There isn’t much suspense over my top two films, as I’ve written pretty extensively about both of them on the blog already. So I won’t go into a lot of detail here.
‘Youthless’ is a cut from the 2008 album Modern Guilt, a record I’d rank near the middle of the pack of Beck’s discography. That still makes it better than most albums by most artists.
It’s crazy how artists quietly put together careers that start to feel like legacies. Take Beck, who still has the impish charm of the nerd-punk who crashed MTV with “I’m a Loser,” yet somehow is entering his 25th year as a recording artist.
This year’s Colors is Beck’s 13th studio album, released three years after the unlikely Album of the Year Grammy winner Morning Phase. Somehow, this is the first traditional pop album he’s recorded. Or at least as traditional as an oddball like Beck can get.
I’m a big fan of both of these guys, so I’ll try to keep the hipness factor out of my vote. I realize that appreciating John Mayer is not great for my street cred, but I think anybody who dismisses his musical chops or his songwriting ability is mistaken. Sure, the guy can be a smug prick and some of his songs veer too close to maudlin, but so many more are spot-on.
While we wait patiently for Beck’s 13th studio album, his first since 2014’s Grammy-winning Morning Phase, let’s enjoy a blast from the past in the form of ‘Peaches & Cream,’ a cut from his 1999 album Midnite Vultures.
Midnite Vultures, released in the midst of Y2K paranoia, before we lost our national innocence on 9/11, is a blissed-out vision of white boy funk on which Beck very effectively channels Prince.
Beck’s 1998 album Mutations remains one of my favorites. It’s a ramshackle, melancholy collection that proved to be a precursor to the lovely, sad-sack classics, Sea Change and Morning Phase, to come in the decades that followed.
Mutations isn’t as polished as those albums but it’s beautifully produced, sustaining an uneasy, almost post-apocalyptic, mood. It’s the soundtrack of the Earth depicted in the first half of WALL-E.
‘Wow’ is a world away from the Beck of Morning Phase and Sea Change, a lot closer to Odelay and Midnite Vultures. The brilliance of Beck is that he seems equally comfortable in both modes. Not many artists can pull off both soulful balladeer and space-age DJ.