boy is he pissed...

After the mushy orchestral sentiment of "Emotion & Commotion" (2010), the ace guitarist honed his axe and hired new talent to record an old-fashioned protest album, channeling the spirit of the '60s but charged with state-of-the-art indignation.

The new album couldn't have come at a better time. In the wake of troubling current events, including (on this side of the pond) an election cycle where the erstwhile conservative half of the ruling class nominated an idiot to preside over the asylum, there's plenty to gripe about. Public apathy ("The Revolution Will Be Televised"); corporate greed ("Thugs Club"); petroleum dependence ("O.I.L. Can't Get Enough of that Sticky"); and Gen-X tunnel vision ("Right Now") are only the visible tips of a very large, very sharp iceberg.

It might have sounded awkward hearing a well-heeled septuagenarian complain about social injustice, so Beck adopted a Chicks Up Front policy for this session: Revolution jargon for putting a fresher, more attractive face on the barricades. Responsibility for most of the songwriting (besides two very brief instrumentals) and all the album artwork was ceded to the Bones duo: singer Rosie Bones and rhythm guitarist Carmen Vandenberg, two streetwise London ragamuffins with attitude to spare.

Younger (female) blood has always exerted a galvanizing effect on the senior guitar statesman. Think of his sponsorship of bass player Tai Wilkenfeld, or the emotive vocalists on his recent albums: Imogen Heap, Imelda May, Joss Stone et al. Surprisingly, Beck is almost a guest player in his own quartet here, but don't worry: it's still his name on the front cover, and his lead guitar remains the dominant instrument, incendiary and soulful as always.

The album's name is certainly appropriate. But the loudness isn't only in the music or the message: the studio production itself, like anchorman Howard Beale, is "mad as hell and not going to take this anymore!" Blinding trebles, distorted percussion, a compressed low end...all the usual sins of modern recording are accounted for, with every knob on the mixing desk cranked to eleven.

Maybe the aesthetic was a crutch for an aging Rock 'n' Roll hero, rebelling against his advancing years more than the status quo. You can hide a lot of wrinkles with a little cosmetic noise, and the loudness identified in the title was slathered like lipstick over music already streaked with war paint.

Whether it represents a late-life crisis or genuine political disenchantment is a moot point. Given such a deliberate career pace ("Loud Hailer" is only his second studio album in thirteen years), it's entirely possible this may be some of the last original music we'll have the privilege of hearing from Jeff Beck. In which case I'd rather see him make his exit with an angry bang, instead of a geriatric whimper.

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