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JEFF BECK

Jazz Rock/Fusion • United Kingdom


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Jeff Beck biography
Born June 24, 1944 in Wallington, Greater London, England Jeff Beck is one of the "Big Three" guitar gods who came from the mid 60's band The Yardbirds (Eric Clapton and Jimmy Page being the other two) Although never quite becoming as popular as his contemporaries, Jeff has maintained considerable respect among guitarists worldwide by diversifying into many different genres. He has experimented with blues rock, heavy metal, and jazz fusion and more recently, dabbled with techno, creating a blend of heavy guitar rock and electronica. He has also been at the forefront of use of guitar effects (as a short series on BBC World Service Radio in 1980, illustrated), and one suggestion that Truth album was the first to feature the Wah Wah (Cry-Baby) pedal extensively.

Starting as a session guitarist in the early 60's, Beck was in a group called The Tridents, before being asked to join the Yardbirds in 1965. Although only recording one album with them it was during his tenure with the Yardbirds that they recorded most of their hits. Beck left the Yardbirds partly for health reasons and partly for his on going problem of not getting along with people in general after 18 months.

In 1967 Beck formed a new band, the Jeff Beck Group, which featured him on lead guitar, Rod Stewart on vocals, Ron Wood on bass, Nicky Hopkins on piano, and Micky Waller on drums. This group produced two albums, Truth in 1968 and Beck-Ola the following year, and are considered the two most influential blues/rock albums. Ths group started the blues/rock format that Led Zeppelin would perfect within a few years - indeed a couple of the members of the future Led Zeppelin were present for the Truth recordings. After Stewart and Wood left the band to join Faces (then The Small Faces), Beck went on to form a second incarnation of the Jeff Beck Group featuring Clive Chapman (bass), Max Middleton (keyboards), Cozy Powell (drums) and Bob Tench (vocals). With this group Beck used the blues as a basis but piled on heavy amounts of R'n'R and R'n'B to the music. They released two albums: Rough and Ready (1971, produced by Jeff Beck) and The Jeff Beck Group (1972, sometimes called the "Orange" album and produced by Steve Cropper). Going Down is perhaps the best remembered song from this era. This was the period when Jeff Beck gained the nickname "The Loner", in particular because of the making and sudden breaking of bands, seemingly when these were just about to break the big time. A major...
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JEFF BECK discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

JEFF BECK top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.37 | 90 ratings
Truth
1968
3.33 | 75 ratings
Jeff Beck Group: Beck-Ola
1969
3.29 | 45 ratings
Jeff Beck Group: ‎Rough And Ready
1971
3.09 | 52 ratings
Jeff Beck Group [Aka: Orange Album]
1972
2.67 | 56 ratings
Beck, Bogert & Appice
1973
4.09 | 226 ratings
Blow By Blow
1975
3.86 | 147 ratings
Wired
1976
3.33 | 80 ratings
There & Back
1980
1.81 | 44 ratings
Flash
1985
3.42 | 81 ratings
Jeff Beck, Terry Bozzio & Tony Hymas: Jeff Beck's Guitar Shop
1989
2.10 | 12 ratings
Frankie's House (OST)
1992
2.11 | 9 ratings
Jeff Beck & The Big Town Playboys: Crazy Legs
1993
3.33 | 59 ratings
Who Else !
1999
3.59 | 51 ratings
You Had It Coming
2000
3.28 | 50 ratings
Jeff
2003
3.09 | 70 ratings
Emotion & Commotion
2010
3.90 | 23 ratings
Loud Hailer
2016

JEFF BECK Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.91 | 16 ratings
Beck, Bogert and Appice: Live in Japan
1974
3.35 | 45 ratings
Jeff Beck With The Jan Hammer Group: Live
1977
2.61 | 12 ratings
Live At BB King Blues Club
2003
4.35 | 35 ratings
Performing this week....Live at Ronnie Scott's
2008
3.13 | 5 ratings
Live And Exclusive From The Grammy Museum
2010
4.00 | 4 ratings
Rock'n'Roll Party. Honoring Les Paul
2011
3.18 | 3 ratings
Live +
2015

JEFF BECK Videos (DVD, Blu-ray, VHS etc)

4.61 | 63 ratings
performing this week...live at Ronnie Scott's
2008
3.67 | 3 ratings
Rock'n'Roll Party. Honoring Les Paul
2011

JEFF BECK Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.05 | 2 ratings
The Best of Beckology
1992
3.52 | 4 ratings
Best of Beck
1995
2.51 | 3 ratings
The Best Of Jeff Beck - Featuring Rod Stewart
1995

JEFF BECK Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.00 | 2 ratings
Beckology: The Sampler
1991

JEFF BECK Reviews


Showing last 10 reviews only
 Live + by BECK, JEFF album cover Live, 2015
3.18 | 3 ratings

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Live +
Jeff Beck Jazz Rock/Fusion

Review by Neu!mann
Prog Reviewer

3 stars Guitar god Jeff Beck recorded this muscular live set near the end of a six-year hiatus between studio albums, and in the process rediscovered all the high-decibel swagger missing from his overly-polite 2010 effort "Motion & Commotion", with its schmaltzy orchestral padding.

The change of attitude, from complacent to confrontational, was emphatic in the pile-driver rhythms powering the concert opener, "Loaded", and continued more or less unabated straight through the encore: a likewise balls-to-the-walls cover of the old Don Nix rock 'n' roll standard "Going Down". In between are a dozen examples of Beck's ageless guitar machismo, with quite a few cover songs in the set-list showing the range of his musical interest and influences: Hendrix, of course ("Little Wing"); Lennon and McCartney ("A Day in the Life", revealing a more tactful side of Beck's six-string fluency); Stevie Wonder ("Superstition"), and so on.

His graceful tribute to fellow guitar legend John McLaughlin ("You Know You Know", off the debut Mahavishnu Orchestra album) is a concert highlight, shining a spotlight on the wrist-snapping gymnastics of bass player Rhonda Smith, in a solo turn slick enough to prompt a Pavlovian drool response from Les Claypool. And the extraordinary melodicism of Beck's technique illuminates his brief, unaccompanied reading of the traditional "Danny Boy", just before the full band kicks into a propulsive rendition of the old blues chestnut "Rollin' and Tumblin' ".

The testosterone-driven posturing of lead singer Jimmy Hall will likely divide listeners, but he's only getting into the spirit of the event: it's a very loud album, in both performance and production. As he grows older Jeff Beck apparently needs to crank up the volume (hey, it happens to the best of us), which in a large arena at least makes sense: how else is he going to make himself heard in the cheap seats a quarter-mile away?

And Jeff Beck is one guitarist who can make a sledgehammer sound sexy, as heard yet again in the aggressive studio bonus tracks here: the "plus" in the "Live +" of the album's title. Neither one is indispensable, but in retrospect each was an obvious warm-up for his upcoming "Loud Hailer" album, anticipating another session surrounded by young chicks with killer talent.

The live album might have been just an expedient stop-gap between widely spaced studio releases. But it gave reassuring proof that Beck, at age 70, wasn't about to stop making noise.

 Live At BB King Blues Club by BECK, JEFF album cover Live, 2003
2.61 | 12 ratings

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Live At BB King Blues Club
Jeff Beck Jazz Rock/Fusion

Review by Neu!mann
Prog Reviewer

2 stars This raw concert tape caught guitar legend Jeff Beck in the turbulent wake of his electronica-laced millennial album trilogy, the last of which ("Jeff", 2003) was released only one month earlier. But the impulse here was a back-to-the-future reunion of his late '80s Guitar Shop trio, featuring drummer Terry Bozzio and keyboardist Tony Hymas. So you can expect a heavier barrage of elemental hard rock, with more testosterone than techno influences.

The lack of any studio embellishment (beyond the cheat of pre-recorded vocal samples, in "Seasons" and "My Thing") gives the music its stripped-down power, like a rattletrap hot rod where all the work was done under the hood. And the absence of a bass player acts like a busted muffler, making the album sound like an unrefined official bootleg ripped straight off the soundboard, without any post-gig enhancements.

The mix is pretty crude, and wasn't touched up for the belated stateside re-master (the disc was originally released only in Japan). Beck's over-amped electric guitar, distorted even on the softer ballads, was understandably pushed to center stage, but without the necessary counterbalance of any other instrument. Bozzio provides solid rhythmic support, but he's only there to keep time, and Hymas barely registers at all outside a few token solo spots.

It might be a worthwhile investment for aspiring air-guitarists and other six-string nerds. But the CD doesn't fully capture the true energy of the actual event, which in such a small venue must have been overwhelming.

 Loud Hailer by BECK, JEFF album cover Studio Album, 2016
3.90 | 23 ratings

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Loud Hailer
Jeff Beck Jazz Rock/Fusion

Review by Neu!mann
Prog Reviewer

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.

 Loud Hailer by BECK, JEFF album cover Studio Album, 2016
3.90 | 23 ratings

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Loud Hailer
Jeff Beck Jazz Rock/Fusion

Review by admireArt
Prog Reviewer

4 stars The fury and grace of the restless underGod!

Jeff Beck is back and as always his experimental, don┤t 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 PA┤s 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 Fripp┤s 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.

 Who Else ! by BECK, JEFF album cover Studio Album, 1999
3.33 | 59 ratings

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Who Else !
Jeff Beck Jazz Rock/Fusion

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

3 stars Released in 1999, "Who Else!" was Jeff Beck's first major release in 10 years and you can really tell that a lot had changed! Gone are the jazz fusion blows of yore and the synth big band sound of "Guitar Shop", here is Jeff Beck ready for a new century.

The album introduces a completely new style for Beck, a fusion of rock instrumentation and technique with the structure, style and production of techno and electronica music. As a result of the drastic stylistic differences, the album sounds quite fresh but unfortunately it play out quite as well as his 70's and 80's output. The album's first 4 songs are very strong, with styles ranging from electronica rock to blues to Eastern world fusion but the second half of the album slows down to longer, slower trance-style pieces like "Space For The Papa" and "Hip-Notica". Of these trance instrumentals, "Angel (Footsteps)" is probably the most interesting but really they're all a little insipid. The album rounds itself out with two more ballad-like pieces, the oriental "Declan" and the spacey "Another Place".

"Who Else!" was a very experimental album for Jeff Beck and, while having its good moments, is one that would be refined a little more with his next release, "You Had It Coming"; good but non-essential.

 You Had It Coming by BECK, JEFF album cover Studio Album, 2000
3.59 | 51 ratings

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You Had It Coming
Jeff Beck Jazz Rock/Fusion

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

3 stars In a similar vein as his previous release "Who Else", Jeff Beck once again strays from his jazz fusion roots to deliver an eclectic hard rock/pseudo-techno setlist.

Jeff Beck is one of the great creative minds of our time and it certainly shows on this record. The album's ten tracks draw from various different musical styles, from blues to electronica to metal, but are all united by a common electronic production and use of techno song structure and effects. The album is completely instrumental save for the 12-bar number "Rollin' And Tumblin'", which features vocals from Imogen Heap. The end result isn't especially progressive but it's definitely worth a listen. "You Had It Coming" will appeal mostly to fans of guitar wizards like Satriani, Vai, Johnson, etc, who will love its good use of instrumental effects and strong soloing. My only qualm with the album is that, while it's satisfying while you listen to it, doesn't really stick with you afterwards, with the exception of the exceptional uptempo ballad "Nadia", one of Beck's most touching guitar performances. A solid but non-essential release.

 Wired by BECK, JEFF album cover Studio Album, 1976
3.86 | 147 ratings

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Wired
Jeff Beck Jazz Rock/Fusion

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

4 stars The second of Jeff Beck's solo fusion albums, "Wired" makes a great follow-up to his stellar debut. There are definitely same changes this time around, though. The album's structure is tighter, with less of the free-flowing segues on "Blow By Blow" and, as the name suggests, delivers a more rock-inspired, electrical performance. The line-up on this album is entirely different, with only Beck remaining. Jan Hammer takes on Max Middleton's spot on the keys, Narada Michael-Walden takes to the drummer's stool and Wilbur Bascomb plays the bottom end. Though a very different line-up, the chemistry between the four is obvious and the finished product, while not quite as wonderful as "Blow By Blow", is a solid jazz rock album.

Side one delivers a killer set; "Led Boots" kicks it off with its raucous funky drum beat and heavy, fuzzy keyboards and guitar quickly set the album's tone as a heavier, more hard-hitting Jeff Beck album. "Come Dancing" continues the funk and "Goodbye Pork Pie Hat" show off Jeff's fretboard wizardry in a slow blues standard setting. "Head For Backstage Pass" ends side one energetically, with a grooving bass solo and fun interplay between the four.

Side two opens with the uptempo rock song "Blue Wind", which is a vehicle for extended guitar and synth soloing and features tight drum performances by Jan Hammer. "Sophie" and "Play With Me" are weaker tracks but still good fusion fare and "Love Is Green" ends the album with an acoustic guitar and piano duet.

"Wired" would go on to set the structure for Jeff Beck's next album, "There And Back" and is certainly the stronger of the two. It's no "Blow By Blow", but it still offers great listening for guitar and fusion lovers.

 Jeff Beck, Terry Bozzio & Tony Hymas: Jeff Beck's Guitar Shop by BECK, JEFF album cover Studio Album, 1989
3.42 | 81 ratings

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Jeff Beck, Terry Bozzio & Tony Hymas: Jeff Beck's Guitar Shop
Jeff Beck Jazz Rock/Fusion

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

3 stars 3.5 stars really

After "Flash", "Guitar Shop" definitely shows Jeff Beck back in his element and shows a drastic increase in musical quality. The album isn't a return to his jazz fusion heyday, however; it instead shows a movement towards more straightforward rock sounds.

Musically, much of the album combines funk, big band and hard rock sounds with flashy 80's-sounding keyboards and heavy drumming and Jeff Beck's six string musings sprinkled on top. These songs are somewhat reminiscent of Steve Vai or Joe Satriani's 80's and early 90's rock work, though with a much heavier focus on keyboards. "Sling Shot", for example, wouldn't sound too out of place on "Alien Love Secrets". My favourite of the rock tracks is "Savoy", a funkier song that reminds me mildly of the theme song from Home Improvement (Huu-eeh?)

However, there are three tracks that take on a much different vibe and will appeal a lot more to prog and jazz fusion fans. The first is "Behind The Veil", a softer, reggae groove with atmospheric guitars similar to "The Pump" off of "There And Back". The other two are even more spacey and light in true Beck fashion. "Two Rivers" is a soft, slow-moving ballad and "Where Were You", my favourite track from "Guitar Shop", is a chilling, percussion-less guitar solo piece with light keyboard accompaniment.

Altogether, "Jeff Beck's Guitar Shop" is very good but non-essential listening for prog fans, though fans of Jeff Beck and other solo guitarists will definitely want to pick this one up. I give it 3.5 stars, rounded down to 3 due to the limited prog-like content.

 There & Back by BECK, JEFF album cover Studio Album, 1980
3.33 | 80 ratings

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There & Back
Jeff Beck Jazz Rock/Fusion

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

3 stars The third and final of Jeff Beck's solo fusion albums, "There And Back" is probably the bronze winner of the three. After "Wired", the material on this album seems a little formulaic. It opens with "Star Cycle", a funky, Jan Hammer- led fusion song (think "Led Boots") which is not bad in itself - it's quite good, actually - it's just not new enough to be stellar. The next two songs follow in the same footsteps, mellower fusion tracks with simple melodies that are good vehicles for jamming. Good, and especially the guitars - Beck is in fine form through the whole album - but not masterpieces. Side one ends with one of my favourites from the album, "The Pump". A slower, more ballad-like song that focuses more on the guitar is an excellent platform for Beck to deliver an emotional fastball; his playing is very atmospheric and quite beautiful. Definitely a top-notch accessible fusion number.

As with "Wired", side two opens with an uptempo rock-oriented track. "El Becko" is more cut-and-dry rock and roll than "Blue Wind" was on the last album but it's still a strong track with plenty of interplay between guitar and piano. "The Golden Road" drags along at a near-comatose pace before the next spectacular track picks up the pace again. "Space Boogie" is a marvelous virtuoso performance especially in the rhythm section. Written in 7/8 at breakneck speeds, it's mildly reminiscent of "Scatterbrain" from "Blow By Blow" but it's still fresh and original and makes for one great song before the album draws to a close in "Wired" fashion with the sparse, spacey "The Final Peace".

A three star rating is fair for this album; Jeff Beck fans will likely gain a lot more from it but that should be expected. For anyone who isn't a devout follower they'll hear some pleasant jazz fusion and a couple of high quality but not necessarily memorable moments.

 Flash by BECK, JEFF album cover Studio Album, 1985
1.81 | 44 ratings

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Flash
Jeff Beck Jazz Rock/Fusion

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

1 stars This is a rather disappointing album from the Jeff Beck I've grown to know and love. It is absolutely nothing like his instrumental fusion albums of the 70's and is quite a lackluster accumulation of talent given that it features such stars as Rod Stewart, Jan Hammer, Jimmy Hall and Carmen Appice. Aside from two or three tracks, it is little more than 80's pop rock with Jeff Beck playing on it. I've come to terms with one of the pop tracks, "Gets Us All In The End", which is a comically typical 80's power ballad that can be fun to sing along to. There is only one song that I'd consider strong, which is the first instrumental, "Escape". If you don't have any qualms with 80's-sounding production and drum machines, then it comes across as a very atmospheric guitar-driven piece that wouldn't sound out of place on "There And Back" or "Guitar Shop". To reiterate, if you're a fan of the progressive rock and jazz fusion, this album would not be for you. If you're a fan of Jeff Beck, this album would not be for you. If you fit into either of those two categories, however, give "Escape" a listen and consider downloading the individual song on iTunes; the whole album just isn't worth an investment from anyone.
Thanks to Garion81 for the artist addition. and to Dick Heath for the last updates

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