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| CC image courtesy of Takahiro Kyono |
His Majesty’s Theatre, 14 July 2023
Jeff Beck’s name was first in the headlines as part of the British pop invasion of the mid 1960s. He was one of three guitarists who journeyed to the rock pantheon via The Yardbirds. The other two were Jimmy page and Eric Clapton. But it was Beck who was voted the best lead guitarist in Britain in a magazine poll from 1966. From there Beck chose to leave pop music behind and delved into more experimental approaches with The Jeff Beck Group and Beck, Bogert and Appici before going solo around 1975. He maintained his high profile in that solo capacity right up until his recent death.
Beck himself said “The electric guitar seemed to be a totally fascinating plank of wood with knobs and switches on it. I just had to have one.” And it was his willingness to experiment with these knobs and switches (and tremolo arm or whammy bar) that set him apart from the rest. Pop songs were never going to cut it for a guy who wanted to stretch the electric guitar to its technical limits – sustain, distortion, reverb, and feedback were all part of the Beck repertoire.
And true to the Beck legacy, The Music of Jeff Beck is in part about acknowledging the electric guitar as an electricity fuelled machine that is capable of an extraordinary array of sounds. We saw something of this when Hendrix shocked the world with his raw and riveting version of the Star Spangled Banner at Woodstock, but Beck has been doing similar things for decades.
The music is mostly loud, edgy, and innovative. It is perhaps something of a mark of respect for Beck that this show featured no less than four different guitarists, all of whom brought their own individual signatures to Beck’s music, rather than just leave it to one guitar player to take on the Herculean task of reproducing Beck’s prowess. This was a smart move. There were occasions when we had all four guitarists playing together – and it was amazing – but mostly they took turns on stage to share their own interpretations of Beck’s guitar wizardry.
Much of the music seemed very free form and jazz like – Beck was not so interested in catchy lyrical runs that might be repeated in something like a verse or chorus. It’s more like classical music where everything is constantly changing. Licks or chord patterns were rarely played the same way twice. The music is always evolving into a different shade, another effect, or another variation of a chord.
I found some of the pieces a bit harsh. Yes – superbly crafted, fascinating compositions, but the choice of tones often seemed too electric; too extreme. There was a shift to some quieter, warmer tones after the interval and the two pieces with just keyboard and guitar were beautiful.
Paul Mason, a self-confessed ‘Jeff Beck nut’ often played the role of ensemble conductor as well as delivering some superb guitar work. James Muller on stage left treated us to some classic lead guitar breaks. And just in case someone might be thinking that all this electric guitar flaunting may be a bit too male or macho, Kathleen Halloran would enter the stage and offer some blistering guitar work of her own.
The band really enjoyed playing with each other. There were lots of knowing smiles and laughs shared between band members and it didn’t matter what configuration was on stage the chemistry was there and the collaboration tight.
Beck spent decades showcasing his work without the need for vocalists so it was a bit surprising that token vocal spots were sprinkled through the show. It did offer some relief to the full on guitar based instrumentals, and Carla Lippis and Nina Ferro tried their best with a tough hand, but they seemed to be more of an afterthought than something that was actually necessary.
I love the fact that Paul Mason was very honest about his love for Beck and his music, and I think we all appreciated his comment that it’s important to remember just how pivotal lead guitar was in the early days of rock music.
Jeff Beck left this earth in January this year, and this show does a great job of showcasing the extraordinary virtuosic legacy that he’s left future generations. Vale Jeff Beck, and thanks from us all.
This review also published on The Clothesline.
