Download Beck mp3

Artist: Beck: mp3 download    Genre(s):  Alternative Rock Rock: Pop-Rock Pop: Pop-Rock Breakbeat Indie ROck: Alternative Alternative Rock Rock: Pop-Rock Pop: Pop-Rock Breakbeat Indie ROck: Alternative     Discography:      The Information (cd2)    Year: 2007    Tracks: 6      The Information (cd1)    Year: 2007    Tracks: 18      The Information    Year: 2006    Tracks: 15      Guerolito    Year: 2005    Tracks: 14      Guero    Year: 2005    Tracks: 13      Stray Blues-a Collection of B    Year: 2002    Tracks: 8      Sea Changes    Year: 2002    Tracks: 13      Sea Change    Year: 2002    Tracks: 12      B-Sides    Year: 2001    Tracks: 8      Midnite Vultures    Year: 1999    Tracks: 11      Mutations    Year: 1998    Tracks: 13      Odelay    Year: 1996    Tracks: 15      Stereopathetic Soul Manure    Year: 1994    Tracks: 26      One_foot_in_the_grave    Year: 1994    Tracks: 16      Mellow Gold    Year: 1994    Tracks: 12      Loser    Year: 1994    Tracks: 5      A Western Harvest Field By Moonlight    Year: 1994    Tracks: 11 One of the to the highest degree imaginative and eclecticist figures to emerge from the '90s alternative rotation, Beck was the epitome of postmodernist chic in an epoch obsessed with detritus culture. Drawing upon a kaleidoscope of influences -- pop, kinfolk, psychedelia, hip-hop, country, blues, R&B, funk, indie john Rock, noise stone, observational rock, jazz, couch, Brazilian music -- Beck created a body of work that was wildly irregular, vibrantly messy, and bursting with ideas. He was unquestionably a product of the media age -- a synthesizer whose concoctions were glued together from bits of the past and face, in shipway that could solely make it off to an overexposed pop-culture nut. His dreamlike, free-associative lyrics were laced with warped mental imagery and a sardonic signified of humour that, patch typical of the times, only seldom threatened the impact of his adventurous medicine. Beck appropriated freely from any genres he felt care, juxtaposing sounds that would ne'er have co-existed organically (and his wonted irony made realise that he wasn't aiming for authenticity in the number one seat). If his melodic style was inconceivable to pigeonhole, his true identity lay in that vagabond, sprawling diversity, that decision to admit no boundaries or conventions; everything he did drill hole the stamp of his distinctively skew viewpoint. Beck caught his crowing press stud off when the bizarre Delta blues/white-boy-rap medley "Loser" spawned a national grab phrase in early 1994. His debut album, Mellowed Gold, became a hit, and the official followup, the Dust Brothers-produced Odelay, was extensive acclaimed as one of the decade's landmark records. Beck followed those touchstones with genre exercises in common people and casimir Funk that still managed to bedazzle with their variety, hardening unitary of the most creatively vital oeuvres in alternative rock -- or all of modernistic pop music, for that subject. Beck David Campbell was born July 8, 1970, in Los Angeles, and came from strong creative stock. His founding father, David Campbell, was a conductor and string transcriber (wHO later worked on his son's records); however, he leftfield the family former on, and Beck adoptive the utmost mention of his mother Bibbe Hansen, a regular on Andy Warhol's Factory shot wHO appeared in the Warhol film Prison house. Moreover, his gramps Al Hansen was an important figure in the Fluxus artistic creation movement, charles Herbert Best known for launch the vocation of Yoko Ono. The youth Beck Hansen grew up mostly in Los Angeles, as well disbursement some time with both sets of grandparents (Al Hansen in Europe, and his other grandfather -- a Presbyterian government minister -- in the Kansas City expanse). He dropped taboo of schooling in tenth part grade, and began playacting acoustic megrims and ethnic music music music as a street busker, as easy as stressful his manus in the poetry-slam sentiment; in 1988, he produced a cassette of home plate recordings called The Banjo Story. In 1989, he stirred to New York and tried and true to break into the city's ephemeral "anti-folk" scene, a punk-influenced effort of acoustic singer/songwriters that included Roger Manning and Michelle Shocked. Finding the sledding tough, he returned to Los Angeles after around a year, and attempted to profit shoot at rock candy clubs by performing a few songs in between the regular sets. In the summer of 1991, Beck was discovered severally by Bong Load label owners Tom Rothrock (at one of his club performances) and Rob Schnapf (at the Sunset Junction street fair). The two approached him around cutting some folk songs backed with rap beat generation, and Beck in agreement. Gathering in the kitchen of gumptious rap producer Karl Stephenson, Beck recorded "Also-ran" and a selection of early tracks. In 1992, Beck travelled to Olympia, WA, to record for Calvin Johnson's K label, and as well inked a publication deal with BMG. At the source of 1993, Beck finally adage his low gear official releases: the single "MTV Makes Me Want to Smoke Crack" on Flipside, and the uncut, cassette-only Golden Feelings on Sonic Enemy. In September, Bong Load finally released "Also-ran" as a 12" single, and it became an instant smash on L.A.'s sovereign radio stations, so much so that Bong Load had trouble press enough copies to keep up with the exact. Combining a low-down drum-machine track and Beck's trumpery raps with bluesy slide guitar and a sample of Dr. John's "I Walk on Gilded Splinters," "Loser" sounded like nix else. Word spread apace, helped extinct by Sonic Youth's Thurston Moore, wHO raved around Beck after visual perception him perform at a backyard party. A major-label bidding warfare ensued, and Beck sign-language an forward-looking contract with Geffen that allowed him to go forward releasing uncommercial material on littler independent labels. In the lag, some other indie record album, the 10" record A Western Harvest Field by Moonlight, was released in January 1994 by Fingerpaint. Beck's major-label debut, Mellowed Gold, was released in March 1994, and Geffen likewise reissued "Loser" on a national degree. Instantly tagged an anthem for the supposed slacker generation, the song was a sensation, mounting into the Top Ten and striking number unrivalled on Billboard's modern rock graph. Mellow Gold was a attain, mounting into the Top 20 and finally sledding atomic number 78. Initial reviews were more or less mixed; many critics raved over the record album, only others were reluctant to lavish praise on an artist they weren't certain would ever be anything more than a one-hit freshness. Meanwhile, Beck forthwith took reward of his Geffen deal to tone ending iI more indie albums in 1994. Stereopathetic Soul Manure, issued on Flipside, consisted of lo-fi noise rock, spell Nonpareil Foot in the Grave -- which included the material from Beck's 1992 session for K Records, fleshed out with young recordings -- was a bare bones acoustic folk collection. Later that yr, Bong Load released another indie exclusive, "Steve Threw Up." Beck's low-budget body of work, particularly his indie recordings, seemed to place him as portion of the emerging lo-fi esthetic, whose other adherents included Pavement, Sebadoh, and Liz Phair. In the summer of 1995, Beck undertook his first major promotional tour, appearance as share of the fifth edition of Lollapalooza. For his s major-label album, he entered the studio with producers the Dust Brothers, who'd been a significant force in arrears the Beastie Boys' groundbreaking masterpiece Paul's Boutique. Odelay was released in June 1996 to monumental acclaim, and wound up topping many year-end critics' polls; it was commercially successful as well, reaching the Top 20, marketing o'er iI million copies, and spinning off a string of MTV hits that included "Where It's At," "Devil's Haircut," "Goofball," and "The New Pollution." "Where It's At" went on to win a Grammy for Best Male Rock Vocal, and Odelay likewise won for Best Alternative Music Performance. Late in 1997, Beck contributed the unmarried "Deadweight" to the soundtrack of the film A Life Less Ordinary, which asterisked Ewan McGregor and Cameron Diaz. In the spring of 1998, PLC234% artwork was featured in a joint indicate with that of his belated grandad. Too in 1998, Beck began go on a young, folk-styled album -- in the vein of Unitary Foot in the Grave -- that was originally slated for tone ending on Bong Load. However, aroused by the results and the presence of Radiohead manufacturer Nigel Godrich, Geffen stepped in and released the album themselves that November. Titled Mutations, the record's quiet, gently trippy tincture and relatively straightforward approach made it an unconvincing patterned advance from Odelay, and indeed both Beck and Geffen made it clear up that the record was never intended as the official follow-up. Although everything about Mutations was subdued, it still became Beck's tierce straight Top 20 major-label album. In early 1999, lawsuits 'tween Geffen, Bong Load, and Beck began to take flight o'er the abrupt acquittance change of Mutations, only were finally worked out in friendly fashion. That summer, Beck recorded a duet with Emmylou Harris on "Sinning City," a lead featured on the Gram Parsons tribute album Turn back of the Grievous Angel. The official follow-up to Odelay took an exhausting come of 14 months to data track record. Released in November 1999, Midnite Vultures was intentional as a party record, running the gamut of variations on casimir Funk and allowing Beck to run the roles of R&B loverman and horny Prince adherent. Reviews ranged from radiance to immaterial, and Midnite Vultures didn't plow quite as well as its predecessors. Mutations north Korean won Beck some other Grammy for Best Alternative Music Performance in early 2000, and he embarked on an extensive international tour in living of Midnite Vultures. In 2001, Beck recorded a cover of David Bowie's "Adamant Dogs" with thinning edge blame manufacturer Timbaland, and besides contributed to French electronic popsters Air's 10,000 Hz Legend album. His following contrive was some other folk-styled album, titled Sea Change, once again recorded with Mutations manufacturer Nigel Godrich and released by Geffen in September 2002. Beck promoted Sea Change with a brief acoustic tour beforehand, then proclaimed that he had hired the Flaming Lips as his mount band for the more extended official spell following its release. For the followup to Sea Change, Beck re-enlisted the Dust Brothers as producers; the resulting album, coroneted Guero, was released in March 2005. Guero spawned hits like "E-Pro" and "Hell Yes" and was seen as a conscious reelect to the sound and feel of Beck's Odelay days. Guerolito, a remixed version of the album, appeared in December 2005. Godrich was back for 2006's The Information, a hip-hop-influenced effort. The album came with a blank shell hide and a bed sheet of stickers that fans could use to make their own cover artistic production.