Beck - "Colors"

Ok, so if I had to make a list of 5 artists that truly meant the most to me, Beck would certainly be up there.  The chameleon of Alternative Rock, a truly fearless individual who constantly seems like he's switching things up and trying something different, has just released so much incredible material.  His early work and I mean REALLY early work though is a little hard to swallow.  We have albums like "Golden Feelings", which are nightmarish versions of what he would originally master on his "Mellow Gold" album.  Now, this album is weird. filled with bizarre sound collages and half-baked ramblings.  But there are real standout moments, like "Heartland Feelings" and "Gettin' Home", which showed Beck was more than just some other Low-Fi artist with too much time on his hands.  In 1994 Beck returned with "Stereopathetic Soulmanure", which was just as sloppy and bizarre as it's title suggests.  This album once again contained a whole lot of bizarre sound collages and song concepts that probably sounded a whole lot better when Beck had his bong out.  But the production was loads better on this album, and Beck seemed a whole lot more focused on writing coherent songs.  Thankfully, Beck got his head out of the clouds (for the most part) on 1994's "Mellow Gold".  This was Beck's breakthrough album backed behind huge singles like "Beercan" and the gigantic "Loser".  But while this album was much more easy to digest, Beck was still a serious outsider.  Blending elements of Folk, Low-Fi, Alternative Rap and tons more, Beck sounded like some drunk homeless guy for 75% of the album.  But it works for Beck wonderfully, making "Mellow Gold" one of the 90's most bizarre hits.  Beck's next album, 1994's "One Foot In The Grave", showed us something that we would get to know about Beck very quickly.  And that is that Beck is never happy with staying with a sound for more than one album.  This album showed a very stripped down Beck going for a more classic Folk approach, for the most part.  There were still a lot of bizarre moments, but it became apparent that Beck was focused on making the much more mature material.  So I don't really know what happened to Beck between then and the release of "Odelay", but it must have been huge.  On "Odelay", it was like someone turned on the light switch in Beck's mind, and there was no turning back.  The production on this album was ridiculous, and for the first time in his career, Beck didn't sound like some homeless guy who stumbled into a recording studio.  The singles here were gigantic, most becoming some of the most iconic of the 90's.  Tracks like "Where Its At" and "Devil's Haircut" have become synonymous with the 90's alternative sound.  But it was more than that, Beck just sounded so comfortable and like he was the coolest dude around.  Things would only get so much better for Beck from here.  Beck's next release, 1998's "Mutations" showed him branching out further.  This much more downtrodden and bluesy album showed a softer and more vulnerable side to Beck that we hadn't really seen just yet.  The results were great though, with tracks like "Nobody's Fault But My Own" and "Canceled Check" being major standouts.  But it became apparent very quickly, that you never really knew what you were getting into putting on a Beck album.  Which goes double for Beck's 1999 criminally underappreciated "Midnite Vultures".  This album is 100% sleazy, sexy funk the likes that I was certain I would never hear from Beck.  But it comes off fantastic.  "Sexx Laws" is upbeat and fun, "Hollywood Freaks" is quite possibly Beck's most confident rap performance ever, and "Milk & Honey" has one of Beck's most explosive choruses.  And of course, how can you bring up "Midnite Vultures" and not talk about "Debra", which I'm not going to spoil.  Let me just say if you can listen to it and not think the premise of "Debra", as well as Beck's one-liners that I have no idea how he even came up with, are absolutely hilarious, you're not human.  But because Beck is constantly shifting, 2002's "Sea Change" was completely different.  This is an album that I proudly call my favorite Beck album, and one of my all-time favorite album's.  It's not a fun album, it's not funny or quirky, it's easily the most heartbreaking album I've heard (Well up until that new Mount Eerie).  Beck wrote "Sea Change" after breaking up with his girlfriend and fiance of many years.  The result is a collection of incredibly raw and emotional tunes.  There are so many moments on here where you can so easily hear just how heartbroken Beck was during this time, and just how isolated he felt.  It's not a happy listen, but it's incredible. Sadly though, ever since Beck has been in sort of a weird place.  2005's "Guero" had great singles like "E-Pro" and "Girl", and some stunning deep cuts like "Missing".  But overall, it really didn't feel like Beck was doing anything fresh, and was trying way too hard to be his old quirky self.  Which did happen for sure occasionally, but overall was disappointing.  Beck returned in 2006 with "The Information", which certainly was an improvement.  I love just how colorful this album was, and Beck was certainly once again really trying to branch out into new genres, which he did.  But still, I couldn't shake the feeling that Beck was a little more directionless than he once was.  And 2008's "Modern Guilt" really wasn't that much better.   To be honest, this album sort of just blew past me without leaving much impression at all.  Yea, I dig tracks like "Gamma Ray", but that's really where this album peaks for me.  In 2014 Beck took a step back and went acoustic once again on "Morning Phase", which shocked the hell out of me when it won Album of the Year.  But outside of that, this is actually a really pleasant album for me.  People often pair it with "Sea Change", and it's not hard to see why.  And I'm not going to sit around and say it's as good as "Sea Change", but it's certainly the best thing Beck has done as a full album in a very long time.  Oh boy, well that was exhausting.  So it's been 3 long years since we've heard from Beck. He's pushed this album off seemingly countless times, so I'm hoping it was worth it Beck.  These singles could have been a whole lot worse, except "WOW", that is absolutely unforgivable Beck.  So it's been a while Beck, let's see what he has to offer.

(Still one of the greatest Alt Rock singles of all time)

    This album starts off slow with “Colors”, but it certainly does live up to its title and is very vibrant and colorful.  Now, I feel like the production is going to be a little bit of a downfall for some listeners.  But I love all of the different instrumentals floating through the background and just how vast this is coming off, especially for a guy who you think has done it all by this point. For Beck taking his swing at Pop music, this seriously isn’t that bad.  To be honest, I feel like this would have done well as a single.  The groovy woodwinds in the background and the serious funk that I haven’t heard since “Midnite Vultures” is just so good.  Now, as far as Beck goes, is he saying anything prolific?  Well no, but I don’t think he meant to.  Honestly, he’s just having some fun at this point, and quite frankly, so am I.  I continue to really not mind the production at all with “Seventh Heaven”, I certainly dig this over some of his early 2000 releases.  The upbeat vibe of this one is very welcomed.  But it’s becoming very apparent very quickly that this is the polar opposite of the last Beck album.  It’s just so snappy and positive, which is something I really wasn’t expecting after his last very gloomy album.  It’s sweet and refreshing to hear from Beck.  And while no, this isn’t nearly as thought-provoking or as groundbreaking as his early work, I’m into this a whole lot more than I should be.  Especially because, we forget this, but Beck can write a damn good Pop song.  He’s just letting that encompass his style, and so far, I’m fine with that.  Now, if this really is Beck’s Pop album, “I’m So Free” is certainly one of the biggest downfalls here.  I do like the groovy undertones and all, and I like the very anthemic chorus that does stick with you.  However, this is the first time on this album that I’ve felt like Beck is just biting off more than he can chew.  There’s literally nothing here that tells me that this is a Beck song, outside of his legendary voice.  And while I continue to enjoy the much more positive vibe of this album, and while this track is still catchy, I really can’t enjoy a lot of the little details.  Now, at least from the opening pianos on “Dear Life”, I get the feeling that this is an actual Beck track and not some Pop-Star trying to give himself a little edge.  This one is a little more downtrodden with sort of a bluesy vibe, and that’s brought out even more in that very soulful guitar playing.  But for a gloomy track in the middle of an all-out party of an album, this really isn’t bad at all.  Even lyrically, this much more introspective and observational approach to lyrics just seems so much more in Beck’s comfort zone.  The result is a really classy and groovy Pop Rock tune.  So far, this isn’t terrible.  

    Now, if you haven’t been digging this album so far, “No Distraction” is going to be incredibly rough for you.  This is literally Beck trying his hand at a Bruno Mars sounding track.  The result really isn’t that bad at all ironically.  It’s catchy, and Beck can certainly pull off this vocal style pretty darn well.  It’s smooth, and if this is Beck at his most Pop Oriented, is that a bad thing?  No, it really isn’t.  “No Distraction” is a track about enjoying what you have right in front of you and not looking for happiness in other places, which once again is a little refreshing after his last album.  It’s playful where it needs to be as far as instrumentals go, and it continues to show Beck having some fun.  Can we really bash him for that?  Then we have “Dreams”, and no joke I feel like I’ve been listening to this track for like 4 years.  The fact that this track was released in 2015 is bizarre, by now it’s already a live staple.  But if you haven’t heard it yet, you should by this point sort of know what to expect from it.  It’s smooth, well produced, and quite frankly pretty damn fun.  I’ll give this album one thing, it’s certainly living up to the title and continues to be some of the most colorful material Beck has ever touched.  I love just how soulful and funky this one is, with just enough of Beck’s signature quirk thrown in.  After all these years, Beck has such an essence of cool surrounding him.  He’s always had a sort of swagger, but it’s never come off as front and center as it has here.  I also feel like I’ve been listening to “Wow” for about 4 years.  But sadly, I don’t have nearly as many good things to say about this one.  Every time Beck has gone for a Pop song here or tried stepping into new territory, he’s seemed comfortable.  But this track is painfully awkward for me.  I commend Beck for attempting to go back to his Alternative Hip Hop days.  But come on, this is seriously cringe-worthy in parts.  Back in the day, sure Beck was a little awkward, but he came off so confident and charismatic at least.  In the later moments, where Beck’s performance get’s a little more intense things do really get better, however, and some of his one-liners are fantastic.  It’s mostly just some of the awkward ad-libs and that terrible beat that holds me back from loving this.   Honestly though, “Up All Night” may be one of my favorite tunes here.  As far as a real left-field Pop tune with some interesting production, this is easily the most experimental thing here.  But at the same time, there’s a real charm to Beck’s very sweet performance.  There are some soulful moments, and while the chorus is pretty straightforward, it sticks with you.  This continues to be Beck’s most accessible album, which actually may piss you off.  And I have to continue to stress, this album may not be your thing at all.  As a matter of fact, this may be the worst album you hear all year if you’re a Beck purist.  But, if you’re down with Beck trading in his legendary Cowboy hat for a more Pop-Oriented one, this remains really fun. 

    “Square One” is another more upbeat, Pop-based Alternative Rock track.  I can’t stress enough just how positive this album is, which once again may not do anything for you.  But I find it to be pretty darn charming and sweet.  The instrumentals are funky and groovy, and Beck is back to his most confident.  There really isn’t that much to write home about on “Square One” however, it’s super catchy and continues to have a strong groove.  Outside of that, this is more of the same in the best way.  Sadly though, Beck really underwhelms me with the finale “Fix Me”.  So far, this has been a very colorful and fun album.  And there have been some gloomy and somber moments on here.  But “Fix Me” is sadly really heartless.  Beck can write heartfelt ballads, which he has proven so many times.  But this one is just so unbelievably bland and grossly out of place. 

Rating: 7.8/10

Give A Listen To: “Colors”, “Seventh Heaven”, “No Distraction”, “Up All Night”

Genre: Alternative Rock / Pop / Pop Rock

Overall Thoughts:  Now, I'm not going to sit here and defend this album.  You may love it, you may hate it, you may just have a lot of fun listening to it like me.  This is clearly, Beck's Pop album.  But Beck has mastered just about every other genre, so why not take an album to have some fun and make a Pop record.   Is it prolific? No.  Is it genre-bending?  No.  But it's a blast.