Qobuz Store wallpaper
Kategorie:
Warenkorb 0

Ihr Warenkorb ist leer

Jeff Beck - Wired

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

Wired

Jeff Beck

Verfügbar in
logo Hi-Res
24-Bit 96.0 kHz - Stereo

Musik-Streaming

Hören Sie dieses Album mit unseren Apps in hoher Audio-Qualität

Testen Sie Qobuz kostenlos und hören Sie sich das Album an

Hören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps

Abonnement abschließen

Hören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps

Download

Kaufen Sie dieses Album und laden Sie es in verschiedenen Formaten herunter, je nach Ihren Bedürfnissen.

Text in englischer Sprache verfügbar

Released in 1976, Jeff Beck's Wired contains some of the best jazz-rock fusion of the period. Wired is generally more muscular, albeit less-unique than its predecessor, Blow by Blow. Joining keyboardist Max Middleton, drummer Richard Bailey, and producer George Martin from the Blow by Blow sessions are drummer Narada Michael Walden, bassist Wilbur Bascomb, and keyboardist Jan Hammer. Beck contributed no original material to Wired, instead relying on the considerable talents of his supporting cast. Perhaps this explains why Wired is not as cohesive as Blow by Blow, seemingly more assembled from component parts. Walden's powerful drumming propels much of Wired, particularly Middleton's explosive opener, "Led Boots," where Beck erupts into a stunning solo of volcanic intensity. Walden also contributes four compositions, including the funk-infused "Come Dancing," which adds an unnamed horn section. While Walden's "Sophie" is overly long and marred by Hammer's arena rock clichés, his "Play With Me" is spirited and Hammer's soloing more melodic. Acoustic guitar and piano predominate the closing ballad, "Love Is Green"; Beck's electric solo gracefully massages the quiet timbres. Wired is well balanced by looser, riff-oriented material and Walden's more intricate compositions. Walden and Hammer give Wired a '70s-era jazz-rock flavor that is indicative of their work with the Mahavishnu Orchestra. Bascomb's throw-down, "Head for Backstage Pass," finds Bailey skillfully navigating the mixed meters while Beck counters with a dazzling, gritty solo. Hammer's "Blue Wind" features an infectious riff over which Beck and Hammer trade heated salvos. As good as "Blue Wind" is, it would have benefited from the Walden/Bascomb rhythm section and a horn arrangement by Martin. One of Wired's finest tracks is an arrangement of Charles Mingus' "Goodbye Pork Pie Hat." Beck's playing is particularly alluring: cleanly ringing tones, weeping bends, and sculpted feedback form a resonant palette. Bailey and Middleton lend supple support. Within a two-year span, the twin towers Blow by Blow and Wired set a standard for instrumental rock that even Beck has found difficult to match. On Wired, with first-rate material and collaborators on hand, one of rock's most compelling guitarists is in top form.
© Mark Kirschenmann /TiVo

Weitere Informationen

Wired

Jeff Beck

launch qobuz app Ich habe die Qobuz Desktop-Anwendung für Windows / MacOS bereits heruntergeladen Öffnen

download qobuz app Ich habe die Qobuz Desktop-Anwendung für Windows / MacOS noch nicht heruntergeladen Downloaden Sie die Qobuz App

Kopieren Sie den folgenden Link, um das Album zu teilen

Sie hören derzeit Ausschnitte der Musik.

Hören Sie mehr als 70 Millionen Titel mit unseren Streaming-Abonnements

Hören Sie dieses Album und mehr als 70 Millionen weitere Titel im Rahmen Ihres Streaming-Abonnements mit unseren Apps.

1
Led Boots (Album Version)
00:04:03

John Mills, Mixing Engineer - John Mills, Recording Engineer - John Arrias, Recording Engineer - Mark Guercio, 2nd Engineer - Narada Michael Walden, Drums - Geoff Emerick, Mixing Engineer - Max Middleton, Composer - Max Middleton, Lyricist - Pete Henderson, Recording Engineer - Jeff Beck, Guitar - Jeff Beck, Performer - Wilbur Bascomb, Bass - Producer not documented on available sources, Producer - Dennis McKay, Recording Engineer - Chris Bond, Assistant Producer - Jan Hammer, Synthesizer - Jan Hammer, Re-Mixer - Vic Anesini, Mastering Engineer

(P) 1976 Epic Records, a division of Sony Music Entertainment

2
Come Dancing (Album Version)
00:05:54

John Arrias, Recording Engineer - John Mills, Mixing Engineer - John Mills, Recording Engineer - Mark Guercio, 2nd Engineer - Narada Michael Walden, Composer - Narada Michael Walden, Drums - Narada Michael Walden, Lyricist - Geoff Emerick, Mixing Engineer - Pete Henderson, Recording Engineer - Jeff Beck, Guitar - Jeff Beck, Performer - Wilbur Bascomb, Bass - Producer not documented on available sources, Producer - Ed Green, Drums - Dennis McKay, Recording Engineer - Chris Bond, Assistant Producer - Jan Hammer, Synthesizer - Jan Hammer, Re-Mixer - Vic Anesini, Mastering Engineer

(P) 1976 Epic Records, a division of Sony Music Entertainment

3
Goodbye Pork Pie Hat (Album Version)
00:05:30

John Arrias, Recording Engineer - John Mills, Mixing Engineer - John Mills, Recording Engineer - Mark Guercio, 2nd Engineer - Geoff Emerick, Mixing Engineer - Pete Henderson, Recording Engineer - Jeff Beck, Guitar - Jeff Beck, Performer - Wilbur Bascomb, Bass - Producer not documented on available sources, Producer - Charles Mingus, Lyricist - Charles Mingus, Composer - Dennis McKay, Recording Engineer - Chris Bond, Assistant Producer - Vic Anesini, Mastering Engineer - Richard Bailey, Drums

(P) 1976 Epic Records, a division of Sony Music Entertainment

4
Head for Backstage Pass (Album Version)
00:02:44

John Arrias, Recording Engineer - John Mills, Mixing Engineer - John Mills, Recording Engineer - Mark Guercio, 2nd Engineer - Geoff Emerick, Mixing Engineer - Pete Henderson, Recording Engineer - Jeff Beck, Guitar - Jeff Beck, Performer - Wilbur Bascomb, Composer - Wilbur Bascomb, Lyricist - Wilbur Bascomb, Bass - Producer not documented on available sources, Producer - Dennis McKay, Recording Engineer - Chris Bond, Assistant Producer - Andi Clark, Composer - Andi Clark, Lyricist - Jan Hammer, Re-Mixer - Vic Anesini, Mastering Engineer - Richard Bailey, Drums

(P) 1976 Epic Records, a division of Sony Music Entertainment

5
Blue Wind (Album Version)
00:05:54

John Arrias, Recording Engineer - John Mills, Mixing Engineer - John Mills, Recording Engineer - Mark Guercio, 2nd Engineer - Geoff Emerick, Mixing Engineer - Pete Henderson, Recording Engineer - Jan Hammer, Composer - Jan Hammer, Lyricist - Bruce Disckinson, Producer - Jeff Beck, Guitar - Jeff Beck, Performer - Dennis McKay, Recording Engineer - Chris Bond, Assistant Producer - Jan Hammer, Drums - Jan Hammer, Synthesizer - Jan Hammer, Re-Mixer - Vic Anesini, Mastering Engineer

(P) 1976 Epic Records, a division of Sony Music Entertainment

6
Sophie (Album Version)
00:06:30

John Arrias, Recording Engineer - John Mills, Mixing Engineer - John Mills, Recording Engineer - Mark Guercio, 2nd Engineer - Narada Michael Walden, Drums - Geoff Emerick, Mixing Engineer - Pete Henderson, Recording Engineer - Jeff Beck, Guitar - Jeff Beck, Performer - Wilbur Bascomb, Bass - Producer not documented on available sources, Producer - Dennis McKay, Recording Engineer - Chris Bond, Assistant Producer - Narada Michael. Walden, Composer - Narada Michael. Walden, Lyricist - Jan Hammer, Re-Mixer - Vic Anesini, Mastering Engineer

(P) 1976 Epic Records, a division of Sony Music Entertainment

7
Play with Me (Album Version)
00:04:10

John Arrias, Recording Engineer - John Mills, Mixing Engineer - John Mills, Recording Engineer - Mark Guercio, 2nd Engineer - Narada Michael Walden, Drums - Geoff Emerick, Mixing Engineer - Pete Henderson, Recording Engineer - Jeff Beck, Guitar - Jeff Beck, Performer - Wilbur Bascomb, Bass - Producer not documented on available sources, Producer - Dennis McKay, Recording Engineer - Chris Bond, Assistant Producer - Narada Michael. Walden, Composer - Narada Michael. Walden, Lyricist - Jan Hammer, Synthesizer - Jan Hammer, Re-Mixer - Vic Anesini, Mastering Engineer

(P) 1976 Epic Records, a division of Sony Music Entertainment

8
Love Is Green (Album Version)
00:02:29

John Arrias, Recording Engineer - John Mills, Mixing Engineer - John Mills, Recording Engineer - Mark Guercio, 2nd Engineer - Narada Michael Walden, Piano - Narada Michael Walden, Composer - Narada Michael Walden, Lyricist - Geoff Emerick, Mixing Engineer - Pete Henderson, Recording Engineer - Jeff Beck, Acoustic Baritone Guitar - Jeff Beck, Performer - Wilbur Bascomb, Bass - Producer not documented on available sources, Producer - Dennis McKay, Recording Engineer - Chris Bond, Assistant Producer - Jan Hammer, Re-Mixer - Vic Anesini, Mastering Engineer

(P) 1976 Epic Records, a division of Sony Music Entertainment

Albumbeschreibung

Released in 1976, Jeff Beck's Wired contains some of the best jazz-rock fusion of the period. Wired is generally more muscular, albeit less-unique than its predecessor, Blow by Blow. Joining keyboardist Max Middleton, drummer Richard Bailey, and producer George Martin from the Blow by Blow sessions are drummer Narada Michael Walden, bassist Wilbur Bascomb, and keyboardist Jan Hammer. Beck contributed no original material to Wired, instead relying on the considerable talents of his supporting cast. Perhaps this explains why Wired is not as cohesive as Blow by Blow, seemingly more assembled from component parts. Walden's powerful drumming propels much of Wired, particularly Middleton's explosive opener, "Led Boots," where Beck erupts into a stunning solo of volcanic intensity. Walden also contributes four compositions, including the funk-infused "Come Dancing," which adds an unnamed horn section. While Walden's "Sophie" is overly long and marred by Hammer's arena rock clichés, his "Play With Me" is spirited and Hammer's soloing more melodic. Acoustic guitar and piano predominate the closing ballad, "Love Is Green"; Beck's electric solo gracefully massages the quiet timbres. Wired is well balanced by looser, riff-oriented material and Walden's more intricate compositions. Walden and Hammer give Wired a '70s-era jazz-rock flavor that is indicative of their work with the Mahavishnu Orchestra. Bascomb's throw-down, "Head for Backstage Pass," finds Bailey skillfully navigating the mixed meters while Beck counters with a dazzling, gritty solo. Hammer's "Blue Wind" features an infectious riff over which Beck and Hammer trade heated salvos. As good as "Blue Wind" is, it would have benefited from the Walden/Bascomb rhythm section and a horn arrangement by Martin. One of Wired's finest tracks is an arrangement of Charles Mingus' "Goodbye Pork Pie Hat." Beck's playing is particularly alluring: cleanly ringing tones, weeping bends, and sculpted feedback form a resonant palette. Bailey and Middleton lend supple support. Within a two-year span, the twin towers Blow by Blow and Wired set a standard for instrumental rock that even Beck has found difficult to match. On Wired, with first-rate material and collaborators on hand, one of rock's most compelling guitarists is in top form.
© Mark Kirschenmann /TiVo

Informationen zu dem Album

Verbessern Sie diese Seite

Qobuz logo Warum Musik bei Qobuz kaufen?

Aktuelle Sonderangebote...

Aqualung

Jethro Tull

Aqualung Jethro Tull

Crime Of The Century [2014 - HD Remaster]

Supertramp

Thick as a Brick

Jethro Tull

Thick as a Brick Jethro Tull

Misplaced Childhood

Marillion

Mehr auf Qobuz
Von Jeff Beck

Even Odds Jeff Beck Recordings

Jeff Beck

Loud Hailer

Jeff Beck

Loud Hailer Jeff Beck

Blow By Blow

Jeff Beck

Blow By Blow Jeff Beck

Performing This Week… Live At Ronnie Scott's

Jeff Beck

Remastered from the Archives

Jeff Beck

Playlists

Das könnte Ihnen auch gefallen...

"Feel Flows" The Sunflower & Surf’s Up Sessions 1969-1971 (Super Deluxe)

The Beach Boys

Tapestry

Carole King

Tapestry Carole King

Graceland (25th Anniversary Deluxe Edition)

Paul Simon

Bridge Over Troubled Water

Simon & Garfunkel

Bridge Over Troubled Water Simon & Garfunkel

Toto IV

Toto

Toto IV Toto
Panorama-Artikel...
Stevie Wonder, die Jahre, die alles verändert haben

Zwischen 1972 und 1976 spielt der noch recht junge Stevie Wonder fünf Alben ein, die zu Meilensteinen in der Geschichte des Labels Motown, aber auch der Pop- und Soulmusik werden sollten. Rückblick auf musikalische und technologische, nach wie vor einflussreiche Jahre...

Die Black Keys in 10 Songs

Seit 2001 erinnern uns die Black Keys mit ihrem gradlinigen Sound, der auf jeglichen Schnickschnack und überflüssige Soli verzichtet, an den Ursprung des Blues. Zwei Musiker: wild, brutal, minimalistisch und unverblümt. Ein einmaliger Stil, den Dan Auerbach und Patrick Carney 20 Jahre lang weiterentwickelt haben, ohne jemals ihre Seele dem Teufel zu verkaufen, der am Mississippi-Delta ständig im Hinterhalt lauert. Zehn Songs zum Beweis.

1969 - Die Gitarre auf ihrem Zenit

Gab es jemals einen Moment oder eine Zeitspanne in der Geschichte, in der die kreative Aktivität an der Gitarre einen erkennbaren Höhepunkt erreichte? Einen Zeitpunkt, an dem es in der populären Musik ein Zusammentreffen von routinierten Veteranen und furchtlosem Nachwuchs gab? Eine Zeit, in der die elektrischen Gitarren am lautesten kreischten, Jazzmen neue Wege einschlugen und musikalische Kompositionen regelmäßig durch sechssaitige Reißwölfe gedreht wurden? Ein offensichtlicher Anwärter: 1969. In diesen zwölf Monaten feierten Santana, Led Zeppelin, King Crimson und The Allman Brothers Band ihre Debüts und es war auch das Jahr, in dem Creedence Clearwater Revival drei großartige Alben herausbrachten und die Charts beherrschten.

Aktuelles...