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These midi files are under copyright by their repsective artist. Partners in Rhyme are making these files available for personal use only.
Please download the files you like to your own server by right-clicking on the link and choosing 'save link target as' from the pop-up menu. Pease do not direct link to these files.

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Dead Weight
Devil's Haircut

image coutersy of 'truck'

Beck Hansen was born and raised in Los Angeles. As a teenager, Beck became immersed in traditional blues and folk. When he was 18, he moved to New York where he became part of the city's late 80's "anti-folk" scene, playing at various small clubs around the East Village and Lower East Side.

In the early 90's, he moved back to Los Angeles, and continued to write and perform music, sometimes alone and sometimes backed by various musician friends from the local music scene. He made a few home recordings, one of which was the single that initially garnered him attention: "Loser."

Recorded in 1991, "Loser" was released by Bongload Custom Recordings in 1993. And infectious slide guitar driven melody, the single's chorus of "I'm a loser baby, so why don't you kill me," became unavoidable. Beck released Mellow Gold, his Geffen/DGC Records debut, in early 1994 to critical acclaim. The album included the aforementioned single as well as the live staple "Beercan," and showcased Beck's love of all things musical. Elements of folk, punk, blues, noise and hip-hop informed the varied sounds on the album. He also released two independent albums during this period: the melancholy folk-tinged One Foot In The Grave (KRecords)-- and the experimental Steropathetic Soulmanure (Flipside).

Odelay was met with praise from the critical community, earning album of the year kudos from Rolling Stone, Spin, and the Village Voice, among many others. The album also won him two Grammys that year, for Best Alternative Performance and Best Male Vocal Performance. Also, at the time of the album's release Beck entered into a grueling tour schedule that kept him on the road with a full band, DJ, and horn section for two years - along the way gaining him a reputation as a formidable live performer.

In early, 1998, Beck helped put together November 1998 saw the release of Mutations, The album was recorded in Los Angeles over a two-week period in the spring of 1998, and the sound of the record harkened back to the folk sounds of One Foot in the Grave. Mutations was originally inteded for release on Bongload Records, the independent label that released the 12" of "Loser," in 1993. But the DGC/Geffen's enthusiasm for the project got them involved, and it was ultimately released by the label.
In summer of 1998, Beck began recording songs for Midnite Vultures at his home. A year in the making, it is a return to the free from sounds of Odelay. The album is produced by Beck (except for two songs co-produced with the Dust Brothers)
It's familiar sounding in that it's uniquely Beck - from the Stax-Volt hornplay of "Sexx Laws" to the electric boogie beats of "Get Real Paid" to the southern fried futurism of "Milk & Honey." Also included is the falsetto soul workout "Debra," a tune originating from the Odelay sessions and a longtime favorite in the live set.

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