{"id":599,"date":"2010-08-11T10:17:24","date_gmt":"2010-08-11T17:17:24","guid":{"rendered":"https:\/\/mmusicmag.com\/m\/?p=599"},"modified":"2010-08-11T10:27:06","modified_gmt":"2010-08-11T17:27:06","slug":"jeff-beck-emotion-commotion","status":"publish","type":"post","link":"https:\/\/mmusicmag.com\/m\/2010\/08\/jeff-beck-emotion-commotion\/","title":{"rendered":"JEFF BECK + Emotion & Commotion"},"content":{"rendered":"

\"Emotion<\/a>J<\/strong>EFF BECK<\/strong><\/p>\n

Emotion & Commotion <\/em><\/strong><\/p>\n

[Rhino]<\/p>\n

\n

Jeff Beck speaks through his guitar, and he only does so when he has something to say\u2014the seven-year break between <\/span>Emotion & Commotion<\/span><\/em> and its predecessor, the electronica-minded <\/span>Jeff<\/span><\/em>, was one of several such extended breaks in a career that now stretches for more than four decades. What he has to say in 2010 may at first seem puzzling, but by album\u2019s end reveals itself as characteristically sharp, fresh and unpredictable.<\/span><\/strong><\/p>\n

The selection of songs on the aptly named<\/span>Emotion & Commotion<\/span><\/em> initially appears to represent a patchwork grab bag of Beck\u2019s varying interests: a handful of originals, two numbers closely associated with (although not written by) the late Jeff Buckley, a movement from the score of the 2007 movie<\/span> Atonement<\/span><\/em>, a Puccini aria (\u201cNessun Dorma\u201d) and a swooning take on \u201cSomewhere Over the Rainbow,\u201d just for a start. Pop star Joss Stone, opera singer Olivia Safe and Beck prot\u00e9g\u00e9 Imelda May each take at least one turn behind the microphone, adding still further variety.<\/span><\/strong><\/p>\n

Fear not. The gleaming production by Trevor Horn and Steve Lipson and the presence of a 64-piece orchestra on much of the album go a long way toward unifying these disparate sources of inspiration. But it\u2019s still Beck\u2019s keening, stinging guitar work\u2014as unrelentingly bold as it was when he first made his name with the Yardbirds in the 1960s\u2014that truly makes these diverse tracks play like logically unfolding chapters in the same compelling tale. \u2013 Chris Neal<\/span><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

\u201cWhat he has to say in 2010 is characteristically sharp, fresh and unpredictable.\u201d<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[17],"tags":[196,273,272,271,274],"_links":{"self":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/599"}],"collection":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/comments?post=599"}],"version-history":[{"count":10,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/599\/revisions"}],"predecessor-version":[{"id":610,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/599\/revisions\/610"}],"wp:attachment":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/media?parent=599"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/categories?post=599"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/tags?post=599"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}