Track Listing

1. Pink Noise (Rock Me Amadeus)
2. Rowboat
3. Thunder Peel
4. Waitin' for a Train
5. Spirit Moves Me
6. Crystal Clear (Beer)
7. No Money No Honey
8. 8 . 6 . 82
9. Total Soul Future (Eat It)
10. One Foot in the Grave
11. Aphid Manure Heist
12. Today Has Been a Fucked up Day
13. "Rollins Power Sauce"
14. Puttin It Down
15. 11 . 6 . 45
16. Cut 1/2 Blues
17. Jagermeister Pie
18. Ozzy
19. Dead Wild Cat
20. Satan Gave Me a Taco
21. 8 . 4 . 82
22. Tasergun
23. Modesto

Product Details

• Amazon Sales Rank: #70383 in Music
• Brand: Beck
• Released on: 2000-10-03
• Number of discs: 1
• Format: Original recording reissued
• Dimensions: .21 pounds

Amazon.com
When the consensus is that you're the new Dylan, it's your prerogative to rewrite the record industry's rules. So in 1994, the same year Beck had major-label hits with "Loser" and the album Mellow Gold, he saw fit (and was allowed by his label, Geffen) to release three other records on various indie labels. While none challenged Beck's "real" album in quality or sales, Stereopathetic Soul Manure is his most successful collection of unpolished toss-offs. Collecting various low-fi recordings made between 1988 and '93, the record alternates between folkie strumming, pedal-steel country, noise-guitar freakouts, and bizarre soundbites. Not essential, but it has its charms. --Roni Sarig

Customer Reviews

Beck Album #1, Released 1994, Ranking: 8th
This will be the first in my series of brief reviews spanning Beck's major discography. Technically, "Stereopathetic Soulmanure" was an indie release set to accompany "Mellow Gold" in 1994 as part of Beck's innovative contract with Geffen, which allowed him the privilege of putting out records on independent labels alongside his "major" albums. This arrangement would collapse in 1999, after one such indie effort, "Mutations," was considered by Geffen so good as to warrant a widespread release - naturally, lawsuits and general nastiness ensued. But, in the beginning, all was well and in 1994 Beck virtually exploded on the alt-rock scene with the Loser single. Fans were treated to three albums coming out in the span of one year, of which "Stereopathetic" is certainly the weirdest, most varied, and ultimately head-scratching offering.

The album was recorded over a long period of time, consisting of various demos, experiments, and a few finished songs of stunning quality. As such, it is a mere patchwork of "best-of" goodness from Beck's vault. Other albums, such as the early "Golden Feelings" and demo tapes such as "Fresh Meat + Old Slabs" (put together for Beck's mom's birthday) are also out there, and may be more thematically and temporally consistent, but I will not consider them and focus instead on the few moments of genius found on "Stereopathetic." Beck-ologists could spend hours talking about the stories behind each piece of tape ever uncovered, but this is not the place.

So, one of those stunners that immediately hit the listener with the kind of force that accompanies the birth of a major artist is Rowboat, a classic country song that is so woeful and mourning it even made a fan of Johnny Cash, who covered it a few years later. The superb pedal steel that anchors Rowboat and the album's best track, the dusty travelogue ballad Modesto, elevate the two songs to the sublime. There is a tender, windswept elegance to Beck's delivery that flies in the face of his descriptions as a "slacker," "Gen. X icon," "indie prankster" etc. He is being, or if not, he damn well sounds, deeply sincere. This Hank Williams-inspired character would show up later on "Mutations" and especially on his magnum opus "Sea Change," but the world took little notice when shades of this future were already apparent on "Stereopathetic."

I also have to mention "Puttin' It Down," a rejection-themed acoustic piece that is perfect in its conciseness. Beck's defiant, assured tone and the fuzzy, powerful strumming makes for one of those songs destined to become lost gems.

Finally, it is a bit strange for the smallest and most obscure work in Beck's official discography to produce two of the most popular songs among fans, but so it is. One Foot In The Grave is a raucuous harmonica stomp, presented here in a murky live rendition, which has somehow found its way into almost every one of Beck's shows thereafter (for almost twelve years now, when the harmonica comes out fans go wild, and the improvisations on this song have been endless and remarkably creative).
Satan Gave Me A Taco could almost merit its own review, although, unlike One Foot, it is notable in its subsequent elusiveness. Along with Beck's debut 7" single, the brilliant MTV Makes Me Wanna Smoke Crack, it's the one song a Beck fan would die to hear live (and such events are rare). A story-song of uncommon hilarity and wild inventivity, it unfolds with a slowly developing surrealist twist on the wackiest of ideas and images. Oh yes, and a banjo starts playing. Beck's talent at free-flowing writing (in the purest sense, apart from musicianship) is exercised at various degrees and with various forms of success throughout his career. But Satan Gave Me A Taco is a perfect example of Beck's creative potential when untempered.

As is, in fact, "Stereopathetic" as a whole. There are many interesting moments, and a few extraordinary highlights, but it must be ranked 8th out of 8 in terms of official albums because of the simple fact that, by comparison with all his other efforts, even with "One Foot In The Grave," 1994's other independent release, there is little unity and little polish (ironically, the most disjointed album besides "Stereopathetic" is his latest, the best-of-collage-type "Guero"). As a starting point, it is however a revelation and an unending source of interesting and promising material.

Leftovers Never Tasted So Good
From the opening, screeching note of "Pink Noise" to the last second of deranged feedback on the bonus noise, "Stereopathetic Soulmanure" truly isn't just "Mellow Gold II" or a prequel to it or whatever. I honestly wouldn't rather listen to anything else more than this-a cult classic which I consider Beck's masterpiece. However, you shouldn't take my word for it. "Odelay!" fans probably just won't get the older stuff. Don't get me wrong-I still think the new stuff is pretty cool (all of his stuff is) but there is just something special captured in his early work that can never be repeated. So if you love anti-commercial efforts like I do, than grab this record-which is practically the king of that musical style. Watch out for bluegrass boogies like "Today Has Been a !@#$%^ Up Day" and "Satan Gave Me a Taco". There's even time for senseless spoofs like "rollins power sause" and pure blues like "One Foot in the Grave"-it doesn't more classic than this. I say leave the "Midnite Vultures" praise to it's own page. I also must add that I think "Thunder Peel" kicks @$$ and that it would have made the perfect single if this stuff had dared to venture that far into the mainstream. Strangeness, comedy, etc.-this one has it all.

she don't wanna be my friend no mo'
I'm surprised this CD isn't 5 stars yet. This captures Beck's finer expirements. "Rowboat" and "Satan gave me a taco." On Johnny Cash's '96 album "Unleashed" he did a pretty darn good cover of Rowboat. That just is a sample of how royal Beck is.