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Jeff Beck: Loud Hailer

 A l b u m   D e t a i l s


Label: Atco Records
Released: 2016.07.15
Time:
 45:01
Category: Pop/Rock
Producer(s): Jeff Beck, Filippo Cimatti
Rating:
Media type: CD
Web address: www.jeffbeckofficial.com
Appears with: The Yardbirds, Rod Stewart
Purchase date: 2016
Price in €: 1,00





 S o n g s ,   T r a c k s


[1]  The Revolution Will Be Televised (Jeff Beck / Rosie Bones / Carmen Vandenberg) - 3:52
[2]  Live in the Dark (Jeff Beck / Rosie Bones / Carmen Vandenberg) - 3:47
[3]  Pull It (Jeff Beck / Filippo Cimatti) - 2:09
[4]  Thugs Club (Jeff Beck / Rosie Bones / Carmen Vandenberg) - 5:14
[5]  Scared for the Children (Jeff Beck / Rosie Bones / Carmen Vandenberg) - 6:06
[6]  Right Now (Jeff Beck / Rosie Bones / Carmen Vandenberg) - 3:56
[7]  Shame (Jeff Beck / Rosie Bones / Carmen Vandenberg) - 4:39
[8]  Edna (Jeff Beck) - 1:03
[9]  The Ballad of the Jersey Wives (Jeff Beck / Rosie Bones / Carmen Vandenberg) - 3:49
[10]  O.I.L. (Jeff Beck / Rosie Bones / Carmen Vandenberg) - 4:40
[11]  Shrine (Jeff Beck / Rosie Bones / Carmen Vandenberg) - 5:46

 A r t i s t s ,   P e r s o n n e l


Jeff Beck - Guitar, Producer
Rosie Bones - Artwork, Vocals
Carmen Vandenberg - Rhythm Guitar
Giovanni Pallotti - Bass
Davide Sollazzi - Drums
 
Filippo Cimatti - Producer
Hayden Kays - Artwork
Tobias Ross-Southall - Cover Photo, Photography
Ross Halfin - Band Photo

 C o m m e n t s ,   N o t e s


2016 CD Atco/Atlantic/Rhino 8122794445
 
 
 
Arriving six years after Emotion & Commotion, a largely instrumental album that found Jeff Beck pushing at his prog boundaries, Loud Hailer is a very different beast than its predecessor. Revived by the presence of two female collaborators -- vocalist Rosie Bones and guitarist Carmen Vandenberg, both proving to be worthy sparring partners -- Beck returns to gnarled, loud guitar rock on Loud Hailer, not so much reveling in the psychedelic skronk of the Yardbirds or the heavy stomp of the Jeff Beck Group but favoring an arena-ready rock that places an emphasis on such old-fashioned values as chops and social consciousness. The latter helps Loud Hailer feel tied to its time: Bones sings about reality television, loss of innocence, and any number of ills plaguing modern society. That Loud Hailer doesn't feel especially contemporary isn't much of a drawback: perhaps Beck doesn't truck with the sounds of the 2010s -- "Shame" quite clearly uses "A Change Is Gonna Come" as its template -- but he's not in revivalist mode, either, choosing to use his personal overblown traditions as a way to sound other. As always, his playing is startling: he's restless and exploratory, as susceptible to lyricism as he is to outright noise, and what makes his performance better is how he always cedes the spotlight to Rosie Bones. Letting his vocalist be the focal point winds up giving his guitar a boost, letting it command attention even in short bursts. Sometimes, the old-fashionedness can lead Beck and band toward embarrassing territory -- the funk workout of "O.I.L. (Can't Get Enough of That Sticky)" inspires cringes -- but usually it allows everybody space to stretch out, to let Beck turn out great squalls of feedback and sweet runs while still retaining the attention on the song. Compared to the floating ambition of Emotion & Commotion, this album feels invigorating and suggests that Beck doesn't want to rest on his laurels, even if he's not fully committed to embracing the turmoil of the present.
 
Stephen Thomas Erlewine - All Music Guide
 
 
 
Jeff Beck has earned the right to wax virtuosic on a cushioned stool at jazz fests. Instead, at 72, he's rediscovering his love of Jimi Hendrix with Bones, a young British rock duo whose better moments recall the big-beat noise of Sleigh Bells. See "Pull It," an exercise in off-the-leash, bass-drop guitar-tone nastiness that could make Jack White blush. It's the high point of Loud Hailer (an English colloquialism for megaphone), and its wordlessness is a plus; other songs decry war, apathy, greed, crass media, evil politicians, empty fame and other ills with less art than righteous heart. But Beck's playing is as powerful as ever – by turns brutal, with the heavy-metal-flamethrowing at the tails of "Thugs Club" and "The Ballad of the Jersey Wives," and nuanced, with the ambient folk-blues of "Shrine" and the instrumental "Edna." Here, his guitar is the most articulate voice in the room. 
 
Will Hermes - August 2, 2016
© Rolling Stone 2016
 
 
 
Jeff Beck doesn’t have a terribly high bar to clear with Loud Hailer. If the past is any indication, he’s likely going to fall into that nice groove of selling a decent amount of copies in the first couple of weeks and may even net another Grammy award for one of the album’s instrumental tracks based, potentially, on name recognition alone. And as with most artists of his age and legacy, as long as he manages to not embarrass himself dramatically, Loud Hailer will be anointed as a raging success.
 
The credit that the 72-year-old guitarist deserves for this album, though, is not due to his continued existence. Loud Hailer feels like the product of someone wanting to make a contemporary record, someone who is paying close attention to the sounds of modern music and wanting to reflect that in his own work. For the most part, Beck achieves this lofty goal with a bluntness and political fervor that marks it as an unusual but welcome entry in his discography.
 
The most immediate thrills that Loud Hailer provides is in how ugly a lot of it is. Beck and his new rhythm guitarist Carmen Vandenberg feed their instruments through a cluster of effects pedals that adds a discordance and muddiness throughout. The downstroking melody that drives “Pull It” sounds like the revving of a scooter engine in desperate need of a tuneup, and the solos on the raging “Right Now” evoke a swarm of angry insects.
 
Beck and Filippo Cimatti’s production works to gives these songs an unflattering sheen as well. Drum tracks are splashy and clipped, and often made to sound as unnatural as possible. The low end feels downright oppressive at times. Even the most pensive tracks, like the graceful instrumental “Edna” and album closer “Shrine”, are given a sour taste through woozy atmospherics and pushing Rosie Bones’ vocals into the red.
 
In that respect, this is almost like Beck joining up with Vandenberg and Bones’ band, named after the latter’s surname. That group is helped in the studio by Cimatti and carries a similar dissonant quality to its noisy blues rock. But the bluntness of Loud Hailer also serves to amplify the brusque tone of the lyrics throughout. Beck has referred to this collection as his “statement album,” using it to take hardline stances against conservative politicians, the world’s dependency on oil, and his fears for the children of the world.
 
While knowing that Beck is obviously politically engaged and willing to put his well-known name on public potshots at David Cameron and Rupert Murdoch is welcome, the tone of the lyrics could be Loud Hailer’s biggest failing. The words that Bones wrote and sings often have a punk-like directness to them, though they’re also burdened with an accompanying lack of nuance or poetry. “O.I.L.” spins its wheels on warmed-over “sticky stuff” references and cringing lines like “If you stop me having more/ Well, I’ll tell you, there’ll be war.” The title of opening track “The Revolution Will Be Televised” is well-worn enough without it being used as a platform to chide folks for not being more politically engaged (“Suppose you’d better turn the volume down/ So you can’t hear their plea/ Suppose you’d better change the channel/ Might put the children off their tea”).  
 
The strangest notes, though, are rung in relation to the attacks on the World Trade Center and the resulting upending of the geopolitical landscape. His intention, according to a recent interview, was “to do something positive out of that … because there are so many unanswered questions.” Why he hit on this 15 years later is anybody’s guess, and the result is equally stultifying. In “Thugs Club”, Beck and his proxy Bones choose to dredge up George W. Bush among their list of baddies, despite him being eight years removed from power. And on the centerpiece “The Ballad of the Jersey Wives”, the tone comes disturbingly close to some 9/11 conspiracy theory bullshit: “It all played out like a bad B-movie/ There were holes in the plot and the actors didn’t move me/ You think that I’m mad but I know to my core/ I’ve read the official truth but there’s a truth worth fighting for.”
 
Beck’s return to the studio after a six-year break is, then, a mixed blessing. The musical edifice that he and his cohorts have built is strong and daringly modern, but they’ve decorated the insides with spray paint and hashtagged sentiments. Best to admire this from the outside lest you get too disappointed with what’s lingering under the surface.
 
Robert Ham - July 14, 2016
© 2007 - 2016 Consequence of Sound 
 
 
 
One of the more frustrating aspects of carrying around the genius gene is how unpredictable and fleeting it can be. In Jeff Beck’s case, that gene has moved from raw, savage blues-rock to fusion and, as 1999’s Who Else proved, even a bit of electronica. With Loud Hailer, Beck is less worried about crossing something off his stylistic bucket list and more interested in the sound and feeling of being part of a band.
 
Over the last few years Beck has gravitated towards assembling groups of musicians with staggeringly virtuosic chops, such as bassists Tal Wilkenfeld and Rhonda Smith, and drummers Narada Michael Walden and Vinnie Colaiuta. Now it seems like the 71-year-old is pushing himself in a different way—by setting aside his over-the-top instrumental acumen for more lyrically driven material.
 
At a party at Queen drummer Roger Taylor’s house, Beck met singer Rosie Bones and guitarist Carmen Vandenberg from Bones, a hip, gritty pop-rock band based in London. Filippo Cimatti, who also worked with Bones, was brought in to co-produce Hailer with Beck, and Cimatti rounded out the group with bassist Giovanni Pallotti and drummer Davide Sollazzi.
 
“This shit is real, baby.”
 
That’s one of the first lyrics on “The Revolution Will Be Televised,” the heavy shuffle that opens the album. I’m not sure if a truer statement could be made in regards to how visceral and explorative Beck sounds. Even at first listen, Hailer comes across as a supreme guitar album with Beck’s trademark whammy bends, trills, and screams around every corner. Kinda strange from someone who doesn’t want to be typecast as a guitar hero.
 
As hard as it is to imagine, there are things that Beck plays on this album that would be difficult to fathom him coming up with even four or five years ago. He cracks open “Thugs Club” with a distorted rubato intro before delving into an addictively funky rhythm and a wickedly breathtaking solo break at 1:25 that I had to listen to several times before coming to the same conclusion that so many of Beck’s solos have led to: “How does he do that?”
 
Hearing Beck click on his wah while letting his inner Hendrix out on “Right Now” is a bit of a bird call to his 6-string fans. And those who hang on every whammy flutter and bend—for good reason—will not be disappointed with Beck’s detour into more artsy, pop-influenced fare. In between each course of Rosie’s lyrics, the squeals of feedback peek around and frame this stomper as a should-be staple of his upcoming tour. It just begs for a crowd of thousands singing along and pumping their fists in the air.
 
Today, Jeff Beck is playing some of the best guitar of his life. He is completely at the top of his game and there’s nobody even close. That might sound like a bit of hyperbole to the uninitiated, but Loud Hailer, Beck’s 17th studio album, sits comfortably alongside Wired, Truth, Blow by Blow, and Jeff Beck’s Guitar Shop. Beck is changing the rules and proving to everyone that retirement is overrated.
 
Jason Shadrick - July 12, 2016
Premier Guitar

 
 
On Jeff Beck’s new studio album, Loud Hailer, his first in six years, the guitarist combines fluid fretwork with topical lyrics to make a powerful statement about everything from the love of power, to the power of love. Loud Hailer is available now on Atco Records, an imprint of Rhino Entertainment on CD, LP and digitally.
 
Loud Hailer, which is another name for a megaphone, is a suitable moniker for an album that isn’t shy about speaking its mind. The two-time Rock and Roll Hall of Famer explains: “I really wanted to make a statement about some of the nasty things I see going on in the world today, and I loved the idea of being at a rally and using this loud device to shout my point of view.” 
 
To help him write the 11 tracks on Loud Hailer, Beck enlisted two fierce young females from London: singer Rosie Bones and guitarist Carmen Vandenberg. It was a chance meeting with Vandenberg last year at a birthday party for Queen drummer Roger Taylor that eventually led to the trio’s collaboration. “She invited me to one of their shows, and I was blown away,” the guitarist recalls. “When we got together in January, I explained the subject matter I had in mind, we sat down by the fire with a crate of Prosecco and got right to it. The songs came together very quickly; five in three days.”
 
Beck produced Loud Hailer with Filippo Cimatti, who also works with Rosie and Carmen. In addition to the core trio, the album also features drummer Davide Sollazzi and bassist Giovanni Pallotti, who were both recruited by Cimatti.
 
Bones lends her powerful voice to nine of the 11 songs on Loud Hailer, including the intense album opener “The Revolution Will Be Televised,” the reflective ballad “Scared for the Children,” the funk infused “O.I.L.” and the tranquil album closer “Shrine.” The album is rounded out by two signature Beck instrumentals in “Pull It” and “Edna.”
 
A few days after the album’s release, Beck will launch a summer tour of the U.S. with blues legend Buddy Guy. And on August 10, Beck, with special guests to be announced shortly, will make his Hollywood Bowl debut for a very special, career-spanning concert that celebrate 50 years of ‘dynamic music making.’ “It will be head teacher Beck in a gown and mortar board in front of the class giving everyone a history lesson,” he jokes. The show will also include an orchestra.
 
Over the course of Beck’s illustrious 50-year career, the trailblazing guitarist has earned many accolades. He has twice been inducted into the Rock and Roll Hall of Fame. First, as a member of the Yardbirds in 1992 and then again, as a solo artist, in 2009. Rolling Stone ranked him as one of the “100 Greatest Guitarists of All Time” and he has earned a total of eight Grammy Awards during his long career. In addition, Beck has been a guest performer at scores of sessions with everyone from Stevie Wonder and Buddy Guy to Tina Turner and Mick Jagger. Throughout his career, Beck routinely makes the fantastically difficult sound effortless.
 
In addition to recording Loud Hailer, Beck has been hard at work on his first official book, BECK01 (Genesis Publications, jeffbeckbook.com). Available now, this signed, limited-edition book explores Beck’s passions for hot rodding and rock and roll.
 
Inspired by the sleek curves, luxurious finish and iconic imagery of the hot rods he builds, BECK01 is hand-bound in leather and aluminum with every book numbered and personally signed by the author, Jeff Beck. The guitarist’s handpicked selection of more than 400 rare and unseen photographs and items of memorabilia is narrated with an original manuscript of nearly 20,000 words, making BECK01 the definitive visual and historical record of the dynamic musician. Included is an eloquent forward by John McLaughlin that begins, “Jeff Beck is my all-time favourite guitarist, what do I say after that?” Indeed. 
 
Guitar World Staff - 07/20/2016
Copyright © 2016 by NewBay Media
 
 
 
Jeff Beck has a few things to get off his chest and he does so quite well across the 12 pieces that comprise his first studio album in six years, Loud Hailer. A loud hailer is a portable mouthpiece, a bullhorn, the kind of thing you’d use if you wanted to say something nice and loud. Some of Beck’s best-known albums feature nary a word, so it’s amusing to think that he’d populate a late-career record with all kinds of them. Many of them angry.
 
Beck, who turned 72 this year, has seen a few things and there’s plenty about the world today he clearly doesn’t like. He takes up the blurring line between fantasy and reality in the age of drones and violent video games on “The Revolution Will Be Televised”. He blasts a culture that insists not on instant karma but instant gratification via “Right Now” and tears politicians and the one percent to shreds via “Thugs Club”. Vocalist Rosie Bones spits out disgust throughout each, channeling the rage of the common classes. Beck and guitarist Carmen Vandenberg create roaring, serrated guitar lines that sound like they crawled from a Louisiana swamp or a cotton field in Mississippi and directly into our speakers.
 
It takes a moment, but you soon realize that Beck’s created a modern blues album. He’s reacting to his musical environment as much as to the social and political realities around him. You can hear pain and anger in the bend of the notes, the fluid runs up and down the neck.
 
Bones bemoans the coming age of un-enlightenment during “Live In The Dark”. Meanwhile “Scared For The Children” may be one of the most heart-wrenching statements about our times you’ll ever hear with Beck playing his most majestic and masterful lines. “The Ballad Of The Jersey Wives” is a tribute to the women left behind post-9/11. It’s haunting, lyrical, free of sentimentality and sage wisdom. It is the sound of grief and frustration rendered sans apology. “O.I.L” relies on a funky groove that sends us back to the New York City clubs of the ‘80s and ‘90s for a moment. But it’s far from fodder for the dance floor but instead a protest against an undue reliance on that blackest of substances.
 
“Shame” recalls the work the maestro has done with Joss Stone and Imelda May, though it’s no attempt to regain past glories but instead to create a present one. The meditative closer “Shrine” acknowledges that maybe some of this protest stuff has been said before. Still, it wouldn’t hurt for it to be said again and again until we can learn to resist our most destructive tendencies. Maybe it’s too late for that. Maybe there’s still time for us to learn, maybe there’s still time for us to find some way through the dark. Loud Hailer doesn’t give us any definitive answers on those matters though it points in a direction that’s worth supporting: The direction of love and whatever rises to a level beyond tolerance.
 
Beck has never made a record quite like this before, one that radiates knowledge and tempers cynicism with hope and hope with cynicism. Thank goodness we have it now and for all time. 
 
Rating 8 out of 10.
 
Jedd Beaudoin - 26 July 2016
© 1999-2016 PopMatters.com
 

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