Crazy Beck Hansen shows he's more than a "Loser" Self-deprecation in music has been around since time began. Primarily employed by blues and country-western musicians, the concept has recently been picked up by modern rock crooners as a vehicle to achieve fame, make money, and of course, pull chicks. The most blatant reintroduction of late was Radiohead's "Creep," a tortured anthem of a poor guy who wants too much from his women, but has the presence of mind to realize the fact. The girls swooned at Radiohead's ultra-sensitive Thom Yorke, the album sold, and the money rolled in. Of course, the next logical step in the musical evolutionary chart was for someone to come in and prosper off the very same concept. Enter Beck Hansen; a coffee house guitarist/vocalist from Los Angeles. Hansen drops his cumbersome last name a la Madonna, and records "Loser" on the minute indie label, Bongload. Shazam! The catchy chorus of "I'm a loser, baby" makes the song an instant college radio smash and Beck is soon rolling in dough. So, what next, for our hero? Why, Mellow Gold, of course, Beck's first full-length album. The album is quite a variety of musical styles; the common thread being Beck's acoustic guitar and hard-driving hip-hop backbeats. The album opens with Beck's breakthrough, "Loser", and slides into his Dylan-esque "Pay No Mind." It's a tune with a similar melody to "Blowin' in the Wind," but with lyrics so whacked that the song turns into an anti-protest ditty. Smacking with characteristic irony, Beck subtitled the song "Snoozer." This mockery from within basically sums up Beck's style. He conforms to the genre that he aims to chastise, while ripping apart the stereotype with his biting, comical lyrics. Beck uses this technique well on "Beercan." This takeoff on the Stereo MC's-style techno-rap is an easy adjustment for the versatile Beck. He slides into a pseudo-British accent, as he slurs, "Leaping up into the air/Getting juiced up beyond belief." The song ends in a veiled chorus of "we want the funk". Perhaps a salute to his comrade-in-lunacy, George Clinton. He continues to exhibit his vast musical range on "Steal My Body Home" as he jams out with an enticing kazoo solo, salvaging what is an otherwise boring and monotonous song. The "demon fuzz" that Beck uses on many of the songs becomes tiresome, but his playful musicianship ably salvages some of the tunes. His lyrics also help satisfy the listener, while he pokes fun at his subject du chanson. Beck lashes out against country-rock in "Fuckin With My Head"; an Allman-esque number whose whining harmonica and trademark acoustic chords intertwine like roses and briars. The lyrics remain startlingly odd as he belts out the raspy sing-song chorus. Of all the tunes on the album, this one is most similar to his anthem, "Loser." "Nitemare Hippy Girl" breaks into yet another style, as Beck tears apart those lovable flower children as only he can. He chides the neo-hippy movement with his acoustic guitar in this anti-folk folk song, "she's a frolicking depression/a self-inflicted obsession." At the root of Beck's lyrics is this quirky pairing of words that seemingly make no sense together or, at best, are blatantly oxymoronic. Beck relishes this weirdness as he chants "hair gel burritos" and "digitally remastered toothpicks." Beck's novel approach to songwriting, and music in general, is an interesting alternative to the increasing monotony of modern rock. Removed from the fact that Beck did bite a well employed concept in order to breakthrough, this album is original and inviting. Beck's outlandish lyrical style keeps the listener piqued, unsure of what strange turn he will take next, as he weaves down that funky road paved by the likes of Captain Beefheart and Frank Zappa.
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