Jeff Beck – Truth (1968)

Artist Credit
Chris Athens Mastering
Jeff Beck Arranger, Bass, Guitar, Guitar (Acoustic), Guitar (Electric), Guitar (Steel), Liner Notes, Main Personnel, Primary Artist, Vocals
Madeline Bell Main Personnel, Vocals (Background)
John Carter Main Personnel, Vocals (Background)
Clem Cattini Drums, Main Personnel
Tim Chacksfield Research
Willie Dixon Composer
Bonnie Dobson Composer
Chris Dreja Composer
Aynsley Dunbar Drums, Main Personnel
Hugh Gilmour Reissue Design
Oscar Hammerstein II Composer
Nicky Hopkins Keyboards, Main Personnel, Piano
J.P. Jones Organ (Hammond), Timpani
John Paul Jones Bass, Guitar (Bass), Main Personnel, Organ, Organ (Hammond), String Arrangements
Jerome Kern Composer
J.B. Lenoir Composer
Ken Lewis Main Personnel, Vocals (Background)
Ken Lewis Vocals (Background)
Jim McCarty Composer
Peter Mew Mixing, Remastering
Keith Moon Drums, Main Personnel, Timpani
Mickie Most Producer
Charles Shaar Murray Liner Notes, Sleeve Notes
Mysterious Scottish Bloke Bagpipes
Jimmy Page Composer, Guitar (12 String), Guitar (12 String Electric), Main Personnel
Keith Relf Composer
J. Rod Composer
Jeffrey Rod Arranger, Composer
Johnny Rod Composer
Tim Rose Composer
Paul Samwell-Smith Composer
Ken Scott Engineer
Dave Siddle Engineer
Rod Stewart Guest Artist, Vocals
Mike “Clay” Stone Assistant Engineer
Traditional Composer
Mickey Waller Drums, Main Personnel
Baron Wolman Photography
Ron Wood Bass, Guest Artist, Guitar, Guitar (Bass), Main Personnel

Despite being the premiere of heavy metal, Jeff Beck’s Truth has never quite carried its reputation the way the early albums by Led Zeppelin did, or even Cream’s two most popular LPs, mostly as a result of the erratic nature of the guitarist’s subsequent work. Time has muted some of its daring, radical nature, elements of which were appropriated by practically every metal band (and most arena rock bands) that followed. Truth was almost as groundbreaking and influential a record as the first Beatles, Rolling Stones, or Who albums. Its attributes weren’t all new — Cream and Jimi Hendrix had been moving in similar directions — but the combination was: the wailing, heart-stoppingly dramatic vocalizing by Rod Stewart, the thunderous rhythm section of Ron Wood’s bass and Mickey Waller’s drums, and Beck’s blistering lead guitar, which sounds like his amp is turned up to 13 and ready to short out. Beck opens the proceedings in a strikingly bold manner, using his old Yardbirds hit “Shapes of Things” as a jumping-off point, deliberately rebuilding the song from the ground up so it sounds closer to Howlin’ Wolf. There are lots of unexpected moments on this record: a bone-pounding version of Willie Dixon’s “You Shook Me”; a version of Jerome Kern’s “Ol’ Man River” done as a slow electric blues; a brief plunge into folk territory with a solo acoustic guitar version of “Greensleeves” (which was intended as filler but audiences loved); the progressive blues of “Beck’s Bolero”; the extended live “Blues Deluxe”; and “I Ain’t Superstitious,” a blazing reworking of another Willie Dixon song. It was a triumph — a number 15 album in America, astoundingly good for a band that had been utterly unknown in the U.S. just six months earlier — and a very improbable success.

Join Us on Our Facebook Group

Leave a Reply

Your email address will not be published. Required fields are marked *