01. Race With The Devil    [0:02:00.69]
02. Cruisin'    [0:02:22.40]
03. Crazy Legs    [0:02:03.60]
04. Double Talkin' Baby    [0:02:15.10]
05. Woman Love    [0:02:35.46]
06. Lotta Lovin'    [0:02:04.76]
07. Catman    [0:02:24.37]
08. Pink Thunderbird    [0:02:30.96]
09. Baby Blue    [0:02:36.93]
10. You Better Believe    [0:02:09.86]
11. Who Slapped John?    [0:01:55.50]
12. Say Mama    [0:02:13.33]
13. Red Blue Jeans And A Pony Tail    [0:02:18.09]
14. Five Feet Of Lovin'    [0:02:11.66]
15. B-I-Bickey-Bi-Bo-Bo-Go    [0:02:12.73]
16. Blues Stay Away From Me    [0:02:24.10]
17. Pretty Pretty Baby    [0:02:26.56]
18. Hold Me, Hug Me, Rock Me    [0:02:15.17]

Bass Guitar – Ian Jennings
Drums – Clive Deamer
Electric Guitar – Jeff Beck
Rhythm Guitar [Electric] – Adrian Utley
Vocals – Mike Sanchez

Jeff Beck has made many strange albums, but none were ever quite as strange as this. With the Big Town Playboys offering support, Beck rips through 18 Gene Vincent numbers (not "Be-Bop-a-Lula," however), paying tribute to Vincent's guitarist, Cliff Gallup. Beck sounds terrific as he reconstructs Gallup's parts, but he doesn't add anything to the originals. Still, Crazy Legs is a fun listen and offers many insights into Beck's playing, if not Gallup's. --- Stephen Thomas Erlewine, AllMusic Review

Crazy Legs is Jeff Beck's tribute to the player who inspired him to pick up the guitar, Cliff Gallup of Gene Vincent and the Blue Caps. The fact that this collection of rockabilly tunes is also one of the liveliest albums of Beck's long career also underscores the fact that the brilliant guitarist is one of rock's greatest underachievers. Apparently unable to sustain working relationships with players as strong as those in his early groups, Beck has become a top-dollar guitarist for hire who has traded sustained musicality for isolated moments of virtuosity. But slumming with the Big Town Playboys, a respected British revival group, Beck is not just flashy window dressing but the lightning rod in a red-hot combo.

Beck has said that his biggest challenge in mastering rockabilly, a style that calls for the guitarist to mix single-note runs with snappy clusters of chords, was learning to play without the volume and distortion that has informed his playing since his mid-'60s tenure with the Yardbirds. That's what gives Crazy Legs its swing, for instead of dominating the music with sheer sonic muscle, Beck achieves the same end by bouncing his encyclopedic bag of riffs off a rippling rhythm section of drums and stand-up bass. Throughout these 18 well-chosen selections, Beck is equally apt to whip out a propulsive rhythm ("Lotta Lovin'"), a string of arpeggios ("Blues Stay Away From Me") or a wildly scrambled solo ("Cruisin'"). If guitarists earned degrees, Crazy Legs would be Beck's thesis toward a doctorate in rockabilly.

Crazy Legs is unlikely to be more than just another odd patch in Beck's crazy-quilt career. Rockabilly, after all, has been a retro novelty ever since the early Beatles covered tunes by Carl Perkins. The Playboys are certainly less self-conscious than the Stray Cats, who enjoyed 15 minutes of fame in the 1980s, though you can bet your ducktail that the Playboys wouldn't be on a major label without Beck on guitar. In that regard, Crazy Legs is oddly akin to Eric Clapton's Unplugged, for in both cases, celebrated guitar gods respectfully re-create the music that had first stirred their passions. Beck doesn't add anything new to the rockabilly vocabulary, but he plays this music as well as it's ever been played. So while Crazy Legs is ultimately redundant, it also rocks like crazy. --- John Milward, rollingstone.com

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1 Jeff Beck - Stand on It 4:54
2 Stevie Ray Vaughan - Tightrope 4:36
3 Jeff Beck - Going Down 6:47
4 Stevie Ray Vaughan - Pride and Joy 3:37
5 Jeff Beck - Guitar Shop 5:00
6 Stevie Ray Vaughan - The House Is Rockin' 2:23
7 Jeff Beck - Blue Wind 5:50
8 Stevie Ray Vaughan - Couldnt Stand the Weather 4:41
9 Jeff Beck - Savoy 3:37
10 Stevie Ray Vaughan - Crossfire 4:18
11 Jeff Beck - Freeway Jam 4:47
12 Stevie Ray Vaughan - Look at Little Sister 3:09
13 Jeff Beck - Superstition 4:14
14 Stevie Ray Vaughan - Superstition 4:35
15 Jeff Beck - Buck's Bolero 2:50
16 Stevie Ray Vaughan - Willie the Wimp 4:35

Issued as a promotional compact disc by CBS Records, for the Jeff Beck and Stevie Ray Vaughan 1989 tour, The Fire Meets The Fury lays out a total of sixteen cuts from the dynamic six string bending duo. Each legendary guitarist is showcased via eight songs, which alternate between the pair.

Touring as a three piece, along with drummer Terry Bozzio and bassist Tony Hymas, Beck was out on the road in support of his Guitar Shop recording. The souped-up title track from the '89 release is included on the promo CD, along with "Stand On It" and "Savoy". In addition, retro Beck tracks, dating back to his days fronting The Jeff Beck Group ("Going Down"), fill out the collection, with "Beck's Bolero", "Freeway Jam", and "Blue Wind", adding depth to the release.

Stevie Ray and his tight Double Trouble backing band counter Beck's fretboard prowess with "Tightrope", "Pride and Joy", the raucous "The House is Rockin'", the bluesy "Couldn't Stand the Weather" and "Crossfire", standing out. Like Beck, Vaughan's cover of "Superstition" is included on the limited edition tour sampler. --- JonFox, rateyourmusic.com

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1 Cause We’ve Ended As Lovers 
2 Blast From The East 
3 Space For The Papa 
4 A Day In The Life 
5 Angel 
6 Declan 
7 You Never Know 
8 Blue Wind

Jeff Beck - guitar, vocals,
Jimmy Hall - vocals,
Rhonda Smith - bass,
Jonathan Joseph - drums,
Nicholas Meier - guitar.

Released on January 22, 2016 by Rock House Rewind Records.

Jeff Beck was born in Surrey in 1944. He grew up in a suburban street in Carshalton. When he was about 10, he wanted to play the guitar. His mum, however, wanted him to play the piano because she didn't approve of the guitar. When he was in his late teens, he joined "The Tridents" on lead guitar. In 1965, he replaced Eric Clapton in The Yardbirds. He played with them until 1967 when he decided he'd had enough and wanted to go solo. In the same year, he released his first solo effort "Hi-Ho-Silver Lining", which was the only one of his tracks he ever sang on. In his backing group, he had Rod Stewart and Ronnie Wood, who later went on to form The Faces. Thoughout the rest of the 60s and 70s, he continued to record instrumental albums. In 1983, three former The Yardbirds, Eric Clapton, Jimmy Page, got together to do one-off charity concerts. In 1984, he contributed lead guitar on Mick Jagger's first solo album "She's the Boss". The same year, he released his next album "Flash", which was voted best instrumental album. In 1989, he released the album "Jeff Beck's Guitar Shop", which was also a big success. Throughout the 90s, Jeff Beck still toured around and, in 1998, played a sellout date in Mexico. In early 2001, he released yet another album "You had it Coming", which he toured to promote. ---- Richard Baker, imdb.com

Wśród gitarzystów znane jest takie powiedzenie: najpierw jest Jeff Beck, potem długo, długo nic i dopiero cała reszta. Choć nigdy nie osiągnął komercyjnego sukcesu na miarę Claptona czy Page’a, nawet oni przyznają, że jest dla nich mistrzem. ---magazyngitarzysta.pl

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01. The Revolution Will Be Televised
02. Live in the Dark
03. Pull It
04. Thugs Club
05. Scared for the Children
06. Right Now
07. Shame
08. Edna
09. The Ballad of the Jersey Wives
10. O.I.L. (Can't Get Enough of That Sticky)
11. Shrine

Jeff Beck - Electric guitar
Carmen Vandenberg - Electric guitar
Rosie Bones - Vocals
Davide Sollazzi - Drums
Giovanni Pallotti – Bass

Arriving six years after Emotion & Commotion, a largely instrumental album that found Jeff Beck pushing at his prog boundaries, Loud Hailer is a very different beast than its predecessor. Revived by the presence of two female collaborators -- vocalist Rosie Bones and guitarist Carmen Vandenberg, both proving to be worthy sparring partners -- Beck returns to gnarled, loud guitar rock on Loud Hailer, not so much reveling in the psychedelic skronk of the Yardbirds or the heavy stomp of the Jeff Beck Group but favoring an arena-ready rock that places an emphasis on such old-fashioned values as chops and social consciousness. The latter helps Loud Hailer feel tied to its time: Bones sings about reality television, loss of innocence, and any number of ills plaguing modern society. That Loud Hailer doesn't feel especially contemporary isn't much of a drawback: perhaps Beck doesn't truck with the sounds of the 2010s -- "Shame" quite clearly uses "A Change Is Gonna Come" as its template -- but he's not in revivalist mode, either, choosing to use his personal overblown traditions as a way to sound other. As always, his playing is startling: he's restless and exploratory, as susceptible to lyricism as he is to outright noise, and what makes his performance better is how he always cedes the spotlight to Rosie Bones. Letting his vocalist be the focal point winds up giving his guitar a boost, letting it command attention even in short bursts. Sometimes, the old-fashionedness can lead Beck and band toward embarrassing territory -- the funk workout of "O.I.L. (Can't Get Enough of That Sticky)" inspires cringes -- but usually it allows everybody space to stretch out, to let Beck turn out great squalls of feedback and sweet runs while still retaining the attention on the song. Compared to the floating ambition of Emotion & Commotion, this album feels invigorating and suggests that Beck doesn't want to rest on his laurels, even if he's not fully committed to embracing the turmoil of the present. --- Stephen Thomas Erlewine, Rovi

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01. Baby Let's Play House
02. Double Talkin' Baby
03. Cruisin'
04. Train Kept A Rollin'
05. Poor Boy
06. Cry Me A River
07. My Baby Left Me
08. How High The Moon
09. Sitting On Top Of The World				play
10. Bye Bye Blues
11. The World Is Waiting For The Sunrise
12. Vaya Con Dios
13. Mockin' Bird Hill
14. I'm A Fool To Care
15. Tiger Rag
16. Peter Gunn
17. Rocking Is Our Business
18. Apache
19. Sleep Walk
20. New Orleans
21. Walking In The Sand
22. Please Mr Jailer
23. Casting My Spell On You					play
24. Twenty Flight Rock
25. The Girl Can't Help It
26. Rock Around The Clock
27. Shake, Rattle & Roll

Personnel: 
Jeff Beck (guitar); 
Darrel Higham (vocals, guitar); 
Imelda May (vocals); 
Leo Green (saxophone); 
Lou Marini (baritone saxophone); 
Dave Priseman (trumpet); 
Jason Rebello (keyboards); 
Steve Rushton (drums, background vocals).

A year after Les Paul's death, Jeff Beck saluted the guitar pioneer by staging a rousing tribute show to the great man at Paul's regular stomping ground, the Iridium Jazz Club. Backed by his current running mates the Imelda May Band, Beck enlisted some heavy-hitters for help -- Brian Setzer comes in for the rock & roll, Trombone Shorty for the jazz, Gary U.S. Bonds sings some oldies -- all the better to get the party started. Despite its title, Rock 'N' Roll Party skews ever so slightly to the old-fashioned swing and standards that were Paul's specialty and with the notable exception of tightly wound versions of "The Train Kept A Rollin'" and "Twenty Flight Rock," even the rockers feel closer to jump blues than rockabilly. And that's fine: a tribute to Les Paul's music shouldn't be greasy, it should be a jumping, joyous blast of nostalgia, which is precisely what this party is. --- Stephen Thomas Erlewine, allmusic.com

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1. Star Cycle
2. Too Much to Lose			play
3. You Never Know
4. Pump
5. El Becko
6. Golden Road
7. Space Boogie
8. Final Peace				play

Musicians:
Jeff Beck - Guitars
Jan Hammer - Keyboards
Tony Hymas - Keyboards
Mo Foster - Bass
Simon Phillips – Drums

There and Back, Jeff Beck's first new studio album in four years, found him moving from old keyboard partner Jan Hammer (three tracks) to new one Tony Hymas (five), which turned out to be the difference between competition and support. Hence, the second side of this instrumental album is more engaging and less of a funk-fusion extravaganza than most of the first. If it were anybody else, you'd say that this was a transitional album, but this was the only studio album Beck released between 1976 and 1985, which makes it more like an unexpected Christmas letter from an old friend: "Everything's fine, still playing guitar." ---William Ruhlmann, AMG

Released in June 1980 on Epic Records, the problem with There and Back is immediately apparent and understood. The three tracks with Jan Hammer go one way while the five tracks with Tony Hymas, Simon Phillips, and Mo Foster go another. As William Ruhlmann notes in his review on allmusicguide, it is a mixed bag recording — the tracks with Hammer are heavily into a kind of funk meets fusion setting, while the second half boasts a more straightforward instrumental rock vibe.

The album doesn’t rise to the level of Blow by Blow (1975) or Wired (1976), but it still remains one of my favorite Beck albums, as the timing of its release matched milestones in my life and remains with me to this day. It’s one of my summer music arsenal must haves, a welcome companion whenever I’m tooling somewhere with the top down.

There and Back had some success too, reaching #21 on the U.S. charts (#11 on the Jazz chart). More than a few of the tracks have remained concert staples for Beck’s groups over the years as well. The three Jan Hammer tracks have their moments but they mostly find him and Beck in competition with each other a bit too much, which takes away from the cohesion of the other tracks. (The drum sound on the Hammer tracks seems weirdly off as well.) Still, Beck manages some nifty solos, especially on Star Cycle where he burns bright and colorful leads and phrases over Hammer’s cacophony of sound. You Never Know boasts some eventful exchanges between Beck and Hammer.

The Hymas/Phillips/Foster trio suits Beck’s guitar shapes better in my opinion. Hymas/Phillips give Beck more support and collaboration than that heard with Hammer. The album changes in tone as well, becoming more rock focused with added nuance and sonic support from the bass and keyboard effects. Phillips is solid on drums throughout.

The two most celebrated tracks remain El Becko (a play on Beck’s Bolero from his debut solo album perhaps), which boasts a “torn flesh” solo from Beck, and Space Boogie, with its nuanced keyboard and straight ahead piano elements, coupled with a rolling drum track and some raucous Beck solos in the mix.

Beck ends the album with one of his signature mood pieces, The Final Peace, which highlights his ability to play beautifully nuanced and atmospheric solos with understated grace while retaining the guitar’s power.

Even with its faults and somewhat dated synthesizer effects, There and Back remains a solid album, with enough Beck guitar zen moments on it to make it worth a listen now and again. --- classicrockreview.wordpress.com

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1 - Choker (Eric Clapton & Jimmy Page) 
2 - Snake Drive (Eric Clapton) 
3 - Draggin' My Tail (Eric Clapton & Jimmy Page) 
4 - Steelin' (The All Stars & Jeff Beck) 
5 - Freight Loader (Eric Clapton & Jimmy Page) 
6 - West Coast Idea (Eric Clapton) 
7 - L.A. Breakdown (The All Stars & Jimmy Page) 
8 - Down In The Boots (The All Stars & Jimmy Page) 
9 - Chuckles (The All Stars & Jeff Beck) 
10 - Tribute To Elmore (Eric Clapton)

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   1. "You Know What I Mean" (Jeff Beck, Max Middleton) – 4:05
   2. "She's a Woman" (John Lennon, Paul McCartney) – 4:31
   3. "Constipated Duck" (Beck) – 2:48
   4. "Air Blower" (Beck, Phil Chen, Middleton, Richard Bailey) – 5:09
   5. "Scatterbrain" (Beck, Middleton) – 5:39
   6. "Cause We've Ended as Lovers" (Stevie Wonder) – 5:52
   7. "Thelonius" (Stevie Wonder) – 3:16
   8. "Freeway Jam" (Middleton) – 4:58
   9. "Diamond Dust" (Bernie Holland) – 8:26

# Jeff Beck - Guitar, Bass
# Max Middleton - Keyboards
# Stevie Wonder - Keyboards
# Phil Chen - Bass
# Richard Bailey - Drums, Percussion

Blow by Blow typifies Jeff Beck's wonderfully unpredictable career. Released in 1975, Beck's fifth effort as a leader and first instrumental album was a marked departure from its more rock-based predecessors. Only composer/keyboardist Max Middleton returned from Beck's previous lineups. To Beck's credit, Blow by Blow features a tremendous supporting cast. Middleton's tasteful use of the Fender Rhodes, clavinet, and analog synthesizers leaves a soulful imprint. Drummer Richard Bailey is in equal measure supportive and propulsive as he deftly combines elements of jazz and funk with contemporary mixed meters. Much of the album's success is also attributable to the excellent material, which includes Middleton's two originals and two collaborations with Beck, a clever arrangement of Lennon and McCartney's "She's a Woman," and two originals by Stevie Wonder. George Martin's ingenious production and string arrangements rival his greatest work. Beck's versatile soloing and diverse tones are clearly the album's focus, and he proves to be an adept rhythm player. Blow by Blow is balanced by open-ended jamming and crisp ensemble interaction as it sidesteps the bombast that sank much of the jazz-rock fusion of the period. One of the album's unique qualities is the sense of fun that permeates the performances. On the opening "You Know What I Mean," Beck's stinging, blues-based soloing is full of imaginative shapes and daring leaps. On "Air Blower," elaborate layers of rhythm, duel lead, and solo guitars find their place in the mix. Propelled by the galvanic rhythm section, Beck slashes his way into "Scatterbrain," where a dizzying keyboard and guitar line leads to more energetic soloing from Beck and Middleton. In Stevie Wonder's ballad "Cause We've Ended as Lovers," Beck variously coaxes and unleashes sighs and screams from his guitar in an aching dedication to Roy Buchanan. Middleton's aptly titled "Freeway Jam" best exemplifies the album's loose and fun-loving qualities, with Beck again riding high atop the rhythm section's wave. As with "Scatterbrain," Martin's impeccable string arrangements enhance the subtle harmonic shades of the closing "Diamond Dust." Blow by Blow signaled a new creative peak for Beck, and it proved to be a difficult act to follow. It is a testament to the power of effective collaboration and, given the circumstances, Beck clearly rose to the occasion. In addition to being a personal milestone, Blow by Blow ranks as one of the premiere recordings in the canon of instrumental rock music. ---Mark Kirschenmann, AllMusic Review

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1. Corpus Christi Carol
2. Hammerhead
3. Never Alone
4. Somewhere Over The Rainbow
5. I Put A Spell On You featuring Joss Stone
6. Serene
7. Lilac Wine featuring Imelda May
8. Nessun Dorma
9. There s No Other Me featuring Joss Stone
10. Elegy For Dunkirk featuring Olivia Safe

Jeff Beck - guitar
Chris Bruce - Bass
Vinnie Colaiuta - Drums 
Clive Deamer - Drums 
Earl Harvin - Drums 
Luis Jardim - Percussion 
Joss Sidwell - Vocals
Steve Sidwell - Conductor 
Joss Stone - Vocals 
Tal Wilkenfeld - Bass 

When Jeff Beck last ventured into the studio it was to cut 2003’s Jeff, a deliberately modernist album steeped in electronica, to which 2010’s Emotion & Commotion almost feels like a refutation. Working with producers Steve Lipson and Trevor Horn, Beck has created an old-fashioned blues-rock-cum-prog record, balancing the sweeping vistas of a 64-piece orchestra with cool jazz-funk grooves, tarted-up Screamin' Jay Hawkins covers with a pair of Jeff Buckley tunes and a gentle reading of “Somewhere Over the Rainbow.” Joss Stone sits in for two songs, including “I Put a Spell on You,” with jazz vocalist Imelda May and opera singer Olivia Safe taking lead on two others, but the focus remains on Beck, who is in a reserved, lyrical mood. Occasionally, the tempo ratchets up -- “Hammerhead,” which begins as a ‘60s riff rocker before quickly heading to Blow by Blow territory; “There’s No Other Me,” the other Stone showcase -- but Emotion & Commotion remains languid and even dreamy despite the crisp, cavernous Horn production that gives it a feeling of being trapped in 1990. All this is due to Beck, who has chosen to forgo his signature frenzied fretboard blitzkriegs and weave long phrases, his guitar rich, thick, and warm, sounding familiar yet different: he’s never sustained this level of grace for a full record, and his soulful playing cuts through the clean sheen of the production, always commanding attention even when he’s not demanding it. ---Stephen Thomas Erlewine, AllMusic Review

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1. Ambitious 
2. Gets Us All In The End 
3. Escape 
4. People Get Ready 
5. Stop, Look And Listen 
6. Get Workin' 				play
7. Ecstasy 					play
8. Night After Night 
9. You Know, We Know
10. Nighthawks
11. Back On The Streets

Personnel:
    Drums, Percussion: Carmine Appice, Jay Burnet, Jimmy Bralower, Barry DeSouza, Tony Smith
    Bass: Jeff Beck, Doug Wimbish
    Keyboards: Jan Hammer, Duane Hitchings, Tony Hymas
    Guitars: Jeff Beck
    Vocals: Tina B., Jimmy Hall, Curtis King, David Simms, Frank Simms, George Simms,
 Tony Smith, Rod Stewart, Karen Lawrence

Beck's guitar sound can be recognized among 10000 guitar players: it is really the case here more than ever. The music is pseudo pop music, but it is definitely not accessible. Some tracks like "Gets Us All In The End" remind me Freddy Mercury. Many tracks correspond to an electric guitar exhibition through sophisticated modern & scattered pop rock textures with a nervous and noisy new wave style a la Art of Noise or Yello, due to the thundering rythmic keyboards patterns. I think he uses automatic drum sequences. There are tons of guest lead vocals, including Rod Stewart! Some bits remind me slightly the Steve Hackett's solo albums of the 80's (Highly strung, Cured). There are lots of thundering drums and percussions on this album, really sounding like if they were synthesized. The record pretty well gives the pace for the sound and orientation of the next album Guitar Shop. So, Flash is definitely a 100% good album, but not a very good one. --- greenback, progarchives.com

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