Beck Hansen, known mononymously as Beck, is a musical chameleon, effortlessly blending genres and styles throughout his illustrious career. From lo-fi beginnings to Grammy-winning albums, his discography is a treasure trove of innovation and eclectic sounds. This list explores 30 must-hear Songs By Beck, delving into the highlights of his diverse and captivating musical journey.
30. See Through (2019)
From Beck’s album Hyperspace, “See Through” presents a modern R&B soundscape. While the Hyperspace album itself received mixed reviews, with some finding it lacking in strong songwriting despite its polished production, “See Through” stands out. The track pairs a wash of dreamy synths with a staccato chorus, drawing comparisons to the contemporary stylings of artists like Swae Lee. It’s a glimpse into Beck’s willingness to experiment with current trends, even if the overall album didn’t fully capitalize on its potential.
29. Up All Night (2017)
Following his Grammy win for Album of the Year in 2015 for Morning Phase, Beck shifted gears towards a more overtly pop direction with Colors. “Up All Night,” from Colors, is arguably the poppiest offering in his entire catalog. While Colors was described by some as sounding akin to Maroon 5 due to its ultra-slick production, “Up All Night” provides a moment of levity. It’s a catchy, albeit somewhat cheesy, disco-infused track that, despite the album’s sometimes overwhelming sheen, manages to be a reasonably enjoyable and upbeat song by Beck.
28. Heartland Feeling (1993)
In stark contrast to the polished pop of Colors, “Heartland Feeling” is a lo-fi, anti-folk gem from Beck’s debut album, Golden Feelings. The song opens with a rambling spoken-word intro referencing heartland rock icons John Cougar Mellencamp and Bruce Springsteen. “Heartland Feeling” is Beck’s playful take on classic American songwriting, yet beneath the surface of irony, vivid character sketches emerge. This early work showcases the appealingly raw and scratchy sound that defined Beck’s initial releases, a far cry from his later, more produced songs. Fans interested in the roots of Beck’s music should explore Golden Feelings and Stereopathetic Soulmanure for more of this raw energy.
27. Teenage Wastebasket (1994)
“Teenage Wastebasket,” a song unearthed on the deluxe reissue of One Foot in the Grave, paints a picture of youthful rebellion and grunge-era apathy. The protagonist, a teenage girl pushing boundaries and “trying to experience everything at least once,” makes even the “Loser” persona seem ambitious. Beck’s dry wit shines through in lyrics like “Socks don’t matter / Teeth are turning green / Opinions are forming,” delivered over a lo-fi garage rock backdrop. This track is a testament to Beck’s ability to capture quirky characters and slice-of-life narratives within his songs.
26. Walls (2008)
“Walls,” a concise and captivating two-minute track from Modern Guilt, exemplifies Beck’s knack for crafting sonic jewels. Teaming up with producer Danger Mouse on Modern Guilt proved fruitful, as evidenced by this song. “Walls” is built upon a sample from the French lounge track “Amour, Vacances et Baroque” by Paul Guiot and Paul Piot, giving it a distinctive yé-yé ballad vibe. Subtle backing vocals from Cat Power add depth to the mix. This song demonstrates Beck’s talent for blending samples and creating unique soundscapes, even in shorter song formats.
Alt Text: Beck performing live in Rio de Janeiro, Brazil, 2001, showcasing his energetic stage presence.
25. Get Real Paid (1999)
Beck’s music is peppered with homages to various genres and artists. “Get Real Paid,” from Midnite Vultures, is his playful nod to 1980s electro. Sampling Kraftwerk and referencing Adamski’s “Killer,” Beck adopts a robotic voice to intone consumerist fantasies. The song then shifts focus to Prince, a major influence on the Midnite Vultures album. “Get Real Paid” is a fun and funky track that highlights Beck’s ability to incorporate diverse musical influences into his own unique style.
24. Seventh Heaven (2017)
Considered by many to be the standout track from Colors, “Seventh Heaven” is pure, unadulterated pop bliss. Powered by handclaps and a relentlessly upbeat tempo, the song’s dreamy chorus soars skyward, reminiscent of the band Phoenix and the vocal delivery of Thomas Mars. “Seventh Heaven” is the epitome of a feel-good summer anthem, perfect for cruising with the windows down. It demonstrates Beck’s capacity to create infectious and joyful pop songs.
23. Nausea (2006)
Beck’s early sound often featured just him and a twanging guitar, echoing delta blues traditions. This raw, twangy essence permeates even his more elaborate productions, as heard in “Nausea” from The Information. This track, a hoedown-inspired number, is underpinned by Beck’s signature loose, junkyard-esque percussion. “Nausea” is a reminder of Beck’s roots in blues and folk, even as he ventures into more experimental and electronic territories.
22. Lampshade (1994)
“Lampshade,” from the A Western Harvest Field By Moonlight EP, is another early gem showcasing Beck’s burgeoning melodic gifts. It foreshadows the melancholic beauty of later works like Sea Change and Morning Phase, but in a simpler, Gillian Welch-style bluegrass ballad format. With just guitar and harmonica, Beck sings of longing for a less intense love (“Putting on a lampshade ’cause you’re shining way too bright”), conveying a sense of guilt and vulnerability. “Lampshade” reveals the emotional depth present even in Beck’s early, more lo-fi recordings.
21. Mixed Bizness (1999)
Despite critical acclaim and commercial success, Midnite Vultures, the album featuring “Mixed Bizness,” arguably didn’t achieve the superstar status it deserved. “Mixed Bizness” exemplifies Beck’s infectious lounge-lizard persona and musical confidence. The song blends ska-funk verses with a James Brown-inspired call-and-response chorus, all set against lyrics that paint a psychedelically bougie lifestyle (“Visine at the canteen … pour champagne on a honeybee.”). “Mixed Bizness” is a prime example of Beck’s ability to fuse funk, soul, and his signature lyrical eccentricity into a captivating song.
20. Tropicalia (1998)
Mutations, released after the blockbuster Odelay, represented a deliberate shift towards a more downbeat and introspective sound. “Tropicalia,” however, stands out as a moment of sunshine amidst the album’s overall melancholic tone. This cheerful homage to Brazilian bossa nova shimmers with warmth and light, creating a sonic walled garden filled with heat. “Tropicalia” demonstrates Beck’s diverse musical palette and his ability to seamlessly incorporate global influences into his songwriting.
19. Broken Drum (2005)
“Broken Drum,” from Guero, presents a stark and unsettling portrayal of a toxic relationship. Set against a backdrop of trudging desert blues and a menacing two-note riff, the song is both raw and compelling. Lyrics like “We shoot our guns / we have fun,” capture the friction and conflict within the relationship, while the admission “never forget you” hints at a lingering attachment. “Broken Drum” showcases Beck’s ability to tackle darker themes with musical intensity and emotional honesty.
18. Cellphone’s Dead (2006)
“Cellphone’s Dead,” from The Information, is anchored by a truly iconic bassline, arguably Beck’s finest. This bassline propels the song into an elastically danceable boogie. It’s intriguing to imagine how this track might have sounded on the more overtly comedic Midnite Vultures. Placed on The Information, seven years later, “Cellphone’s Dead” takes on a moodier and more introspective quality, demonstrating how context can shape the perception of a song.
17. Missing (2005)
The tropicália influence, subtly explored in “Tropicalia,” is wielded with greater nuance in “Missing,” also from Guero. This track masterfully blends two of Beck’s signature moods: Brazilian pop rhythms and string-swept ballads of existential contemplation. The insistent claves and a minimalist one-note guitar riff create a beautiful and understated rhythmic foundation. “Missing” is a testament to Beck’s ability to fuse diverse musical elements into a cohesive and emotionally resonant whole.
16. Chemtrails (2008)
Some Beck enthusiasts consider Modern Guilt a transitional album, bridging The Information and Morning Phase. While it’s a concise 33-minute sketch, it arguably surpasses both albums in overall quality. “Chemtrails” is a high point, featuring production heft from Danger Mouse, particularly in the constant guitar fills. Beck’s soaring falsetto melody, traversing the upper atmosphere, possesses a childlike innocence and wonder. “Chemtrails” highlights the collaborative synergy between Beck and Danger Mouse and Beck’s vocal versatility.
15. The Golden Age (2002)
“The Golden Age,” the opening track of Sea Change, is a pivotal song in Beck’s discography. Sea Change is widely considered Beck’s most consistently brilliant album, and “The Golden Age” sets the tone perfectly. Written amidst his split from his fiancée, Leigh Limon, after nine years, the song reflects a profound sense of personal transformation. The lyrics speak of the weight of the world, yet Beck delivers them with a delicate strength, set against Nigel Godrich’s crystalline production. “The Golden Age” marks a turning point in Beck’s songwriting, revealing a newfound emotional depth and vulnerability.
14. Paper Tiger (2002)
Another standout track from Sea Change, “Paper Tiger” paints a mythic landscape filled with symbolic imagery of a failing relationship. Capsized boats, broken diamonds, and the haunting image of “a stray dog gone defective” evoke a sense of loss and decay. The arrangement is superb, featuring a smooth, funky bassline juxtaposed with lush strings. Sampling Serge Gainsbourg, “Paper Tiger” acts as a subtle homage while standing firmly as a powerful song in its own right.
Alt Text: Beck in concert at The Troubadour, West Hollywood, 1994, showcasing his early energetic stage presence during a pivotal period in his career.
13. Devil’s Haircut (1996)
While “Cellphone’s Dead” boasts a funky bassline, “Devil’s Haircut,” from Odelay, wins for sheer brute force. The song is built around an insistent three-note riff borrowed from “I Can Only Give You Everything” by the Northern Irish rockers Them. The chorus melody is mordantly catchy, and the lyrics are filled with Beck’s signature blend of hippy phantasmagoria: “Temperature’s dropping at the rotten oasis / Stealing kisses from the leprous faces.” “Devil’s Haircut” is a quintessential Beck track, combining catchy hooks with lyrical and sonic experimentation.
12. Round the Bend (2002)
“Round the Bend,” from Sea Change, is perhaps the most emotionally raw and vulnerable moment on the album. Stripped bare of percussion, save for the subtle thrum of guitar, the song is enveloped in a cocoon of strings. Beck’s voice conveys a deep sense of isolation and heartbreak as he contemplates a breakup. The lyric “Loose change we couldn’t spend” poignantly captures the subtle ways love can erode, not through grand gestures, but through the accumulation of small emotional deficits.
11. Nobody’s Fault But My Own (1998)
“Nobody’s Fault But My Own,” from Mutations, bridges Beck’s early lo-fi blues explorations and the introspective balladry of Sea Change. Beck’s melancholic reflection is elevated by mystical Indian drones and sitar, creating a unique sonic texture. More than just the lyrics, the resigned acceptance in the chorus melody suggests Beck’s acknowledgment of his own shortcomings in a relationship. This song showcases Beck’s ability to blend blues, folk, and world music influences into a deeply personal and resonant song.
10. Sexx Laws (1999)
Beck’s stream-of-consciousness lyrical style, perfected on Odelay, reached new heights on “Sexx Laws,” the lead single from Midnite Vultures. The song is a wild, sassy ride through Beck’s eccentric imagination, evoking a surreal landscape where William Burroughs jams with Bootsy Collins in Bosch’s Garden of Earthly Delights. Lyrics like “Neptune’s lips taste like fermented wine / Perfumed blokes on the Ginza line” are just a taste of the song’s lyrical wonders. “Sexx Laws” is a testament to Beck’s playful lyrical genius and his ability to create infectious and utterly unique pop songs.
9. Qué Onda Guero (2005)
“Qué Onda Guero,” the title track from the album Guero, is a self-aware and satirical exploration of cultural appropriation and identity. “Guero” is Spanish slang for a light-skinned person, and the song sees Beck immersing himself in a Latino neighborhood, absorbing the sounds and rhythms. The backing track is a honkyfied take on Wu-Tang Clan’s “Shame On a Nigga,” further highlighting the song’s playful engagement with cultural exchange and musical fusion. “Qué Onda Guero” is a bold and thought-provoking track that showcases Beck’s willingness to engage with complex cultural themes in his music.
8. It’s All In Your Mind (1993 version)
“It’s All In Your Mind” is a timelessly beautiful song exploring themes of distrust and uncertainty. While the re-recorded version on Sea Change is lush and beautiful, the lo-fi original, released as a 1995 single, possesses a raw emotional power. Backed simply by acoustic guitars and rhythm, the original version allows the yearning, half-resigned melody to take center stage. This early version of “It’s All In Your Mind” highlights the song’s inherent strength and emotional resonance, even in a stripped-down arrangement.
7. Where It’s At (1996)
“Where It’s At,” from Odelay, is arguably Beck’s geeky white hip-hop masterpiece. This breezy track is a collage of samples, including elements from a sex education film, and a catchy keyboard motif. Beck acts as a party organizer, inviting listeners to a DIY club on the edge of town, where the vibe is all about making your own fun with “two turntables and a microphone.” The ramshackle charm of “Where It’s At” is undeniable, capturing the slacker spirit of the 90s while showcasing Beck’s sampling prowess and knack for creating infectious grooves.
6. Guess I’m Doing Fine (2002)
“Guess I’m Doing Fine,” from Sea Change, is a masterpiece of melancholic resignation. The song plumbs the depths of dejection while maintaining a stoic resolve. “It’s only tears that I’m crying / It’s only you that I’m losing,” Beck sings with a bitter humor, reminiscent of Julian Barnes’s perspective on death or Patrick Swayze’s famous line in Road House, “Pain don’t hurt.” The backing track evokes Thunderclap Newman’s “Something in the Air,” but with the triumphalism inverted, creating a poignant and emotionally complex song.
Alt Text: Beck photographed in Amsterdam, Netherlands, 1996, capturing his international appeal and touring during the Odelay era.
5. Sissyneck (1996)
“Sissyneck,” from Odelay, is a joyous and catchy track that establishes Beck as a charismatic podunk hick persona. With lyrics about a “stolen wife and a rhinestone life,” the song blends country guitar licks with a hip-hop breakbeat and a chorus that could be sung in a rodeo bar. The funny details, like “Everybody knows my name at the recreation centre,” add to the song’s charm and playful self-deprecation. “Sissyneck” is a perfect example of Beck’s ability to blend seemingly disparate genres into a cohesive and highly entertaining song.
4. Wave (2014)
“Wave,” from the Grammy-winning album Morning Phase, revisits the string-laden balladry of Sea Change, but with even greater emotional depth. While Morning Phase as a whole was considered beautiful but perhaps less impactful than Sea Change, “Wave” transcends mere beauty. Beck sounds utterly unmoored, adrift in a sea of strings, contemplating surrender: “I won’t go under / I’ll only be carried away.” The dangerously blissful delivery of “away” hints at the terrifying allure of escape, even oblivion, making “Wave” arguably the most emotionally powerful song in Beck’s entire catalog.
3. Loser (1993)
“Loser,” Beck’s breakthrough single, laid out his musical manifesto. Steroidal bluegrass guitars, bizarre lyrics about weasels, termites, and “beefcake pantyhose,” and a paradoxical self-deprecating confidence all combined to create a defining anthem for 90s slackers. Beck declares himself a “loser,” but with an undeniably catchy and successful pop melody. “Loser” captured the zeitgeist of a generation and launched Beck into mainstream consciousness.
2. The New Pollution (1996)
“The New Pollution,” from Odelay, is a love song unlike any other, only Beck could have conceived it. Instead of conventional romantic admiration, Beck marvels at unconventional qualities: “She’s got a carburettor tied to the moon / Pink eyes looking to the food of the ages.” The 60s-inspired groove, complete with organ, sax, and flute flourishes, verges on Austin Powers territory, but remains too brilliantly strange and original for mere pastiche. “The New Pollution” is a testament to Beck’s unique lyrical perspective and his ability to create genre-bending and unforgettable songs.
1. Debra (1999)
“Debra,” from Midnite Vultures, is the ultimate Prince homage in Beck’s discography, and yet it transcends its inspiration to become definitively a Beck song. Adopting a falsetto and a knowingly ridiculous suburban loverman persona, Beck attempts to woo a girl working at a JCPenney department store, offering a ride in his Hyundai and a cheap meal. Emboldened, he then tries to arrange a threesome with her sister Debra, even though he’s unsure of her actual name. Any mockery is directed squarely at his own dorky persona, but with the song’s sumptuous backing and Beck’s full commitment to the character, you can’t help but root for him. “Debra” is a hilarious, funky, and ultimately brilliant song that perfectly encapsulates Beck’s playful genius and his ability to blend humor and musicality into something truly special.
