Beck’s discography is very varied, but “Odelay” is a favorite of many. He brings together many of his influences in this album, which flows subtly yet brilliantly. It’s a mathematical equation of alt-rock, indie rock, folk, hip-hop, country, noise, electronic, and lo-fi, and yet it still distinctly feels like a Beck record.
The album opens with “Devil’s Haircut,” a song that Beck described as “a really simplistic metaphor for the evil of vanity.” It’s filled with grotesque, poetic imagery like “discount orgies,” “bleeding noses,” “garbage man trees,” and “stealing kisses from leprous faces.” These off-putting references evoke feelings and disorientate the listener, embodying the blues.
The entire album was written and recorded around the Lollapalooza tour of 1995. Before the tour, Beck meticulously crafted his songs, taking forever to write and record each one. Everything prior to the tour was complex. However, “Devil’s Haircut” was an exception. It was completed after the band returned from Lollapalooza ’95, done in just two days.
The nonsensical and confusing references in the song are intentional. Beck is aware of this and has even poked fun at it. In the cartoon series Futurama, Bender and Beck discuss “Devil’s Haircut,” with Beck eventually questioning what he was talking about when he wrote it. It’s ironic.
“Jack-Ass” is a track that demonstrates Beck’s musical prowess. The song consists of only two chords, A and D, yet it showcases some of Beck’s best lyrics, such as “When the gravity shackles were wild.”
The song presents a well-structured idea, setting an overall mood that provides insight into the grind of daily life. It feels lazy, but in an intelligent way. Lyrically, it tells the story of how most people work on projects without making any progress, as if they’re working hard while waiting for something amazing to happen. But it never does, leaving them feeling like the title of the song, a jackass.
“Odelay” also features one of Beck’s more well-known hit songs, “Where It’s At.” Much of this song references early hip-hop, as evidenced by the famous line, “I got two turntables and a microphone.”
Like early hip-hop, where DJs controlled the party by looping drum breaks of songs, Beck samples a total of 10 songs in “Where It’s At”:
- “Get out of My Life, Woman” – Lee Dorsey
- “Needle to the Groove” – Mantronix
- “I Don’t Care If You Disrespect Me (Just So You Love Me)” – The Frogs
- “Sex for Teens (Where It’s At (Side 1))” – Stanley Z. Daniels, MD Janet Wood
- “Knock Him Out Sugar Ray” – E.U.
- “Sex for Teens (Where It’s At (Side 2))” – Stanley Z. Daniels, MD
- “Hogin’ Machine” – Les Baxter
- “Military Cut – Scratch Mix” – DJ Grand Wizard Theodore
- “Coast to Coast” – Word of Mouth
- “Magnificent Sanctuary” – Donny Hathaway
“Odelay” was produced by the Dust Brothers. Despite everyone in the music industry projecting Beck as a one-hit wonder, the lack of pressure for a hit allowed the album to be produced freely.
While there was no pressure from the label, there was pressure in the studio. Beck aimed to create a record different from his first, “Mellow Gold,” without alienating fans who enjoyed breakthrough tracks like “Loser.” “Where It’s At” served as the bridge between the two records.
In essence, “Odelay” stands as a testament to Beck’s boundless creativity and musical ingenuity. Its eclectic blend of genres, witty lyrics, and experimental soundscapes solidify its place as a timeless classic in the landscape of alternative music. From the haunting introspection of “Devil’s Haircut” to the infectious groove of “Where It’s At,” each track offers a glimpse into Beck’s multifaceted artistry. As listeners, we are invited to embark on a sonic journey where boundaries are blurred, conventions are challenged, and the unexpected becomes the norm. With “Odelay,” Beck not only redefines what it means to create an album but also leaves an indelible mark on the cultural zeitgeist, inspiring generations of musicians to push the limits of their own creativity.
Must Listen To Tracks: Devil’s Haircut, Jack-Ass, Where It’s At’
