Ruminations on TV Shows, Comics, And Music
If Odelay was a declaration of weird intent, and Mutations was a lament about how bad relationships can crumple you into a man-smelling ball, then Midnite Vultures Afterparty is the ridiculous dance party you use to shake the Bottle Of Blues away.
The original Midnite Vultures is all weird, bubbly, and bright. I have excised the most repetitive of them, and replaced them with the fuzz bangers off of Scott Pilgrim Vs The World Sountrack, a couple of acoustic tracks from One Foot In The Grave, and the song from Sea Change that I accidentally left off of Mutations. I think it ends up making a more complex, but equally fun album.
There are two tracks on Midnite Vultures that could start, end, or be placed on any album by Beck, and they're guaranteed hits. The original album starts with one of them, I've opted for the otheer. Debra is a lost Prince song. I would absolutely believe it, if Beck claimed that Prince wrote it for him. It's an all falsetto song about wanting to have a threesome with someone he met at JC Penny. And her sister. I think her name's Debra.
Mixed Bizness perfectly meshes the sound of Midnite Vultures with the lyricism of Odelay. Word up to the man thing / She's always cold lamping / Visine at the canteen / I just want to watch you dance. And it's hard not to dance to this ridiculous album with is beeps, blorps, and doo-dooo-doos.
Our first scruffy garage song is Threshold, which proudly lets you know where the beginning of the song is while fuzzing the fuzz out of some fuzzy guitar. It's technically by fictional band, Sex Bob-omb, but Beck wrote it, and he performs the fuzz out of it.
On rethinking this album, there are actually three songs that could be hits, and can work as any part of the album. Get Real Paid is a mellow banger which closes with the often missung, rarely understood line, Touch my ass if you're qualified.
Summertime is another Sex Bob-omb song With my peacock hands and my tangerine skulls /
And my grizzly bear face and my voice from Target. It doesn't make me fondly recollect any summers of my youth, or invoke what scene in the movie it was from, but it is a fun sing-along fuzzy song.
I've included the first third of Milk & Honey as it has a nice progressive rise from the previous track into
Sexx Laws! The other surefire hit song. Only prudes and depraved, in-denial Republican Senators don't sing along to this absolute classic about sexual freedom. Let me your chaperone / to the halfway home / I'm a full grown man / but I'm not afraid to cry-y-y-y-y is one of my all-time favorite lyrics.
When Beck was but a wee youngin' in 1994, he dropped not one, not two, but Three albums. And out of those albums, only one track made the radio. Mighty Good Leader is not that song. It's an acoustic sneery dirge off of One Foot In The Grave that's actually a cover of a Skip Jones blues song. I think early folk Beck is important, but not enough that anyone should be forced to listen to a whole album of it. But this is one of two songs from that era that I absolutely love.
Then we get back to the bloop bleep fun part with Pressure Zone, a song I never paid much attention to from the original Midnite Vultures album but which I find much stronger than some of the songs I used to know all the lyrics to.
I don't know how I managed to leave Golden Age off of Mutations, but I actually like that it was available to pop onto this album. It's a classic downtempo Beck ballad, and it's nice to have one well-produced ballad to mix in with the fuzz mantras, the bloopy bleep pop, and the acoustic doldrums.
I'll feed you fruit that don't exist / I'll leave graffiti / Where you've never been kissed / I'll do your laundry / Massage your soul / I'll turn you over / To the highway patrol. I love Nicotine & Gravy. I can't explain why.
Another fun song that I absolutely adore is the Sex Bob-omb anthem Garbage Truck, which doesn't at all remind me of that time I got caught in a couch.
Peaches & Cream is a song that falls somehwere between "Debra" and "Nicotine & Gravy", so I've edited it down to just the first verse because I didn't want to entirely lose the way Beck shouts Peaches and creeeeeeeeam!
The first time I heard Beck's Asshole*, it was being covered by Tom Petty on the She's The One Soundtrack. I love both versions equally.
Closing out the album is another Sex Bob-omb song. There are two versions of Ramona on the Scott Pilgrim Vs The World Soundtrack but I prefer the more orchestral version that appears here. It's a sweet little lament for a truly magical girl.
* - If you hold Beck's Asshole to your ear, you can hear Rick James singing the chorus to Sexx Laws