Jeff Beck's Blow by Blow and Wired (1975, 1976)

With this post, I feel as though I'm violating an unwritten rule concerning Jeff Beck album reviews. This rule dictates that any review must pay special attention to each nuance of his guitar playing, explaining in detail how his skills put him in a class of his own. The truth is, I'm simply not well-versed enough in the way of the guitar to offer genuine, insightful critique of anyone's playing, let alone Jeff Beck's. However, the instrumental albums Blow by Blow and Wired are far more than simply displays of expert guitar playing. They are prime examples of what can happen when superior composition, instrumentation and production values converge and create albums that are enjoyable on multiple levels. So while yes, guitar aficionados should find plenty to enjoy here, there is also much that will appeal to anyone with an appreciation for good 70's music. As far as I am concerned, it is the way Blow by Blow and Wired meld of all of the best aspects of
70s music that makes them the grade-A albums that they are.

There are far more style changes, genre hops and confounding left turns in the long career of Jeff Beck than any one blog post can contain, so I will simply state that the two albums in question comprise what is known as Beck's "fusion phase." In October of 1974, Beck entered Montserrat's AIR studios under the auspices of famed producer George Martin. Although usually labeled as jazz-rock, the album Blow by Blow that appeared five months later actually combines a wide variety of styles. It kicks off with the funky "You Know What I Mean" that features layers of keyboard and guitar. A characteristic of these albums is synth sounds that mimic guitars and vice-versa, often blending with one another to the point that it is difficult to tell if a particular melody is played by guitar, synth, or a combination thereof. Before anyone can get too comfortable with the funk , a cover of the Beatles' "She's a Woman" introduces both a reggae strain and the talk-box, which is as close as the album comes to having lyrics. Other noteworthy tracks include a haunting reading of Stevie Wonder's "'Cause We've Ended as Lovers," where jazz finally comes to the forefront, and the breathtakingly fast "Scatterbrain." More funk can be found on numbers such as the amusingly titled "Constipated Duck," in which a clavinet does in fact suggest a gastrointestinally-challenged mallard.

While Blow by Blow and Wired are cut from basically the same cloth, one should not get the impression that Wired is a simple copy of its predecessor. Yes, its cover of Mingus' "Goodbye Pork Pie Hat" can be seen as a (wonderful) counterpart to Blow by Blow's "'Cause We've Ended a Lovers," but on other tracks Wired distinguishes itself with harder rock and even more funk. True to form, opener "Led Boots" is a whirlwind of wailing guitars, synths and explosive drumming. "Come Dancing's" invitiation is entirely justified by a thick, bouncy rhythm and horn charts while "Blue Wind" sets the synthesizers aside for the most part, placing extra focus on Beck's guitar.

Combine rock, reggae, funk and jazz and you'll have a diverse album. Add excellent musicianship and you'll have an enjoyable album. But top it off with superlative production values and you'll have an album that simply delights the ear. In Blow by Blow and Wired, Jeff Beck and Co. managed to produce two such albums here, and whether you are a guitar fanatic lingering on Beck's every note or simply a fan of good 70's music, these albums deliver.

Links: You Know What I Mean, 'Cause We've Ended as Lovers, Led Boots, Blue Wind