JEFF BECK GROUP: ‎ROUGH AND READY

Traditionally Beck's second group is overlooked and even often a bit derided by fans (casual or confirmed), which I find tremendously unjust, because this group actually rocked quite hard. I guess some people tend to over-rate the Stewart/wood line-up and most progheads will directly look up to the future JR/F albums such as Blow, Wired etc... But get a load of this line-up for a second: Cozy Powell as a drummer, Max Middelton a jazzy keyboardist and a solid funky Clive Chaman on bass, leaving the uneven Bob Tench on vocals. Indeed this might be where the problem lied in this group, Jeff Beck being unable to find a better singer, even if Tench is far from catastrophic, but I wouldn't call anything more than apt. Very boring and sinister artwork, BTW: couldn't the Epic label find something better?

Musically speaking we have a fairly typical 70's rock, a cross between hard rock, funk/blues/jazz and commercial rock that has many pleasant moments, but once the needle lifts away from the wax, no real urge to replay it soon, but you know that next time you will, it will be another pleasant but unfocused ride. Indeed, between the funk rock of Got The Feeling (Middleton's jazz piano solo rocks my socks off), and the funky-jazzy Situation (the most attractive track commercially on the album) with Middelton's superb Fender Rhodes excursion the rough New Ways/Train Train (good Beck solo) and the closing Jody on the one side and the lesser tracks like Short Business (still too long) and Been Used (I'd say wearied and worn) on the other, the album glides effortlessly but a bit passionless as well.

But I shall not forget the album's highlight, the superb Max's Tune (8.5 mins long too), where the whole group shows the incredible delicateness of Brian Auger's Oblivion Express' better moments (let's call it the Chaman factor) and some definite hint as to where Beck would head in the second part of the decade. Middleton is the hero of the album, but Powell's powerful but jazz inclined drumming is amusing (who would've thought this jazz touch from the hardest hitting drummer around) and Beck being his usual himself >> couldn't possibly be a bad album, either.

Not exactly worth the detour/acquisition, but it is much worth lending an ear to it. But again, the songwriting and the singing are what keeps this album from being better known.

After the split of the JEFF BECK GROUP which included Rod Stewart in the line-ups, Jeff Beck met VANILLA FUDGE members Carmine Appice and Tim Bogert, and talked with them about forming a band, but this didn`t happen until years later because Beck suffered a car crash which kept him out of action for several months. After recuperating from this accident, he formed a new group which recorded two albums. One of them was this "Rough and Ready" album, with a more Heavy Rock sound. His new band included the now late drummer Cozy Powell (who was becoming a very known and respected drummer then), lead singer Bob Tench (more oriented to Blues music in style, I think), bassist Clive Chaman, and one musician who later became a long time collaborator for Beck in the seventies, keyboard player Max Middleton.

As I wrote above, this album is more Heavy in sound but still having some Blues influences.Bob Tench`s vocals are powerful and in general I think that this band was better in sound than the previous line-ups, but there are still not very much Prog Rock influences in this album. Anyway, is still a good album, but still not essential for Prog Rock fans.

After their self-titled album from 1972, this line-up split, and Beck contacted again with Bogert and Appice to form a new band called BECK, BOGERT AND APPICE, which was more successul for Beck despite all the problems they had as a band. Bob Tench later appeared as second guitarist / singer in the eighties in the reformed HUMBLE PIE line-up which recorded two albums without having much success.

So Beck's been learning some new ways.

After Ron and Rod dumped Jeff to pursue a rather good if short career with The Faces, Mr. Beck didn't just sit in the shadow - following the break up of his first Jeff Beck Group, by 1971 he had gathered a new one, again with an array of nearly unknown musicians. But just like the first incarnation, these new musicians would display some qualities that wouldn't have them remaining unknown for much longer.

This new incarnation of the group is neither as bluesy nor as heavy as the previous - the vocals provided by Bob Tench are a lot more soulful than powerful, Beck's guitar work is more funky than rocky, and the presence of keyboard player Max Middleton, bassman Clive Chaman and drummer Cozy Powell give the sound a jazzier feel. This is clear from the moment you hear the first song, Got The Feeling, a fast-paced track driven by Beck and Middleton's rhythmic section and Tench's almost gospel-like vocals. Often he will try to sing a bit louder, and at this point you actually miss good old Rod. Both Middleton and Beck get to solo out in this track, the first with a jazzy middle section, Beck with a good final solo and riffing. Situation follows, with a funky drum and bass intro and a bit of guitar chords briefly reminiscent of Beck-Ola. But that influence soon wanes away as Beck introduces a jazzy solo. Tench's vocals are softer in this track, which suit the music better and make him sound a lot better than on the first track. The song structure remains rather simple, with the chorus repeating quite often, complemented by Beck's guitar solo. The rhythm section of Powell, Middleton and Chaman provide the song some fast pace to complement Beck's slower guitar work. About 2/3 into the song we are treated to a jazzy Fender Rhodes keyboard solo, before the chorus repeats and a quick guitar lick ends the song. Short Business ensues, a heavier track, courtesy of the drumming. Bob Tench is again singing louder, but does pretty well given the constant changes in key and signature. As the name implies, this is a shorter track, and apart from Beck's guitar solo somewhere in the middle, there is really not much to analyse. The opposite can be said of the next track, Side One closer Max's Tune - clocking in at eight and a half minutes, it's the album's longest track. The title clearly indicates we are going for a keyboard-drenched piece of music. It starts quite slowly, with delicate guitar playing and pouncing drums. Shortly we begin to hear the first keys, coming from the Fender Rhodes at first, then from the piano. The slower pace of the song goes on for a bit, at least some three minutes, until the electric piano finally takes over and Powell speeds up his drumming a bit, with the aid of some good bass work by Chaman - clearly all band members mingle perfectly in this track. The track eventually slows down to the initial beat, only to speed up once more a bit further ahead. While Powell, Chaman and of course Middleton seem to in the spotlight, we don't hear much from Jeff himself until some two minutes towards the end, where he finally shows up with some quiet and unimpressive jazz soloing that brings the track to a close.

Side Two is opened by I've Been Used, a return to the formula of the first songs, perhaps a little less funky and jazzy and more R n'B rock. Some good bass work in this track, giving the track some punch. However, it remains a pretty uninteresting track, despite some perking up towards the end, courtesy of some Beck guitar chords that I'm pretty sure Brian May heard (they remind me a lot of the guitar work that opens Great King Rat on Queen's debut). We continue with the easy listening rock of New Ways/Train Train, featuring some great drumming and guitar work, but again with Tench trying to sing louder than he probably should. Shortly after one minute, Jeff decides to rock out a bt, introducing some guitar chords that seem completely out of place, but not at all unwelcome, just like his scorching solo a bit further ahead. Somewhere in the middle, as we make the transition from New Ways to Train Train we get some good improvisation, featuring a great combo of drum and bass. Beck again displays his skills with a delightful solo guitarwork in the song's second section, which makes several appearances before taking a longer form towards the song's very funky ending. The album reaches its end in the climatic Jody, a lovely piece where Bob Tench finally makes his best higher pitched vocalwork, courtesy of the lovely melody. Beck also displays his finest guitar soloing of the album on this track. The song's slower pace and emotional feel are interrupted by the funky middle section, featuring some jazzier guitar and piano work (even if we're not in the realms of jazz-fusion yet). The opening section is then reintroduced with the lovely guitar solo, before we get back to jazz, this time featuring a Fender Rhodes solo from Middleton that brings the song (and the album) to a close on a high note.

Overall, I don't really see how this should be compared to the "other" Jeff Beck Group works - both incarnations are completely different: whereas the 60's version was wilder, but perhaps a bit more reliant on older grounds, the 70's version sounds more mature composition-wise, with a bit more care put into production, and also displaying some more ideas than the previous "let's just rock!" line of thought. While Max Middleton will make you forget Nicky Hopkins, Bob Tench in no Rod Stewart - even if his more soulful, warmer voice fits the music well, Rod will always come to mind when he tries to sing louder. Jeff, on the other hand, is doing a lot less power chords and improvised solos in favour of funkier riffs and jazzier licks. But all in all this still is a rock album, quite a good one, actually, with some beautiful pieces that are guaranteed to entertain, even if not especially mind-blowing.

｢That time was very interesting. Various ideas have come out. However, there was Jeff Beck very much a day when feelings were good and bad days. ｣Posture without the compromise for the challenge of the pursuit of the music always and music might be proof that Jeff Beck kept always challenging new music. It is guessed that the remark of Max Middleton never had the poor impression in Jeff. Jeff actually borrows the talent of Max Middleton enough for the production of the following Solo album.

Jeff Beck Group of the first stage pulled the act of the activity once in September, 1969 by the problem of member's discord. However, Jeff Beck suffers from the traffic accident from pursuit to the music at the time for which it hoped to music because it has the flow that doesn't know the stay. As for this event that happened on November 2, 1969, hospitalization is done through necessity for Jeff Beck for about three months. And, after the wound cures, Jeff Beck ups and about doing again for music. Jeff Beck had already had Tim Bogert, Carmine Appice, and acquaintance at this time. The plan interrupted by the hospitalization of Jeff Beck though it tried to receive Rod Stewart active with Jeff Beck Group of the first stage in Vocal and to form a new band. And, the flow that this event is connected with Beck and Bogert And Appice back is a well-known fact.

The activity of Jeff Beck Group of the second stage starts as a recording of the album by the event of the accident of Jeff Beck and the election of the member, etc. in May, 1971. It is keyboard player's Max Middleton that it was appointed by the member of the group of this second stage. And, Bass player's Clive Chaman. It is Bob Tench in Vocal. And, Cozy Powell has been appointed by the drum player. Performance that group of the first stage was doing. The tune refined from the taste of Rock and Blues further is announced in this album. And, the point that should make a special mention is a point that the style of the performance of Jeff Beck has been almost established. It is likely to be already able to visit the element that builds the route of the following Jazz/Fusion according to the melody as an idea by this album. And, the flow of Jazz/Fusion of the element and Max Middleton of R&B of Bob Tench and Clive Chaman has acted well. The intention of Jeff Beck of electing this member and the directionality of the band might be the parts that Jeff Beck thought to some degree and were done. Bob Tench has been appointed as a result though the name of Alex Regartwood originally rose to this album as vocalist.

Playing the guitar to make good use of Wah-Wah twines round "Got The Feeling" with the piano. The element of groove has gone out strongly. It is possible to visit the aim of Jeff Beck of such music at this time. And, the tune dashes while mixing the element of R&B and Blues. As for the part of the transposition and the composition of the melody, the contribution of Max Middleton might be exactly large. The element of Jazz/Fusion might not have united if not existing in the band Max Middleton ..R&B and Rock... The song of Bob Tench has gone out very powerfully and the guitar of Jeff merges in the tune.

The rhythm where it dashes from the start of hard Blues Rock of "Situation" might be splendid. The line of Bass might be finished well, too. The piano extremely keeps Groove. The flow that Jeff Beck is skillful in this tune is blocked. It is a tune with an enough element of R&B and Rock each other. Max Middleton that plays Solo of E-Piano from the part of the hit with the tension has put out the taste that Jazz/Fusion is good.

"Short Business" keeps extending melody and Groove. The tune progresses with the element of Funk and R&B. The contribution of Cozy Powell of this rhythm might be large. And, the guitar of Jeff Beck to make good use of Bottle-Neck is suitable for the tune.

"Max's Tune" is a tune with a mysterious element in the tune of this album. Twining of the guitar that plays a beautiful melody and the piano creates one space. However, the part where progress and Blues of the code in which Max Middleton is skillful in the flow are good is concealed. It might exactly have a prototype of the melody listened to by "Blow By Blow" and "Wired" part. It might be an exactly fantastic, graceful tune.

"I've Been Used" shifts to the flow with R&B and Groove from riff of a quiet guitar that the mute is done. The progress of the code has not stayed as simple Blues and R&B. This flow might be exactly large the contribution of Max Middleton. And, a prototype element as Hard Rock is also performed. It will have a part that advances very gracefully and is good.

The rhythm of "New Ways Train Train" that Cozy Powell is powerful is impressive. And, the usage of the tension note might be splendid. The tune dashes as the part that reaches the peak the flow with the dash feeling twining. The part where Jazz Rock, R&B, and Blues are good has been splendidly absorbed. The flow of such a tune is connected with the following Beck and Bogert And Appice. The tune dashes again rushing into a complex rhythm on the way. It might be a splendid tune indeed calculated.

"Jody" starts by a beautiful piano melody. It progresses, also to a piano obbligati, and Solo of the guitar of perfect Jeff Beck twines round the tune with the part of the ballade. The tune shifts to the rhythm of the shuffle on the way and Ad-Rib of the guitar reaches the peak. And, the rhythm returns to the ballade and flows again. Coda from Solo by the last Max Middleton might be splendid.

The group being done by the member of the first stage has boldly changed the music character depending on the member of this album. And, the performance that only these five people can do might be done.

After leaving the Yardbirds, JEFF BECK launched a promising solo career, first with his debut release 'Truth' and then by launching THE JEFF BECK GROUP on his second release 'Beck-Ola,' but just as things were starting to take off, the rug slipped out from under his feet and his entire reality imploded. Due to tensions and musician ego issues between BECK and his band mates, lead singer Rod Stewart and bassist Ron Wood jumped shipped to form the successful band Faces. Likewise pianist Nicky Hopkins resented the fact the group was scheduled to play at Woodstock and in order to make it happen quit the band, joined Jefferson AIrplane (who did play Woodstock) and never looked back. BECK was starting a new project with Tim Bogert and Carmine Appice but that would having to wait because adding insult to injury the following December, BECK suffered a fractured skull in a car accident. Bogert and Appice formed Cactus. The three would finally get together as a power trio and release one album titled 'Beck, Bogert & Appice' in 1973.

His musical career was put on hold for a couple years but after the dust settled BECK reformed THE JEFF BECK GROUP with a whole new cast of players. He recruited bassist Clive Chaman who had played with London Blues and on Jesus Christ Superstar, newbie keyboardist Max Middleton, drummer Cozy Powell of many bands including Youngblood and The Sorcerers and new lead vocalist Bobby Tench of the UK funk and soul rock band Gass. The result of this new lineup naturally swayed in the direction of Tench's vocal style which offered a new R&B and funk rock flavor to BECK's usual blues rock. Noticeably less heavy and less bluesy BECK's third album ROUGH AND READY was his first hint of the jazz-rock direction he would become famous for with albums like 'Blow By Blow' and 'Wired.' Sounding more like Traffic than Faces, the new JEFF BECK GROUP alienated a lot of followers who had long moved on given the early 1970s was a fertile playing field with countless new hybrids of rock music coming of age.

ROUGH AND READY is an odd mix of styles that hadn't quite gelled yet. Not knowing if the album should be a hard rock, jazz-rock or funk fueled soul rock creation, the album flails about trying through ideas out and seeing what will stick. The opening 'Got The Feeling' showcases a vocal led R&B funk style that sounds a bit like what you would imagine if Sly & The Family Stone would sound like had they gone in a more jazz-rock direction. The soul rock reminds a bit of Edgar Winter's White Trash however Bobby Tench lacked the vocal style of Edgar Winter or even Rod Stewart for that matter. He got the job done and nothing more. The strangest tune is probably the 8 minute plus 'Max's Tune' which offers some forays into jazz-rock instrumentation but stays pretty much out of rock territory leaving the heavier passages to exist solely in the context of lyric based compositions. This was the first BECK release to feature all originals with the all but one writer by BECK himself. The track 'Max's Tune' was predictable crafted by Max Middleton which explains it feeling like a fish out of water.

Overall this is a decent album although sounding a bit generic for the age. If you ask me it sounds like it could be a Free album as Tench often sounds like Paul Rodgers and the rock musical style is very much in line with Free, Bad Company, Humble Pie, Traffic and a gazillion other bands of the era. In many ways this type of album seems like the primary inspiration for more modern bands like The Black Crowes. Any way you slice it this is an OK album but hardly showcasing BECK at his peak. As a guitarist BECK plays the subordinate role here with some cool guitar licks emerging now and again but nothing outstanding that showcase the originality that was still a few years away. The album received mixed reviews with many missing the Rod Stewart days but then again they were getting their fill with Faces who scored a top 10 hit with the third album 'A Nod Is As Good As A Wink' To A Blind Horse' which came out the same year as this one. In the end ROUGH AND READY is a good listen but ultimately forgettable.