Monocled Alchemist

“For Your Love” / “Got To Hurry” (Columbia DB 7499) March 1965

The Yardbirds | For Your Love | (Columbia) 1965 | A pretty snappy beater with which the boys try to ring the changes of both sound and tempo throughout their performance; this makes for arresting listening and is totally effective.

Unfortunately, the basic composition doesn’t lend itself very much and it is a triumph of performance, in this case, which should – with a little bit luck – save the day. I like the sound of this one. here is that little bit of luck, lads. (Pop Weekly, 13/03/65)

An unusual rhythmic approach lifts this one out of the rut and gives it a strong chart chance. It’s a well-assembled sort of item, with some roaring vocal bits and pieces early on. Change of tempo mid-way makes it very effective. The Yardbirds best yet.
Flip: features Eric “Slow Hand” Clapton and is a real-foot-tapper. Good guitar. Many will go for this fine instrumental, too. Top Fifty Tip. (Record Mirror, 06/03/65)

The Tridents were a very good group and I really enjoyed working with them, believe me. But I think lots of people believe I have only ever been with them. Actually I changed around like the weather, so I wasn’t all that terrified when I left the Tridents.

Nevertheless, I was a little bit worried before I actually joined the ‘Birds, because when it’s four boys you’ve never met before You often wonder if you’re going to hit it off. I’ve been very lucky in that respect.

We all have the same off-beat sense of humour, which is lucky, and musically we agree on just about everything. The thing I love is all the work. I’d have hated leaving the Tridents and then had to sit around wondering what to do next—like someone who leaves a job and goes on the dole! As it is there’s been no time to think.

Things I enjoy with The ‘Birds—apart from being with them—is the audience reaction. I was terrified because I thought the kids would miss Eric and feel very anti towards me. In fact, they’ve been very kind.

Another thing is appearing on TV and doing miming – both of which are completely new to me. I felt a real idiot when I first mimed but when you see everyone else doing it and looking nutty too you don’t worry so much.

New sounds

The other thing is the way the ‘Birds have branched out into finding new sounds for records. When I first heard their “For Your Love” I thought “How are you going to adapt your guitar playing to that.” But it all worked out in the end.

And now we have a great time trying out new sounds. It’s very exciting. I admire them so much for trying something different. It’s quite something when you’ve got a substantial following built up on one particular sound and you switch it for a record.

Apart from our sense of humour we agree on one other very big thing. And that is that after work our time is our own.

friends

We all have our own close friends outside the group and we nearly always split up and get away from one another after work. I think that really is the system for being friendly and not arguing too much. Otherwise you spend all your time together, you begin to get to know each other TOO well and faults start coming out.

I know this might sound corny but just to end with I’d like to say that the thing that has thrilled me more than anything else is the way the boys seem to be pleased with what I do. Because more than anything I really want to he respected for my music. That’s what counts to me. (Disc Weekly, 27/03/65)

SINCE they started at Richmond’s Crawdaddy Club three years ago, the Yardbirds have had more than their share of bad luck. First of all, singer Keith ReIf suffered a collapsed lung at the crucial moment — the moment when a good R&B record might have taken them to the top.

Now lead guitarist Eric Clapton has left and the group has had to make another adjustment. And this new change comes just when their latest disc, “Four Your Love,” is moving up the chart. Eric’s replacement is ex-session guitarist Jeff Beck, a leading exponent in the use of a “steel.” As Jeff points out, few groups feature this shrill, sometimes whining, sound. Bass guitarist Paul Samwell-Smith, was in a talkative mood when I caught him between rehearsals for Ready, Steady Go!

Sam, who has now entered the recording side of the business, too, says: “Though I had a lot to do with recording ‘For Your Love,’ I don’t really believe the Yardbirds sound can be captured on disc — the R&B sound, that is.

harpsichord

“We have a good singer in Keith, fine guitarists in Chris and Jeff, and a good drummer in Jim. But I don’t think the group sound is going to make it any more, however good the group.

“I am all for a whole orchestra behind the Yardbirds if it’s necessary for the sound —which, in my opinion, makes or breaks a record. The tune or lyrics can be good but with the same group line-up and sound, the disc can flop.

“I’m not saying that in future we’re going to see a 12-piece Yardbirds but if necessary our sound will be supplemented.

“On ‘For Your Love’ we used bongoes and harpsichord, and for this reason I don’t feel, however good we may be live, that we should play it live on, for instance, RSG.

“You can quote this,” said Sam: “It’s the audience that listens which is the most important factor — NOT the group trying to promote their sound.

“For this reason, records must be perfect, and the only numbers which should be played live are those which will sound the same as the recorded version.

“The exception to this rule is the number which, because of its sound, will invariably be better played live. A hairy R&B number will sound terrible on record if it’s the loud, atmospheric type.

“In every case it’s the person sitting at home watching TV who must get the true, proper sound. I am convinced they don’t want to hear a live but thin version of a record because there isn’t a harpsichord in the studio!” (Melody Maker, 27/03/65)