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Beckology by guitarist was released in 1991 as a 3 CD career retrospective. Beckology covers the work of a guitarist widely acknowledged as one of the most influential and gifted exponents of the electric guitar, from early days with through to his Guitar Shop album in 1989.
Volume 1 includes previously unreleased tracks from The Tridents, earthy recordings of classics like 'Steeled Blues' and 'Heart Full of Soul', four tracks from a Yardbirds session, and Jeff's first solo single sides. Volume 2 covers both incarnations of which each released two albums and finishes with tunes. Highlights here include the reworking of the Yardbirds' 'Shapes of Things' with Rod Stewart on vocals, the driving 'Plynth', the beautiful guitar work on 'Definitely Maybe' and the reworking of Stevie Wonder's '. Volume 3 tracks through what the sleeve notes call the ' era' of the 1970s with tracks from the jazzy and the acclaimed produced Wired albums. There is a of 'Freeway Jam' from 1977 with, with whom Jeff had been touring and collaborated with as most recently as 2004, before concluding at the 1980s with Flash tracks like ' and Guitar Shop tracks like 'Big Block' and 'Where Were You'. A 60-page booklet comes with the album, and includes a biography.
This triple-CD set - obviously modeled after the four-CD box - was the first attempt to survey 's entire career. In actual fact, that would be a hopeless task, given the amount of anonymous session work that the guitarist did circa 1964-1966, but still manages to touch a few unexpected bases, even as it strings together all of the obvious and most of the important sides in 's output. Disc one opens with the most alluring part of the entire set, three demo tracks left behind by 's 1963-1965 group,; the first official releases by this band are of far more than academic interest, presenting a first-rate blues/R&B outfit supercharged by 's guitar and 's drumming, doing killer and material, and even showing off 's prowess as a singer.
The New York Noise trilogy. These three compilation albums, ironically enough published by a London-based label, are definitely the best albums to showcase New York's infamous No Wave scene, a kind of sarcastic deconstruction of New Wave, which was insanely popular at the time. This album really shows a different side to No Wave though. It wasn't as one-dimensional as some people seem to imagine. There was more to No Wave than just Swans or DNA, there was another side, seemingly influenced by disco and funk, just as crazy and spastic as a lot of other No Wave, and this comp does an amazing job tying everything together.
There are more danceable tracks, there are songs more in the style of DNA (hell there's even a DNA track or two on these comps), and interestingly enough there are even some pretty early Hip Hop tracks on here. It's amazing how these albums manage to bring Post-Punk, No Wave, and Hip Hop all together seamlessly.
The whole album is energetic, spastic, and crazy. It perfectly sums up No Wave, and it's pretty much an essential listen for fans of the scene, or even for people who want to get into No Wave, there's no better entry point than this in my opinion.