Even if white men can't jump, Guero can try to soar.
The title of Beck's newly released album is derived from a Spanish derogatory term for a person of European descent -- that is, a white male.
The word appears in the title of the second track, the Latin-flavored "Que Onda Guero," or "Hey, white boy!" in English. Listening to it, you can feel yourself becoming a white man, if you aren't one already, strolling solo through an inner-city Latino enclave, getting stares and whistles as you pass.
The image certainly isn't politically correct, but the song is the most memorable track on an atmospheric and clever album worth a listen. Er, make that a few listens.
Sound effects reminiscent of taxi horns, laughing children and hip-hop-blaring stereos mesh well with lyrics describing an urban scene. I could almost envision street vendors and hole-in-the-wall markets by a downtown roadside.
Beck appears to be poking a little bit of fun at himself being a white boy who likes to rap and kick it old school. Sure, it's gritty and offensive, but one could wonder if the song is even a form of social commentary on urban poverty.
But this disc isn't always as catchy throughout as some of his previous work. You actually have to listen closely to many songs on this CD. They don't jump out at you immediately, and some are not particularly radio-friendly.
Nearly as catchy as the sort-of-title track is the first song, "E-Pro," which has received fairly intense airplay on the radio. Co-written with the Beastie Boys and Dust Brothers, the latter of which also contributes to nearly every other song on the disc, the song sucks you right into the album. But don't expect it to represent any of the other works on the album, which place a greater emphasis on funk and beat than on ragged guitar riffs.
Hip-hop and funk form the foundation of the musical style of the album, which is to be expected. Some people would compare this CD to Odelay but I think the style is more electronic, stripped-down and funky. There's definitely an old-school feel to the whole disc, although it's full of computer bleeps and bloops, as in the case of "Hell Yes."
Ethnic flavor touches the whole CD, including Eastern influences evident in the rhythms and choice of instruments. "Missing" alludes to Mediterranean and Asian music through its strings and drum beats. Harmonica and lazily strummed guitar add a country flavor to some parts. Jazz influences are also found in the CD to a lesser extent, including syncopated rhythms and singing styles.
There are also some slow songs on the CD, like "Broken Drum." Beck's style retains a sardonic, tortured quality when he slows down, as otherworldly guitar strums and piano combine with a few well-placed bits of electronica.
Beck Hansen's music is more of an examination of life and culture through image and style than social commentary expressed through lyrics. I'm going to go out on a limb and say you can pretty much tune out the lyrics and focus on the sounds themselves.
Beck's surrealistic style is both his greatest asset and his worst trait. On this disc, you're either going to love his somewhat immature, atmospheric examinations of the dark side of life or you're going to crave something a little more spiritual and philisophical.
In the end, the disc is an all-out creativity fest that you have to savor in a few sessions. It's not nearly as full of catchy tunes as Odelay, but it's worth taking an hour out of your day to listen.
Nicole Saidi is a loser baby, so why don't ya kill her? Well, not really. Reach her at nicole.saidi@asu.edu.
