Beck was born in Los Angeles, California, to David Campbell (a musician and son of a Presbyterian minister) and Bibbe Hansen (a former dancer for The Velvet Underground, founding member of the satirical band Black Fag, and visual artist). When his parents separated, Beck stayed with his mother and brother in Los Angeles, where he was influenced by that city's diverse musical offerings—everything from hip-hop to latin music—and his mother's art scene – all of which would later reappear in his recorded and published work.
Although Beck's work defies easy description, his eclecticism and genre experiments have sparked comparisons with Prince, though Beck was undoubtedly a less prolific artist, and drew on an absurdist, free-flowing lyrical style totally original when first exposed to mainstream audiences (indeed, some critics labeled him and his breakthrough single Loser as novelties - see below). Despite this individualism, Beck's music was very much a product of the 90s and the media age in general, with hip hop, indie/underground rock, electronic music and genre-benders like the Beastie Boys as notable touchstones; in addition, some critics could not resist likening his head-spinning lyrical aesthetic to a post-modern Bob Dylan sensibility.
After dropping out of high school in the mid-1980s, Beck educated himself and traveled widely. In Germany, he spent time with his grandfather, fluxus artist Al Hansen. His artistic relationship with his grandfather may have influenced both his album art and sense of musical collage. He began the musical activity in 1988. The late-80's found him in New York City as part of the punk-influenced anti-folk music movement.
Beck returned to Los Angeles at the turn of the decade, destitute but motivated. During this time, Beck sought out (or snuck onto) stages at venues all over Los Angeles, from punk clubs to coffee shops. Some of his earliest and most thought-provoking recordings were achieved by working with Tom Grimley at Poop Alley Studios, a part of WIN Records.
In this atmosphere of heady creativity the founders of Bong Load Custom Records discovered Beck. Their 1993 12" vinyl Loser, from an initial run of 530 copies, created a sensation on college and alternative radio that led to a furious bidding war between labels to sign Beck. Eventually, he chose Geffen Records, who offered him terms that included an allowance for the release of independent albums while under contract (he may have owed Bong Load another album or two).
In 1994, Geffen's official debut release of Mellow Gold made Beck a mainstream smash success; it also led to his iconic status as the "slacker" representative of the alternative rock scene, although the title of the song had been ironic.
At the same time, he released Stereopathetic Soulmanure on Flipside Records and One Foot in the Grave on independent K Records. Beck took his act on the road with the 1995 Lollapalooza tour. Still, some critics panned him as a one-hit wonder. Audiences' (especially at Lollapalooza) familiarity with Loser only, and their general disinterest in his other work only reinforced his image as a one-hit wonder. It's been said said that Beck released Stereopathetic Soulmanure and One Foot in the Grave to shake the Gen X-ers that associated themselves with him and made "Loser" their slacker anthem.
The one-hit wonder label was put to rest with the release of 1996's Odelay, a collaborative effort with The Dust Brothers, producers of Paul's Boutique. The lead single, "Where It's At", received heavy airplay and its video was in constant rotation on MTV. Within the year, Odelay had received perfect reviews in Rolling Stone and Spin magazines, having been listed on countless "Best of" lists (it topped the Pazz & Jop Critics Poll for 'Album of the Year'), receiving double-platinum status, and earning an impressive number of industry awards, including two Grammys.
Odelay was followed in 1998 by Mutations. Produced by Nigel Godrich of Radiohead fame, it was intended as a stopgap measure before the next album proper. Recorded over two weeks, during which Beck recorded one song a day, the sessions produced 14 songs. Mutations was a departure from the electronic density of Odelay, and was filled with folk and blues influences. Songs on the album consisted of older tracks, some even dating back as far as 1994.
In 1999, Geffen released the much-anticipated Midnite Vultures, an orgy of sexual and culinary innuendo supported by a world tour. For Beck, it was a return to the high-energy performances that had been his trademark as far back as Lollapalooza.
After Midnite Vultures came Sea Change in 2002, another airy and emotional album with producer Nigel Godrich, which became Beck's first U.S. Top 10 album, reaching # 8. Sea Change was conceptualized as an album with one unifying theme—the stages following the end of a relationship. The album also featured string arrangements by Beck's father and a sonically dense mix reminiscient of Mutations. The Sea Change tour featured The Flaming Lips as Beck's opening and backing band.
In September 2003, Beck returned to the studio to work on his sixth major-label album. Guero was produced by the Dust Brothers and Tony Hoffer and features a collaboration with Jack White of The White Stripes; it marked a return to Odelay-era sound. The album was released in March of 2005 and despite critical acclaim, the album received a more lackluster response from Beck's indie-oriented fanbase.
Beck married Marissa Ribisi in April 2004, shortly before the birth of their son, Cosimo Henri Hansen. 2004 also saw the release of "10 Years of Mellow Gold," a short documentary about Beck's first album.
Beck's next album, The Information was released on October 3, 2006. It is a largely electronic and ambient, filled with blips and beeps. It was produced by Nigel Godrich, who worked on "Sea Change" and a longtime Radiohead and Thom Yorke producer. The first single was Nausea, an acoustic rock hip hop song. The next single was Cellphone's Dead, and the third single was Think I'm In Love.
His next single, Timebomb, was released on iTunes on August 21, 2007, and the limited edition vinyl 12" was released on November 2, 2007, with an instrumental version of the song on the B-side. In December, 2007, it was announced that Timebomb had been nominated for a Grammy in the category of Best Solo Rock Vocal Performance.
Modern Guilt was the eighth studio album by Beck. It was released on July 8, 2008. The album fulfilled Beck's recording contract with Interscope Records. Outside of North America, the record was released by XL Recordings. Its three singles were Chemtrails, Gamma Ray, and Youthless.
Modern Guilt features two contributions by Cat Power and was produced by Beck and Danger Mouse.
The album entered both the Billboard 200 and the Canadian Albums Chart at number four, and gave Beck his first ever Top 10 placing on the UK Albums Chart, peaking at number nine. The album has also been Beck's best charting album in Australia, reaching 13. It sold 84,000 copies in its first week. Although successful, this does not match the first week sales of The Information, which were 99,000. In December 2008, Modern Guilt was nominated for Best Alternative Album at the 51st Grammy Awards.
Song Reader, a project Beck released in December 2012, is 20 songs presented only as sheet music, in the hopes that enterprising musicians will record their own versions. The idea of Song Reader came about nearly fifteen years prior, shortly after the release of Odelay. When sent a book of transcribed sheet music for that album, Beck decided to play through it and grew interested in the world before recorded sound. He aimed to keep the arrangements as open as possible, to re-create the simplicity of the standards, and became preoccupied with creating only pieces that could fit within the Great American Songbook. In 2013 Beck began playing special Song Reader concerts with a variety of guests and announced he was working on a record of Song Reader material with other musicians as well as possibly a compilation of fan versions.
In the summer of 2013, Beck was reported to be working on two new studio albums: one a more self-contained acoustic disc in the vein of One Foot in the Grave and another described as a "proper follow-up" to Modern Guilt. Beck expects to release both albums independently. He released two standalone singles over the course of the summer: the electro ballad Defriended and the chorus-heavy I Won't Be Long. A third single, Gimme, appeared on September 17.
In October 2013, it was announced that Beck signed to Capitol Records. Beck released his twelfth studio album entitled Morning Phase on 21 February 2014. For the recording of Morning Phase, Beck reunited with many of the same musicians with whom he had worked on the critically acclaimed 2002 album Sea Change. On January 20, 2014, the album's first single Blue Moon was released. Beck released the second single, Waking Light, on February 4, 2014.
4 years later, on October 13th, 2017, Beck released the second album that was supposed to come out alongside Morning Phase. This album was called Colors. Colors is very different from Beck's previous albums, in which he takes a stab at pop music. Beck's expertise, mixing genres, works in this album when he mixes Alternative Rock, hip hop, and a lot of Pop. The album's earliest single, "Dreams", was released in June 2015, and three more ("Wow", "Dear Life", "Up All Night") were released between June 2016 and September 2017. The title track was released as a single in April 2018. The album won the Best Alternative Music Album and Best Engineered Album (Non-Classic) at the 61st Annual Grammy Awards.
After a short wait, Beck released Hyperspace on November 22, 2019. There was little marketing for this album. The whole album is a collaboration with Pharrell Williams, as he produced almost every song on the album. The album's first single was "Saw Lightning" released on April 15, 2019, and had a folk-pop sound to it. It doesn't fit with the rest of the album's synth lo-fi sound. Other singles were "Hyperlife" and "Uneventful Days" on October 17, 2019, and "Dark Places" on November 7, 2019.
2) BECK can refer to a fictional rock band from the Japanese Anime series BECK: Mongolian Chop Squad. The fictional BECK's songs feature in the BECK Original Sound Track. BECK's style and members are highly influenced by various different artists. From vocals in the style of Zack De La Rocha from Rage Against the Machine, guitar influenced by Tom Morello of the same band, the band is highly influenced by rap-rock.
As the series develops, other influence appear, including guitar in the style of Led Zeppelin's Jimmy Page, and Red Hot Chili Peppers John Frusciante. During the series, the band covers a famous The Beatles song, 'I've got a Feeling'. The name BECK could have possibly been influenced by the first artist Beck, mentioned above. Harold Sakushi, the original author of the series, has confirmed that BECK is generally based around the Red Hot Chili Peppers, being his favourite band.
09_Steal My Body Home
Beck Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
With the money and the towel
And the women all runnin' around
Can't complain about the mess
Momma killed the only dress
Now she's longin' for the pines
Drinkin' gasoline and wine
Catch a chill off the stove
On the train, they cannot feel
Lost my head beneath the wheel
Now she steals my body home
The trees are fake, the air is dead
The birds are stuffed with poison lead
And the ground is much too clean
And if it's only me who's scared
Strap 'em to electric chairs
Ring the moon like a broken bell
When she drags you from the hill
Daddy's gonna burn down the still
We can watch it from the rooftop
Lay in to the fryin' pan
Now she kisses her own hand
With the fiddle on the fire
I took a leap into the fog
Sleepin' on a hollow log
Now I'm coughin' with no mouth
You can keep yourself inside
But you know you cannot lie
When the devil's your only friend
The song "09_Steal My Body Home" by Beck presents a series of enigmatic and abstract verses that invite the listener to dive into a surrealistic landscape where little is what it seems. The first verse opens up the possibility of the singer being buried alive, evoking a sense of claustrophobia and confinement. The second verse seems to refer to a mother figure who, for some reason, destroyed the only dress of the singer. The third verse introduces some sort of train accident in which the singer lost their head, which causes them to come back to life as a sort of ghost being summoned by someone or something. The final verse seems to present a statement about not being able to run away from one's fate, given that the devil is the only friend the singer has.
One possible interpretation of the song is that Beck is presenting a metaphorical journey into the afterlife, where the singer is subjected to different trials and tribulations that represent their inner psyche. The burial in the first verse could represent the fear of not being able to break free from one's own past, especially if that past involves money, power, and women. The second verse could allude to some sort of oedipal conflict between the singer and their mother, who somehow keeps preventing them from finding a way out of their predicament. The third verse could represent the feeling of being lost, confused, and disoriented after suffering a tragic event, such as a train accident, that alters one's sense of reality. Finally, the last verse could convey the idea that, no matter how much we try to deceive ourselves, we cannot escape our own mortality, which ultimately leads us to confront the devilish parts of our being.
Line by Line Meaning
Put me in a hole in the ground
I want to be buried six feet under
With the money and the towel
And don't forget my cash and my linen
And the women all runnin' around
I want some ladies to pay their last respects
Can't complain about the mess
I don't mind leaving disorder behind
Momma killed the only dress
My mother ruined the only item of clothing I cherished
Now she's longin' for the pines
She's reminiscing about the past and things she can't have anymore
Watch my troubles all unwind
Hopefully my problems will disappear with me when I die
Drinkin' gasoline and wine
I'm so down, that anything seems like audacious fun
Catch a chill off the stove
It's so cold that even the stove can't keep me warm
On the train they cannot feel
Everyone seems numb to the world
Lost my head beneath the wheel
I'm losing it, I'm not in control anymore
Now she steals my body home
She's the only one who cares that I'm gone
The trees are fake, the air is dead
Everything seems like a façade; there's no authenticity and no life force
The birds are stuffed with poison lead
The avian creatures seem like lethal beings
And the ground is much too clean
The soil looks like it's been swept and sanitized
And if it's only me who's scared
I wonder if others feel the same way but are too scared to admit it
Strap 'em to the electric chairs
They are guilty and need to be punished
Ring the moon like a broken bell
The full moon looks ominous and seems like a sign for something far more grave
When she drags you from the hill
When you meet the same fate I did
Daddy's gonna burn down the still
My father will seek retribution for my untimely death
We can watch it from the rooftop
We'll have a good vantage point
Lay in to the fryin' pan
It's time for you to face the music and pay for what you did
Now she kisses her own hand
She feels alone and is trying to comfort herself
With the fiddle on the fire
The world is on fire and I'm not part of it anymore
I took a leap into the fog
I willingly went into the unknown universe of the afterlife
Sleepin' on a hollow log
Perhaps my epitaph will read: He rests comfortably in his eternal bed
Now I'm coughin' with no mouth
I'm experiencing physical sensations but I don't have a body
You can keep yourself inside
You can stay safe and warm while I'm buried in the cold, hard earth
But you know you cannot lie
Deep down, you know the truth of what happened to me
When the devil's your only friend
In moments of desperation, the only thing left to turn to may be the darkness itself
Lyrics © Kobalt Music Publishing Ltd.
Written by: Beck Hansen
Lyrics Licensed & Provided by LyricFind
@leokimvideo
The song that echoes the end of the amazing 90's. A song so good it sounds fresh many years later
@ackack2560
I listen to it everyday damn day
@ATOMSHAMRADIO
Well put love it👍💯
@ackack2560
@@atomshamradion1sca thanks
@TsvetanDudulov
I absolutely agree! I wish it had a portal between present days and 90's! It would be wonderful!
@joshcook4515
Can not think of a better way to describe this master piece 🙌
@lr6884
53 yrs old, and a metalhead for most of my life. I hate how much I love this song.
@averydaymond1560
Lol this song and Lief Garrett’s “I was made for dancing” are the 2 songs I love that I hope I never get caught listening to by my friends because the teasing would be never ending.
@weedhead421
This song makes life a lil better just for a little bit and that's alright with me 😊😊😊
@vaper6262
Thinking the same thing,,,Brother…