| Golden Feelings | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | 1993 | |||
| Recorded | 1992 | |||
| Genre | ||||
| Length | 42:35 | |||
| Label | Sonic Enemy | |||
| Producer | Beck Hansen | |||
| Beck chronology | ||||
| ||||
Golden Feelings is the debut studio album by American musician Beck, released in 1993 by Sonic Enemy. The album showcases his roots in the anti-folk scene.
The album was initially available only in limited quantities on cassette, Sonic Enemy remastered the album and re-released it on CD in 1999. [1] [2] [3] Beck was upset that they did so without his permission, and after he made his displeasure known, Sonic Enemy ceased to press any more copies. [4] Only 2,000 were made, causing the CD to become quite valuable. [5]
A few of the tracks on this album would appear on later releases, specifically "No Money No Honey" on his second studio album Stereopathetic Soulmanure, "Mutherfukka" on his third studio album Mellow Gold (renamed to "Mutherfucker"), [6] "Super Golden Black Sunchild" and "Special People" as a B-side to the 1994 single "Pay No Mind (Snoozer)", and "Trouble All My Days" also as a B-side to "Pay No Mind (Snoozer)" and 1995 single "Devils Haircut" and later on the deluxe edition of that singles album, Odelay . [7]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [8] |
| Encyclopedia of Popular Music | [9] |
AllMusic described the album as "an extremely interesting, entertaining, and humorous document that proves that from the start Beck had his heart set on making experimentation his only gimmick." [8] UDiscoverMusic wrote that the album had varisped vocals and backward tapes, that "battle with cut-and-pasted audio scraps, weird, dissonant effects and deranged screams, in an oddly involving and darkly humorous excursion to Dystopia". They also wrote that Golden Feelings was anarchic and "sometimes not entirely listenable", but that "the contents of that lowest of lo-fi cassettes were nonetheless compelling". [10]
Aaron Paskin of Spectrum Culture described the album as a "filthy, largely abrasive but fascinating document of the anti-folk movement and the beginnings of one of the most illustrious careers in music history", planting the seeds of what would eventually become lyrics on his third studio album Mellow Gold. They also stated that frequently, the "music here is unhinged and abstract", highlighting this fact with specific tracks "No Money No Honey", "Mutherfukka", and "Schmoozer". Overall, they state that the album is an intriguing listen despite being unpleasant, being an "essential document for both anti-folk history and the roots of one of the most stylistically versatile and prolific artists ever." [11]
In a ranking of every Beck album, Maura Johnston of Vulture placed the album in last, stating that while the occasional "grappling-hook-strong riff bubbles up", there's so much else going on that finding these isn't "all that appealing a prospect." [12] The eighth track, "Heartland Feeling", which remains Beck's third longest song behind "Bonus Noise" and "The Horrible Fanfare/Landslide/Exoskeleton", was ranked as the 28th best Beck song by The Guardian. [13] Martin Aston of The Vinyl Factory stated that musically, the album "had the consciousness-raising beliefs of his parents’ generation in his sights, likewise the folk-blues stylings of their protest singers". Furthermore, describing many of the tracks as Beck's own "lo-fi scratchy versions" of Woody Guthrie and Lead Belly tracks, two artists he had played songs of live. [3]
Another ranking of Beck's records by Diffuser stated that while a time capsule to his early, more experimental work, is also "borderline unlistenable". Specific examples included Beck's distorted vocals and the layers of "intentionally obnoxious noise", even with that, they still note that some of the lyrics on this hint at "what's to come". [14]
All tracks are written by Beck
| No. | Title | Length |
|---|---|---|
| 1. | "The Fucked Up Blues" | 2:11 |
| 2. | "Special People" | 1:42 |
| 3. | "Magic Stationwagon" | 1:36 |
| 4. | "No Money No Honey" | 2:35 |
| 5. | "Trouble All My Days" | 2:07 |
| 6. | "Bad Energy" | 1:39 |
| 7. | "Schmoozer" | 2:38 |
| 8. | "Heartland Feeling" | 7:11 |
| 9. | "Super Golden Black Sunchild" | 2:11 |
| 10. | "Soul Sucked Dry" | 1:49 |
| 11. | "Feelings" | 1:35 |
| 12. | "Gettin' Home" | 4:14 |
| 13. | "Will I Be Ignored by the Lord" | 1:59 |
| 14. | "Bogus Soul" | 1:15 |
| 15. | "Totally Confused" | 2:00 |
| 16. | "Mutherfukka" | 2:44 |
| 17. | "People Gettin Busy" | 3:09 |
| Total length: | 42:35 | |
The Dust Brothers are a pair of songwriters and producers consisting of E.Z. Mike and King Gizmo. They are famous for the sample-based music they produced in the 1980s and 1990s, and specifically for their work on the albums Paul's Boutique by the Beastie Boys, Odelay, Midnite Vultures and Guero by Beck, the soundtrack to the film Fight Club, and "MMMBop" by Hanson. They are based in Los Angeles, California.
Beck David Hansen, known mononymously as Beck, is an American musician, singer, songwriter, and record producer. He rose to fame in the early 1990s with his experimental and lo-fi style, and became known for creating musical collages of wide-ranging genres. He has musically encompassed folk, funk, soul, hip hop, electronic, alternative rock, country, and psychedelia. He has released 14 studio albums, as well as several non-album singles and a book of sheet music.
Odelay is the fifth studio album by American musician Beck, released on June 18, 1996, by DGC Records. The album featured several successful singles, including "Where It's At", "Devils Haircut", and "The New Pollution", and peaked at number sixteen on the Billboard 200. As of July 2008, the album had sold 2.3 million copies in the United States, making Odelay Beck's most successful album to date. Since its release, the album has appeared in numerous publications' lists of the greatest of the 1990s and of all time.
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Stereopathetic Soulmanure is the second studio album by American musician Beck. It was released on February 22, 1994, by Flipside. The album shows a strong folk influence, consisting of home recordings, studio recordings, live performances, field recordings, sound collages, and abstract noise experiments.
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