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.
Tropicalia
Beck Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And all the streets, they reek of tropical charms
The embassies lie in hideous shards
Where tourists snore and decay
When they dance in a reptile blaze
You wear a mask, an equatorial haze
Into the past, a colonial maze
You wouldn't know what to say to yourself
Love is a poverty you couldn't sell
Misery waits in vague hotels
To be evicted
You're out of luck, you're singing funeral songs
To the studs, they're anabolic and bronze
They seem to strut in their millennial fogs
'Til they fall down and deflate
You wouldn't know what to say to yourself
Love is a poverty you couldn't sell
Misery waits in vague hotels
To be evicted
Oh, and now, you've had your fun
Under an air-conditioned sun
It's burned into your eyes
Leaves you plain and left behind
I'll see them rise and fall
Into the jaws of a pestilent love
You wouldn't know what to say to yourself
Love is a poverty you couldn't sell
Misery waits in vague hotels
To be a victim
The lyrics to Beck's song "Tropicalia" describe a surreal, almost dystopian world, wrought with poverty, decay, and colonialism. The singer describes an urban landscape where guitars are beaten upon until they've broken, the streets are filled with "tropical charms" that reek, and the embassies are in "hideous shards". In this world, tourists come to decay and snore, while the wealthy strut about in "millennial fogs", before ultimately falling down and deflating.
The lyrics suggest a world turned upside down, where everything is disordered and decaying. Even love is described as a "poverty you couldn't sell", while misery waits in "vague hotels" to be evicted. The singer also references a colonial maze, possibly referring to the history of Western exploitation of other cultures. The song seems to suggest a critique of modern society and the excesses of capitalism, which have led to a world where everything is disposable and even love is commodified.
As the song reaches its conclusion, the singer describes a world burning into their eyes, which leaves them "plain and left behind". The final stanza depicts rising and falling into the jaws of a "pestilent love". The lyrics suggest that even in a world filled with decay and disorder, love can still be a destructive force.
Overall, "Tropicalia" is a powerful critique of modern society and the excesses of capitalism. It's a surreal, yet vivid picture of a world where everything is disposable, and love is as destructive as it is romantic.
Line by Line Meaning
Oh, when they beat upon a broken guitar
In a place where music is a symbol of hope and happiness, even a broken guitar can be a companion in expressing people's struggles and feelings.
And all the streets, they reek of tropical charms
The beauty of the place is both a curse and a blessing because it attracts tourism but also has people exploiting it leading to its end.
The embassies lie in hideous shards
The symbols of power and stability that are embassies are in shambles; a demonstration of how fragile and unreliable they are in such nations.
Where tourists snore and decay
The tourists who come looking for fun and adventure become out of touch with the harsh reality of the place and become a burden to society when they get older or fall sick.
When they dance in a reptile blaze
The people have to adapt and survive in a place where the sun is hot and everything is exotic and dangerous like a reptile.
You wear a mask, an equatorial haze
To fit in and survive, people have to hide their true selves and create an image for themselves; a haze of their true selves that obscures the way they genuinely feel.
Into the past, a colonial maze
The legacy of colonialism still looms large and has created a lasting impression that continues to shape the present-day reality of the place.
Where there's no more confetti to throw
The past joys and celebrations are fleeting, and now, there's nothing left to celebrate.
You wouldn't know what to say to yourself
With all these vices and hardships around them, people struggle to find identity and purpose in their lives and what they truly believe in.
Love is a poverty you couldn't sell
In such a place, love is not commodified like in other places, and people do not survive by exploiting and selling emotions; it's something words fail to describe.
Misery waits in vague hotels
Hopelessness and misery are everywhere and waiting just around the corner, even in the most luxurious of places: vague hotels.
To be evicted
People are always on the move, have to adapt or leave, and cannot create any attachment in such an unstable situation.
You're out of luck, you're singing funeral songs
People in this place cannot predict their fate, are always surrounded by death, and must lament the losses they endure constantly.
To the studs, they're anabolic and bronze
People's bodies have to be strong and durable to withstand the stress and hardships the place brings; they often become immune to the problems around them.
They seem to strut in their millennial fogs
People in such places seems to carry on despite the uncertainty of the future, knowing that each step might lead to their demise.
'Til they fall down and deflate
Despite the resilience, there comes a time when even the strongest of people cracks and breaks, and their spirit is deflated too.
Oh, and now, you've had your fun
People who visit the place seeking moments of joy and excitement do not understand the harsh realities of the place fully.
Under an air-conditioned sun
Even the sun has to be controlled and modified to adapt to the people's needs, further highlighting the powerlessness of people in such a place.
It's burned into your eyes
The memory of the harsh realities and the suffering that people endure is unforgettable and permanent, and it changes a person forever.
Leaves you plain and left behind
People who have gone through the ordeal become disconnected from the rest of the world and feel left out and ordinary compared to the experiences that molded them.
I'll see them rise and fall
People's fate and destiny are unpredictable, and they always have to ride the rollercoaster of struggle, hoping for the best for their future.
Into the jaws of a pestilent love
People's love and passion for life cannot be infected or destroyed by any hardships or evil the place brings; they persevere and endure.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Beck Hansen
Lyrics Licensed & Provided by LyricFind