Beck-Ola [Extra tracks, Import, Original recording remastered]

Jeff Beck | Format: Audio CD

Product Details

• Audio CD (June 15, 2004)
• Number of Discs: 1
• Format: Extra tracks, Import, Original recording remastered
• Label: EMI Europe Generic
• ASIN: B0001XLXN4
• Average Customer Review: 4.5 out of 5 stars  See all reviews (10 customer reviews)
• Amazon Best Sellers Rank: #261,073 in Music (See Top 100 in Music)

Track Listings

1. All Shook Up

2. Spanish Boots

3. Girl From Mill Valley

4. Jailhouse Rock

5. Plynth (Water Down The Drain)

6. Hangman's Knee

7. Rice Pudding

8. Sweet Little Angel

9. Throw Down A Line

10. All Shook Up

11. Jailhouse Rock

Editorial Reviews

titolobeck-olaartistajeff beck etichettaemin. dischi1data12 febbraio 2007supportocd audiogenerepop e rock internazionale----1. all shook up 2. spanish boots 3. girl from mill valley 4. jailhouse rock 5. plynth (water down the drain) 6. thehangman's knee

Customer Reviews

Most Helpful Customer Reviews

20 of 21 people found the following review helpful:

5.0 out of 5 stars Jeff and ROD-what a pairing-too bad it didn't last, June 24, 2004

By 

J. R Sategna (Martinez, California United States) - See all my reviews
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Amazon Verified Purchase

This review is from: Beck-Ola (Audio CD)

This a great jam band--the 2nd album with Jeff and Rod Stewart--great remaster of this album--great sound and liner notes on the making of the album and the apparent riffs between the band members-Beck, Stewart, and Wood. Extra cuts include a 7 minute live blues song-Sweet Little Angel-which sounds like it should have been on the 1st album-Truth and another song written by Stewart (studio cut) which sounds great-also should have been on the 1st album. Then there are two other versions of Jailhouse Rock and All Shook up which are also excellent-- fans of this group should definitely buy this CD for the extra cuts-well worth it--I saw this group in July 1969 at the Fillmore West in San Francisco--Rod Stewarts first trip to the US--they blew the headliner--Moby Grape off the stage--and I love Moby Grape--Get this album NOW!

15 of 15 people found the following review helpful:

5.0 out of 5 stars Jeff Beck Group's : Play Loud, April 14, 2006

By 

J P Ryan (Waltham, Massachusetts United States) - See all my reviews
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This review is from: Beck-Ola (Audio CD)

"Truth" was a forward looking, meticulously recorded excercise in hard rock blues power, folk and exquisitely controlled dynamics, a template for Led Zeppelin's debut the following year sonically, and structurally, with its exploration of hard rock and acoustic contrasts (Pages's famous 'light and shade' phrase comes to mind) and Beck and Stewart's guitar/voice call and response, not to mention riffs and rhythms(play "Ain't Superstitious" right after "How Many More Times," or "Shapes Of Things" after "Good Times Bad Times") and even actual songs ("You Shook Me" is all Beck guitar raunch, with deep supple bass, but fleet and under three minutes). The JBG, after a year-an-a-half of nonstop gigs and schizoid Mickie Most-produced singles, created an exciting and powerful statement,and even more than Cream wrote a blueprint for the direction hard rock would take in the next two decades, not just Led Zep, who clearly borrowed heavily but did forge their own identity while Beck's greatest lineup was allowed to fall apart in acrimony, but others later in the '70s such as Bowie (Beck's playing clearly influenced Mick Ronson and the pair used "Truth" engineer Ken Scott to capture the vivid sound of their early '70s classics) to lesser lights AC/DC and Van Halen.
1969's "Beck Ola" is something else, almost unbelievably wild, with its pedal to the floor and sometimes veering off the highway in a crash of ripped metal and glass shards. The sound is all grungey guitar skronk, vast, deep, rumbling bass from Ron Wood, and wry, witty lyrical variations on usual blues-rock themes from Rod Stewart, who had certainly evolved into a more confident lyricist and singer. They reinvent a pair of Elvis classics, stunning in an era of rote rock and roll nostalgia (recall Cat Mother or Sha Na Na or the countless Chuck Berry covers revisited by less inspired bands) and everyone plays with such unrestrained intensity and abandon they inspired Hendrix ("In From The Storm") and somehow made a record that recalls the Stooges for sheer incendiary impact. New drummer Tony Newman attacks his kit, in contrast to the stylish minimal funk of Motown influenced Mick Waller, a classy musician for any drummer to replace. The sound on the second album is harsh, dense, its amphetimine energy focused and astonishing and chaotic, exuding the go-for-broke feel before the music and the band implode a month after the album's release, unable to even pull something together for Woodstock. Rod Stewart and Ron Wood had clearly developed a partnership (extended into the Faces' great career and Rod's absolute best-ever solo work), and wrote the majority of the material, sometimes abetted by pianist Nicky Hopkins, Newman, or Beck himself. The closing "Rice Pudding" is a tour-de-force of hard riffing, lyrical passages, and a stunning range of guitar comping and effects, yet it's never self-indulgent, and the band more than keeps up with Beck. The tape-splice ending, of course, was famously appropriated by the Beatles for "I Want You (She's So Heavy)" a few months later. The one quiet, almost meditative moment, a gorgeous soul-ballad, a lovely and slow-simmering instrumental courtesy of Hopkins, is one of the late pianist's most accomplished creations - and that's something for a guy who played on classics by the Stones, Beatles, Kinks, Who, and Airplane to name a few. Norman Whitfield's work with the Temptations likely influenced the congas and hard funk of "Plynth," which the Faces revisited as a slashing slide guitar feature. The 2005 U.K. remaster (on EMI) is a superior transfer to the US version for detail and color and overall excitement, though I'll admit the dryer sounding US edition an interesting contrast - it may may be mastered from an original U.S. master. EMI's reissue of Donovan's "Barabajagal", featuring three collaborations with this edition of the JBG group, has a noteably different feel (and even some different mixes) from the US edition. Both artists were produced by Mickie Most, and both had their work issued by Epic in the U.S.
Finally, the bonus cuts are most welcome: an 8-minute slow blues (B.B. King's "Sweet Little Angel,") highlighted by truly scorching guitar - a massive and awsome sound - was recorded in November 1968, in between the band's two albums, with Mick Waller still on drums. Hank Marvin's "Throw Down A Line" is a fascinating track, evidence of Beck & co.'s interest in Motown and contemporary r&b and funk. The lyric has some understated social commetnary not unlike Norman Whitfield's work of the period ("Plynth" from "Beck-Ola" suggests the Group's Norman Whitfield influence, but with a harder, more aggressive approach. "Throw," has a more deliberate pace, a brooding track with slow burning guitar coming to the fore during the last minute. "All Shook Up" (recorded in January 1969 - "Beck - Ola" was recorded that April) again is less ferocious than the later take, funky rhythm and a cleaner sound with splashes of Beck's edgy guitar. Finally "Jailhouse Rock" is even more absurdly low-end than the album version, a fat rubbery bass rattling the windows, a great one to have but not superior to the take the band chose for the final cut.

4 of 4 people found the following review helpful:

3.0 out of 5 stars Jeff Beck Group 's "Beck Ola", September 11, 2005

By 

Alex Zambra "Alex" (Houston,Texas; USA) - See all my reviews

Amazon Verified Purchase

This review is from: Beck-Ola (Audio CD)

This a superb remaster of the original LP. Noisy an raucous, maybe the first "heavy metal" LP ever recorded.
Got this CD specially for the bonus selections, far superior to the original tracks.
But for the Beck fans, for completion sake.