#whiskeyclonecolors

a straight-line walker in a blackout room

“Nausea” was a big part of Beck’s setlists in 2006-2007 on the Information tour, and then also in 2008-2009 for Modern Guilt. Since then it has only been played a few times (twice in 2011, once in 2012).  But then, in October 2017, Beck played it 4 times, before dropping it entirely once again. The Colors tour started in October 2017 with a quick worldwide run - 2 shows in London, a show in LA, 2 more in Tokyo (and a handful of TV/radio spots).  The main run of the tour didn’t really begin until 2018.  Beck played “Nausea” 3 times (and once on a radio show), and each time was back in those early October shows,right as the tour started.  When they resumed the tour in 2018, the song had been forgotten. Colors tour lineup Beck Hansen - electric guitar, vocals Jason Falkner - electric guitar, backing vocals Roger Joseph Manning Jr. - tambourine, percussion, backing vocals, synthesizer Dwayne Moore - bass Chris Coleman - drums Cecilia Della Peruti - percussion, backing vocals Alex Lilly - shakers, backing vocals Jake Sinclair - acoustic guitar, backing vocals

I only have video of one of the versions of “Nausea,” which you can see below. I also watched the radio show gig, but I can’t direct embed that one, but if you want to watch it click this link. Anyway, this band did a solid if unmemorable version of the song. The extra vocals, as always, enhances songs that I, for some reason, don’t expect them to. Also during the final verse, Beck kicks his guitar up a notch, roaring in there with a stronger louder riff: that’s the best part.  If you watch the version Beck did on Letterman in 2006, back then they played it with a bit higher energy and a lot more percussion/drums (two drummers, even). Still, “Nausea” seems to have matured into a more straight-forward rock song, which can still be an exciting live bop.

whisperin’ hello through a smoke-ring smile

“Think I’m In Love” has been a regular in Beck’s setlists basically since it came out. The song has not changed too much, though some earlier tries were noisier, more rock, and over time Beck embraced the groovy disco side of the song a little more.  And I mean that even before he started tacking a brief cover of Donna Summer’s “I Feel Love” on to it. Still, “I Feel Love” has been part of the song now since summer 2013. I think there are occasional “short” versions of the song where they don’t tag with “I Feel Love,” but mostly, it fits right in. And even when I listen to The Information, I half-expect “I Feel Love” to show up, it has become so embedded. This year did not change all that, though the frequency of “Think” fell off a little for the second half of the tour. Overall, Beck played it at 31 of 59 main shows: this was frontloaded to 18 of the first 21 shows, and just 13 of the last 38.  For this, I listened to about half (15) of them. Colors tour lineup Beck - vocals, electric guitar (though in 2 of the videos I saw, he didn’t play any instrument) Jason Falkner - electric guitar, backing vocals Roger Joseph Manning Jr. - keyboards, synthesizer, backing vocals Dwayne Moore - bass, backing vocals Chris Coleman - drums Cecilia Della Peruti - bongos, backing vocals Alex Lilly - percussion, backing vocals Jake Sinclair - acoustic guitar, backing vocals

As said, the song has pretty much settled right in, and even with new bands or time passing, it does not change. It sounds much like the record, maybe a little fuller, grander, though they drop the fourth verse, jumping straight to the outro.  (The outro in turn morphs into “I Feel Love” usually for about a minute.) The fuller band here on the Colors tour does help the song: they can better duplicate all the little percussion and details of the song (for instance, Cecilia plays bongos). That said, Roger Joseph Manning Jr. also does a lot -- little piano keyboard runs during the intro, mimicking the strings throughout on synthesizer. And it’s hard for this song when the rhythm section is on lock: Chris Coleman and Dwayne Moore laying the steady groove for all the details to land on.  A few times, the band played a little longer intros to the song, usually to give Beck time to go get his guitar, or because Beck is chatting to the audience. Here is one of those from the show in Hamburg.

One time in Dallas, which I can’t quite figure out why, Beck started singing with the drums before the band jumped in, which does give this song a slightly different feel to start. I really liked starting the song this way, hearing the band sort of fall into shape behind him: 

pour champagne on a honeybee “Mixed Bizness” has been one of Beck’s most popular live songs to do on stage since he wrote it. It was a regular on (almost) every band tour he’s done since it was released on Vultures in 1999. The two times it was not was in 2008 on Modern Guilt’s tour (though he did do it around half the time), and in 2014 for Morning Phase (when he did not do it at all).  However, in 2016, it made its return and pretty much has not left his setlists since. This year on the Colors tour, he did it 54 of the 59 main shows. The times he dropped it were 4 shorter festival sets, and one crazy club show he did where he played none of his ‘common’ songs.  Somewhat strangely, I was only able to find about 20 versions from this year.

Colors tour lineup

Beck Hansen - electric guitar, vocals Jason Falkner - electric guitar, backing vocals Roger Joseph Manning Jr. - synthesizer, backing vocals Dwayne Moore - bass Chris Coleman - drums Alex Lilly - percussion, keyboards, backing vocals (and for a few shows, keytar) Cecilia Della Peruti - tambourine, backing vocals Jake Sinclair - percussion, backing vocals This is a tough one to write about, because there were a number of variable sections to the song over the year.  The basic structure is basically thus: an intro section, two verses (”I’m mixing business with leather” and “Word up to the manthing”) and choruses (”all right now”), the longer bridge (”Do you want to ride on the Baltic sea?”), another chorus, then an ending jam.  The song very often then stops completely, before Beck revives it with his “Do you want to take it higher?” spiel.  This, by the way, omits the third verse/chorus and second “Baltic Sea” bridge which appear on the record.

So, in the beginning of the tour, Beck stuck this basic structure. It may be the bad luck of my sampling, but it also seemed early on the tour, that Beck and the band did not feel particularly engaged during “Mixed Bizness.” It sounds fine, super funky even, but watching some videos and they were sort of just vacantly staring ahead. Some were better than others, surely, but yea.  Here is a good “standard” version of the song, from Charlotte:

This definitely did not last long, though. By April, the song was much more hyped and a joy to watch. Beck started adlibbing all through the song -- he’d intro the song with lots of office talk (”send you a fax from the boardroom,” or “are we coordinating schedules?”).  The band occasionally came down and danced next to him, and they added a little sideways synchronicity hop to the act, and it’s all just a blast!  Also sometimes, Beck would BEGIN the song with his “I wanna take you higher” bit. Just whatever he felt like doing in the moment.  The song could start any way, and end any way. This version from Alabama is all kinds of fun:

Lastly, there’s two more notable versions I should mention. I’ve mentioned this for a few other songs, but in Nashville, Beck had the Preservation Hall Jazz Band as his opening act, and he brought them out for like six songs during his set. A “Mixed Bizness” funk jam with actual full jazz horns?  Sounds like a great idea to me.  (Alas, I know of no recordings.)

Second, in Atlanta, Beck extended the song about twice as long as normal. I don’t know why, he just got in a mood for it, I guess. The intro goes on for awhile, then they go through the song like usual.  Then he tacks on a “I wanna take you higher,” again like normal. But after that, he tacks on another “let’s take it lower” section and they just keep going. Here it is:

with the gold glass heart sending messages

As I noted for an earlier song (”Dear Life”), Beck sometimes likes to let new songs settle in his fan’s minds before putting it on them on stage. So throughout the Colors tour, Beck leaned to the main 4 or 5 singles, and mostly ignored the others. “Seventh Heaven”  was one he pretty much ignored, and to date, has only performed it four times. Fortunately, I have heard all four versions (and will include two here for you).

Colors tour lineup

Beck Hansen - vocals Jason Falkner - electric guitar, backing vocals Roger Joseph Manning Jr. - synthesizer, backing vocals Dwayne Moore - bass Chris Coleman - drums Alex Lilly - keyboards, backing vocals Cecilia Della Peruti - electric guitar, backing vocals Jake Sinclair - electric guitar, backing vocals “Seventh Heaven” made its live debut at the Studio Coast show in Tokyo, Japan (a show where he also debuted “Dear Life” and “Fix Me”).  Jason sounds amazing on it, leading the song and dropping cool guitar licks all over.  Roger nails the glassy synth sound, and keeping it all together is a great performance from Chris on drums.  They play all the sections of the song Here you can watch it:

A few months later, Beck went to Australia and New Zealand for a short leg of the tour. At the Melbourne show, Beck introduced the song as one they’d never played before (yep) and called it a “feel good song.”  This is probably my favorite live version of the song - with a strong groove and good vocals; alas, it’s not on Youtube so, I don’t know, trust me, I guess.

Two shows later, Beck did the song in Dallas as well.  Beck at each performance seems to be worried he’ll forget the lyrics (at least twice, saying something like “help me out if you know the words” to the crowd), but he does a generally fine job with it!

Lastly, 3 months go by after Dallas, and at a show in June in Brussels, Belgium, Beck played “Seventh Heaven” once again.  This time, however, Beck struggles a bit with the words, and though everyone sounds ok, it does feel a little like something is not quite clicking for the band. But in a way, because of this, I kind of like this version a lot!  The uplift and joy of the song comes across pretty well.  

gris-gris and a goldenrod

Beck played “Soul Of A Man” quite often on his last two main tours (Modern Guilt in 2008, Morning Phase in 2014), as well as all the gigs from 2014-2017.  This seemed to have ended on the Colors tour, however, as the song was just done 11 times in the 59 main shows of 2018. And most of those were early, 7 of them were in the first 15 gigs, before only showing up twice in Europe and twice in August (one a club show, once in Japan). Unfortunately, for this, I was only able to find 2 versions of the song. But its form was pretty well-embedded, and I don’t imagine the song ever came out any differently.

Colors tour lineup:

Beck Hansen - electric guitar, vocals Jason Falkner - electric guitar, backing vocals Roger Joseph Manning Jr. - tambourine, percussion, keyboards, backing vocals Dwayne Moore - bass Chris Coleman - drums Alex Lilly - keyboards, backing vocals Cecilia Della Peruti - tambourine, backing vocals Jake Sinclair - acoustic guitar, backing vocals “Soul Of A Man” comes off pretty well on stage, where I enjoy the song much more than I do on record. One of the versions I heard (the Melbourne show) was a bit more herky-jerky than the other (Washington DC show 2). The Melbourne one isn’t on Youtube, and the DC show only has half of it; so instead, I’ll dip back slightly to this show in September 2017 a couple of months before Colors came out, as an example of the song live.  It’s the exact same band, and I think it’s a good version, so it works as an example here.

we got a red alert

A quick timeline of “Timebomb”: Beck started playing it live in 2006, just a few times; we figured it would be on The Information. It, obviously, was not. Then in 2007, he dropped it as a single. He wasn’t really touring at the time, but when he did go back on the road in 2008 and 2009 for Modern Guilt, he played it quite regularly.  Then where were sporadic tours for about 5 years, and he did not play it at all.  In 2014, behind Morning Phase, Beck brought the song back near the end of the year for about 15 shows.  It then showed up 3 times in the summer of 2017 with his new band, who a few months later, when the Colors tour began in October played it one time in Japan (October 24, 2017). They would not return to it at all for the rest of the tour. Colors tour lineup:

Beck Hansen - vocals Jason Falkner - electric guitar, backing vocals Roger Joseph Manning Jr. - synthesizer Dwayne Moore - bass Chris Coleman - drums Alex Lilly - backing vocals, keyboards Cecilia Della Peruti - electric guitar, backing vocals Jake Sinclair - electric guitar, backing vocals Almost always in that history of “Timebomb,” Beck speeds the song up on stage.  In 2008, they’d play it fast, and cut off the ending verse/chorus, making it all feel even faster. This carried over to Morning Phase tour, where it was fast, but they did do the whole song.

Last year in Japan, the one time they played “Timebomb,” the song does have a totally different feel to it. The buzzing synth riff is gone, led by percussion and vocals. It feels more punk rock to me, harder than the original, less groove. Beck seems to enjoy singing it, though misses his mark on the ‘rap’ in the middle. It’s a lot of fun -- this Studio Coast show in Tokyo had a HYPED audience, which make its videos a blast.  Here, you can watch it, though it misses the very beginning of the song and is a bit shaky. If this is what this band was going to do to “Timebomb,” I’d have loved for it to get more reps!

give me traces of your lifeblood flowing

Beck did not perform “Blackbird Chain” very often on the Colors tour. At longer shows, he did have a revolving set of Morning Phase songs he could do, and while “Blackbird” was one of them, he only did it 6 times in 59 shows (and 2 were at the first two gigs, no less).  For this, I found recordings of 2 of these, but they’re similar, and I don’t think anything changed between them really.

Colors tour lineup

Beck Hansen - vocals, acoustic guitar Jason Falkner - electric guitar, backing vocals Roger Joseph Manning Jr. - keyboards, backing vocals Dwayne Moore - bass Chris Coleman - drums Cecilia Della Peruti - acoustic guitar, backing vocals Alex Lilly - keyboards, backing vocals Jake Sinclair - acoustic guitar, backing vocals I’ve always found “Blackbird Chain” to be a slightly odd song for the stage: it’s certainly pretty, but also... kind of sleepy. It has a strange momentum to it, and not as engaging as some of his other live songs as a result. It works on record beautifully, but can feel too chill in the context of a big show. For me, that’s my guess why it showed up so infrequently. Still, that’s not a knock on how the band performs it. Jason fills out the country licks, and, as he did on the Morning Phase tour, Roger gets a cool piano break.  In the version below, it almost sounds like Roger is going off book, improvising some stuff during his part.

Here is the version from the second night in Washington DC:

pink eyes looking to the fruit of the ages

“The New Pollution” was basically played every night of the Colors tour, except for a handful of shortened festival sets, and, for some reason, in Europe. On the European leg of the tour, Beck dropped it for the first 6 shows, before bringing it back for 5 of the last 6. In the end, it was done at 47 of the main 59 shows of the tour. For this, I listened to about 25 of them.

Colors tour lineup

Beck Hansen - vocals, tambourine (most of the time) Jason Falkner - electric guitar, backing vocals Roger Joseph Manning Jr. - synthesizer, tambourine, backing vocals Dwayne Moore - bass, backing vocals Chris Coleman - drums Alex Lilly - percussion, backing vocals, tambourine (2nd half of tour) Cecilia Della Peruti - backing vocals, tambourine (1st half), electric guitar (2nd half) Jake Sinclair - acoustic guitar, backing vocals So “The New Pollution” actually had two different versions on this tour, one for the first half, one for the second half.  I’ll start with the first half, which is pretty simple, as it was basically identical to the version you hear on Odelay -- all three verses, well-timed drops of the sax riff, a little funky synthesizer jam solo, everything was replicated on the stage. It was, and remains, a crowd-pleaser. Beck seemed to particularly enjoy Roger’s synthesizer solo, giving him a shout-out of “Manthing!!” every night as he started. Me, I was usually struck by Jason’s atmospheric guitar, especially towards the end of the song.  He gave the song a bit of a roar.

You can really hear when Jason dives in with some cool guitar at the end. Early on in the tour, I think the band played this song a little flat, but really by this point it’s pretty jumping and reaaaaaaaaaaaaaal funky.

A few nights after this show, in Nashville, Beck had his opening band, the Preservation Hall Jazz Band come out and join him for a handful of songs. One they did was “New Pollution.” I am not aware of a recording, but having a real horn section do the sax riff was certainly cool!

So then after the Europe tour, Beck and his band made a bunch of little adjustments to a number of the songs they’d been doing. One of these was “The New Pollution.” Obviously the song remains “The New Pollution,” with the incessant rhythm and the sax and stuff, but some of the connective tissue was refined a little.  Here are the changes:

The intro to the song was changed from the “doo doo da doo doo” tape to the seductive sax riff. I think the “doo doo” bit was a good clue for the audience that the song was starting, though the sax riff is a more dramatic style build, the way it slides into the beat. Both are good avatars for the song, and both work as introductions. 

After going to the first two verses and choruses, as said, early on Roger would slide into the song’s funky synth solo. For this second half of the tour, they swapped this out, and Jason Falkner would play a guitar solo there instead. He didn’t try to mimic the synth part either, coming up with his own thing. Beck usually called out Jason as he started, as he had with Roger. I like this change, it brings another sound to the song, putting a little rock and roll in there with the funk and sax.

Lastly, the band dropped the third verse/chorus of the song entirely, replacing it by going into a short cover of The Creation’s “Making Time.”  (A cool song you may know from the greatest movie ever.)   One of the first times they did this, in Montreal, Beck messed up and started to sing the third verse anyway, before realizing and getting into “Making Time.” He got used to it though, and seemed to always dig singing that cover!

That’s the version from the second half of 2018. It’s pretty awesome. Here is a version from Red Rocks: