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Jeff Beck: Blow by Blow

 A l b u m   D e t a i l s


Label: Epic Records
Released: 1975
Time:
 44:32
Category: Pop/Rock
Producer(s): George Martin
Rating: ********.. (8/10)
Media type: CD
Web address: www.jeffbeck.com
Appears with: The Yardbirds, Rod Stewart
Purchase date: 2008.07.19
Price in €: 6,99



 S o n g s ,   T r a c k s


[1] You Know What I Mean (J.Beck/M.Middleton) - 4:05
[2] She's a Woman (J.Lennon/P.McCartney) - 4:31
[3] Constipated Duck (J.Beck) - 2:48
[4] Air Blower (R.Bailey/J.Beck/P.Chen/M.Middleton) - 5:09
[5] Scatterbrain (J.Beck/M.Middleton) - 5:39
[6] Cause We've Ended as Lovers (S.Wonder) - 5:42
[7] Thelonius (S.Wonder) - 3:16
[8] Freeway Jam (M.Middleton) - 4:58
[9] Diamond Dust (J.Holland) - 8:26

 A r t i s t s ,   P e r s o n n e l


Jeff Beck - Bass, Guitar
Max Middleton - Keyboards
Phil Chen - Bass
Richard Bailey - Percussion, Drums

George Martin - Arranger, Producer, Orchestral Arrangements
Denim Bridges - Engineer
Stephen Saper - Engineer, Authoring
Amy Herot - Reissue Producer
Doug Sax - Mastering
GavinLurssen - Mastering
Kevin Boutote - Mastering
John Berg - Design, Cover Art
John Collier - Illustrations, Cover Art
Jim Marshall - Photography
Mac Randall - Liner Notes
Matt Resnicoff - Liner Notes


 C o m m e n t s ,   N o t e s

1975 LP Epic 33409
1975 CS Epic PET-33409
1982 LP Epic HE-43409
1990 CD Sony 33409
1993 CD Atlantic EK33409
1993 CD Epic 53442
1994 CD Epic 64407
1995 CD Epic 469012 2
1998 CD Mobile Fidelity 727
2000 SCD Epic 33409
2001 CD Epic 85440
2001 CD Epic EK-33409
2001 SCD Sony 85440
2002 CD Epc 5021816
2003 CD Sony 5021819
2004 LP Divine Recordings 371
2005 CD Epic MHCP588
2006 SAC Indie 506
2006 CD Sony 965
2008 CD Sony Japan 588

Digitally Remastered Version of his Classic 1975 Release.produced By George Martin. Recorded at AIR Studios, London, England.

Realising the overwhelming response he received in concert with his extended instrumental breaks, Beck finally bit the bullet and released his first all-instrumental work in 1975.The jazz-rock tour de force BLOW BY BLOW was produced by Beatles mainman George Martin and proved that Beck's six-string skills could easily carry an album. Completely inspired bythe challenge and surrounded by a stellar band and solid compositions, Beck lets loose throughout. The result is one ofhis very best works. Highlights include the funky opening track "You Know What I Mean", a pair of Stevie Wonder-penned tracks ("Cause We've Ended as Lovers" and "Thelonious"), andthe classic rock-radio staple "Freeway Jam".



His guitar-slinging contributions to the Yardbirds having dwarfed those of Eric Clapton or Jimmy Page, Mrs. Beck's bad boy spent the next several years playing blues-rock (the Jeff Beck Group with Rod Stewart), soul-rock (the second edition of that band), and leading a power trio. Then, he made this all-instrumental album, which was a huge 1975 success. Produced by George Martin, the nine-song session finds Beck fronting a keyboards-bass-drums outfit, augmented by some tastefully unobtrusive string arrangements. Call it a jazz-fusion album at your own risk. While Beck's playing is less in-your-face than his previous efforts, all the fierce attack, thick tone, microtonal bends, distortion, feedback, vibrato, sustain, sonic hoodoo, and rhythmic and harmonic creativity that the man's fans have come to know and love can be heard here. "Freeway Jam" boasts the most memorable melody and thus remains a Classic Rock staple to this day. "Cause We've Ended As Lovers" - written by Stevie Wonder - is Beck's gorgeous tribute to one of his own guitar-heroes, the now-deceased Roy Buchanan.

Don Waller - Amazon.com



"Ich hatte leider kein Geld, mich von Musik-Professoren unterrichten zu lassen und tief in den Jazz einzusteigen. Jeff Beck schon.", so der amerikanische Fusion-Gitarrist Raymond Gomez. Nur wenn man von Jeff Becks Weiterbildungsmaßnahme in den frühen 70ern weiß, kann man sich erklären, wie dieser Typ, der als Teenie seinen flinken Blues bei den Yardbirds spielte, mit seiner Jeff Beck Group experimenteller wurde und seiner Gibson bereits unerhörte Läufe entlockte, dann 1975 dies machte: Beck zaubert nie dagewesene Kaskaden verspielter Licks und Tricks, reißt und zerrt mit bloßen Fingern witzelnde, schwitzende Töne aus den Saiten, interpretiert zwei Stevie-Wonder-Songs, einen Beatles-Song, schreibt sonst fast alle weiteren Tracks, die auf komplexem Funk basieren, selbst. Und klar, Beck spricht die Sprache des Jazz, aber fabriziert mit seinen einzigartigen Mitmusikern Max Middleton an den Keyboards, Phil Chenn am Bass und dem grandiosen Richard Bailey am Schlagzeug eine völlig eigene Fusion-Sprache, die noch heute, nach 25 Jahren Popgeschichte, unwiderstehlich hip ist. Erfährt man dann, dass Beatles-Produzent George Martin hinterm Pult saß und einige fetzige Orchesterpassagen dazu komponiert hat, versteht man die unvergängliche Hipness von Blow By Blow besser. Auch gut zu wissen, dass Jeff Beck ein Jahr später mit Wired eine noch hochprozentigere Dosis seines Space-Jazz zur Welt brachte. Diesmal mit deutlichem Einfluß von Synthie-Virtuose Jan Hammer. In dieser Zeit zogen Becks Werke gleich mit den Alben von Mahavishnu John McLaughlin, Billy Cobhams furiosen Solo-Alben (allen voran Spectrum) und Schooldays von Stanley Clarke, wo oben zitierter Ray Gomez für den verhinderten Jeff Beck einsprang.

Volker Wilde - Amazon.de



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 - All Music Guide
 

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