Emotion & Commotion is the tenth studio album by guitarist Jeff Beck, released in April 2010 on ATCO Records. In addition to featuring vocal performances by Joss Stone, Imelda May and Olivia Safe, the album showcases a 64-piece orchestra on several tracks, and includes covers of well-known songs such as "Over the Rainbow", "Corpus Christi Carol", "Lilac Wine" and other rock and classical works.
Recouping after a car crash and faced with the loss of Rod Stewart and Ron Wood, Jeff Beck redefined what the Jeff Beck Group was about, deciding to tone down the bluesy bombast, adding keyboardist Max Middleton for a jazz edge, then having Bob Tench sing to give it an overblown early-'70s AOR edge…
Any guitar player, any fusion fan, any lover of deep deep grooves, funk and kick ass, SINGABLE melodies, and insanely beautiful guitar playing needs this record.
If you're about to hear it for the first time, I envy you.
Jeff Beck toured to promote Wired, backed by a jazz fusion group led by synthesizer player Jan Hammer. This straightforward live souvenir combines songs from Blow by Blow and Wired, plus a few other things…
Anyone who caught Jeff Beck's set at Eric Clapton's 2007 Crossroads Guitar Festival (or even the two-song DVD excerpt) was probably salivating at the hope that an entire performance with the same band would appear on CD and DVD. This is it, 72 minutes and 16 tracks compiled from a week of shows at the U.K.'s famed Ronnie Scott's, and it's as impressive as any Beck fan would expect. The guitarist's last official U.S.-released live disc was from his 1976 Wired tour (an authorized "bootleg" of his 2006 tour with bassist Pino Palladino is available at gigs and online; others pop up as expensive imports), making the appearance of this music from just over three decades later a long-awaited, much-anticipated event.
Recouping after a car crash and faced with the loss of Rod Stewart and Ron Wood, Jeff Beck redefined what the Jeff Beck Group was about, deciding to tone down the bluesy bombast, adding keyboardist Max Middleton for a jazz edge, then having Bob Tench sing to give it an overblown early-'70s AOR edge. As expected, these two sides are in conflict and Tench can be a little overbearing, but there are moments here that bring out the best in Beck. Namely, these are the times when the group ventures into extended, funk-inflected, reflective jazzy instrumental sections. These are the moments that point the way toward the success of Blow by Blow, yet this remains an unabashed rock record of its time, and it falls prey to many of its era's excesses, particularly lack of focus. Still, there are moments that are as fine as anything Beck played here.