Monocled Alchemist

“Heart Full Of Soul” / “Steeled Blues” (Columbia DB 7594) June 1965

Jeff Beck supplies that ‘oriental’ touch | IN early June a disc hits the market on the Columbia label and this one is really going to make people sit up and take notice. It’s The Yardbirds‘ newie titled “Heart Full Of Soul” and the fact that it’s a follow-up to their number one ‘For Your Love” will guarantee it enough airplays to catch on. But besides this, the song is strong enough to make it in its own right.

The number was again written by Graham Gouldman, who, in fact, is now on disc himself as lead guitarist with his group The Mockingbirds and a number called “I Can Feel We’re Parting”.

INDIAN INSTRUMENTS

THE original plan for The Yardbirds’ disc was to use Indian instruments on it to give an “Oriental” feel, and to this end manager Giorgio Gomelsky hired two Indian session men! It didn’t work out though. At Advision Studios, New Bond Street, hours were spent trying to get these chaps to follow what was wanted. One was playing a sitar (dictionary definition: a guitar with a long neck and a varying number of strings) and the other handled a tabla, a type of drum.

“We even put a board up in front of them with instructions on it. But it was no good”, Giorgio told me. Another session was arranged and this time lead guitarist Jeff Beck filled in where the sitar would have been. He opens the song with a unique “Oriental” guitar figure which virtually makes the record. He did this with the aid of a fuzz-box borrowed from guitarist Jimmy Page.

This fuzz-box is similar to the one used to produce the whining guitar solo in P. J. Proby‘s “Together”. The tabla sound was replaced by Keith playing bongos.

PRESENTATION

I MANAGED to see the boys on their current tour with The Kinks on the opening night at Slough and had a long chat with Keith Relf, who told me the direction in which the group had progressed.

“We have hardly changed our repertoire at all, but what we have altered are the arrangements for our numbers. “For example, take “I’m A Man”. This started off as a standard version—now it’s barely recognisable to Bo Diddley’s original.”

What Keith means, in fact, is that a number is no longer just a number with The ‘Birds, but more a presentation. And here’s news for those who think The Who are the first group to come up with that “distorted” sound.

Apparently The Yardbirds have been doing this type of thing for some time perhaps not to the same extent—and are still constantly experimenting with different effects that can be used on stage. Says Keith: “I remember a good year ago, Eric Clapton (the group’s former lead guitarist) was working with feedback and so on”. (Beat Instrumental, June 1965)

Yardbirds – First Class | After a dramatic opening with reverberating twangs, The Yardbirds’ “Heart Full Of Soul” (Columbia) settles into a medium pace with crashing cymbals. As a backing to the soloist, the other boys indulge in wild flights of ethereal falsetto chanting.

There are a few fascinating tempo changes, but generally the treatment is not so way-out as “For Your Love.” Performance is again first-class. A strong B-side too. It’s a slow pounding blues instrumental with accent on some intricate guitar work and a harmonica solo. Good stuff. (NME, 04/06/65)

This time, it’s without Eric Clapton. But there’s still that tremendously powerful sound that the group generate. A smooth, yet powerful beat and some rather interesting lyrics. Better probably than their last and not at all similar. Great guitar work of course, a chart success.

Flip is a slow blues, with strained, almost tortuous guitar work and a pounding drum beat – plus no vocal. (Record Mirror, 05/06/65)

THE HONEST TRUTH | JEFF BECK ON THE YARDBIRDS

Jeff Beck is 21, was born in Wallington, Surrey, and joined the group about three months ago as a replacement for Eric Clapton. In the short time since then, the Yardbirds have had two enormously successful hits and Jeff himself has become immensely popular with the fans.

Here he talks about the effect upon him this sudden rise to fame has had, his ambitions and plans for the future . . . and states quite candidly that he doesn’t really like the sort of stuff the group plays!

WHAT do you do in what spare time you get?

I enjoy motoring. Three weeks ago I got a new Zephyr Six—and I spend a lot of time driving. I’m interested in cars. In fact, if I ever get enough money I’d like to dabble in the garage business. I don’t like staying in.

Does this mean you don’t watch television much?

I don’t think I’ve seen a TV show all the way through for ages. There’s not much I fancy. I might watch it if it’s raining. I prefer to get out and about.

How about films then?

I like cinemas. Any good film. Anything that gives you a good laugh. Peter Sellers—or someone like that. My favourite actor is Marlon Brando. I think Claudia Cardinale is a knockout, too.

What are your plans for the future?

I’d like to go to America. And if it’s like I think it is, I’d like to start a group there. I think you can flog one country too much.

How do you feel about being so popular with the fans?

It’s pretty marvellous how the kids have reacted. I can’t get over it. I suppose I was pretty popular with The Tridents—the group I was with before I joined The Yardbirds—but not because of my looks. More because of the sounds I made, I think.

Who’s your best friend in the group?

Jim McCarthy. I knock around with him the most. But my feelings are the same for everyone. We all get on very well.

Which group do you like best in the business?

The Who, I suppose. They’re a good group as far as pop goes. I like the Brian Auger Trinity as well.

filthy temper

Which individual musicians do you admire most?

Guitarists. Anybody who’s good. I can listen to any guitar music. Particularly Blues or Country and Western. I’ve a very wide taste. I can go on all night talking about music. I like people like The Miracles and The Impressions, too. If we go to America I’d like to meet Chet Atkins. Do you go round the clubs in your free time?

I used to enjoy going along after we’d finished playing, but I’m not so keen now. We find we have too much to do in one day. We’re usually too tired. The Yardbirds are well. known for NOT going down the clubs. If we have a day off we get as far away from each other as possible.

Have you any pet hates?

Bad drivers! I’ve got a filthy temper on the road.

What sort of food do you like?

Indian food—and the usual good old fry-up. I can cook enough myself to be able to exist. I either live at home with my family at Wallington or stay in a flat in town.

What sort of clothes do you like? (For some strange reason he was wearing a leather tie on top of a white singlet at the time!)

I like to try and dress as tastefully and OUT as possible . . . without being too far out! I hate buying clothes. I only buy when I have to. I can’t stand the latest things!

Have you any ambitions?

Well, when you have five blokes working together, I think it would be a crime to split. You should continue as long as you can—trying to get better all the time. Ultimately though, I’d like to live comfortably. Have a boat and house and things like that. And then start up my own recording business and experiment with sounds—and work on cars, too.

What sort of things do the rest of the group do?

Well, Jim’s very interested in girls! You’ve no idea how little time we have off. But Jim likes to spend it meeting the fans and talking to girls. Keith Relf’s mad on guns. You’ll never find him far away from a rifle range. If it’s within ten miles he’ll be there! Sam (Paul Samwell-Smith) and Chris Dreja are car enthusiasts like me.

frustrating

Do they go out much?

They like to go out for meals and visit old friends. They’re not very keen on parties. I don’t mind a good party once in a while though.

What’s your view on the two hit records?

It’s pretty frustrating, you know. The records are doing fine—but they just AREN’T my cup of tea. I get to enjoy them when we’re playing onstage because the kids get worked up as soon as they recognise the first few bars. I enjoy playing to them.

Supposing you had a chance to do a number on your own then—what sort of thing would it be?

Oh, I’m mad. I like making funny noises and getting abstract sounds. I’d like a big soul group with loads of saxes. A big fat sound so I can really go mad.

Have you travelled much? Is there anywhere you’d like to go to apart from America?

I saw a film the other day about New Zealand. It was great . . . like a dream land. I’d like to go there. We’ve only been to Paris as a group. Until then I’d never been out of the country.

What were you doing before you took up music? I’ve been interested in the guitar since I was 11. My mind was a bit of a blank between then and 16 when I left school in Sutton to go to art school. It was then that I started playing seriously. (Disc Weekly, 07/07/65)

THE YARDBIRDS | Why we went commercial

FOUR months ago the Yardbirds, one of the veteran rhythm and blues groups, went commercial! With this policy change, they have enjoyed two top ten hits — and there’ll be many more. They lost many dedicated fans of raw R&B, and even their lead guitarist Eric Clapton — a pure blues man.

This week bass guitarist Paul Samwell-Smith spoke of his feelings about the changed Yardbirds. “Our change was quite justifiable because we have become successful. We slogged away for years playing R&B and the general public just didn’t want to know.

“Many people didn’t feel there was enough in plain rhythm and blues. They need something of a little more substance.”

A lot of their fans felt very strongly about the Yardbirds’ recording, “For Your Love.” Did they make it as a “commercial” record?

“Well, the group liked the number, except for Eric Clapton who was a bit doubtful, and we decided to record it. I don’t think we were prostituting ourselves by doing it.

“It was our luck the record sold, NOT our fault!” Paul supervised both the “For Your Love” and the “Heart Full Of Soul” sessions. As the technician of the group, did he feel their sound has changed?

“The Yardbirds’ sound has become more sophisticated and versatile. Jeff Beck, our new guitarist, is a somewhat tighter player than Eric Clapton, and our sound has certainly tightened up.

“Surprisingly enough, our stage sound is less commercial than it was. We used to play, really, commercial R&B. Now Jeff is starting electronic sounds.

“Personally I don’t find these sounds artistic, but Jeff is so fantastic—and the best at it in the country.

“On disc I like our sound to be tidy and neat—keeping the backing simple. ‘For Your Love’ was done only with bass and harpsichord playing the melody. The rest was like percussion, providing rhythms.

“Heart Full Of Soul” has really only 12-string guitar playing the melody, with a six-string on the solo. Numbers with this type of arrangement cut out that continuous jangle sound of too many instruments playing the melody line.

“I feel a record swings more with few musicians. They can knit together more. That was partly due to Ron Prentice playing double bass—I was in the studio supervising!

“I Wish You Would”, and “Good Morning Little Schoolgirl” were made with the idea of getting our stage sound. It was a mistake, because trying to get a stage sound captured in a studio is very difficult. The Stones have tried, but they failed. Their EP is good, but then that was recorded live.”

How about the “Ready, Steady, Go!” sound. That’s live!

Poor stuff

“On RSG they make the best sound they possibly can with inadequate equipment. I’m not knocking the programme, they just have poor stuff—but I really enjoy being on it. We all do because they are all so nice and pleasant there!” (Melody Maker, 17/07/65)

The Yardbirds & their experiment in sound

A COUPLE of years ago when they were charging about in Richmond, the Yardbirds created a certain sound. Kids dressed like beatniks and hung from the rafters. “Smokestack Lightening” was heavily featured. So was “Boom Boom” and the usual collection of standard r-and-b numbers. All with most blues-wailing treatment. Three hits later—two top tenners—the Yardbirds still play “Smokestack Lightening”, but it never sounds the same twice.

“When we go on stage, we don’t plan anything. It’s a kind of adlibbing, if you like,” said Keith Relf from the depth of a sofa in his manager’s West London flat.

“We do all this electronic bit. It’s really an experiment in sound. ‘Pop art’ is the wrong way to describe what the Who are doing. I think new wave pop music would have been better.”

THEORY

Manager Giorgio Gomelsky siezed upon this opportunity to launch into his own theory on the Who’s method of playing. Very technical he can get when he likes, too. Back to earth and talk of the Yardbirds’ scenes in Paris with the Beatles.

“We got 12,000 people a day. I was like looking at a sea of faces. They don’t just scream there, the boys yell, too. It’s like a roar from the audience,” Keith explained.

“I think you could say that it runs through your mind when you’re up there that this is the place to play. That’s the kind of reaction you want all the time. British audiences seem afraid to let themselves go.”

The whole question of non-appreciative fans here came up and until then silent Jeff Beck had his say.

“They’re playing it all cool,” he began. “They want to act blase. It’s the way with Mods. They want to enjoy themselves, but appear cool at the same time.”

In Paris, Jeff was the cause of much shouting from the fans by going on for about four minutes with the drummer in an improvised session of ravarama. “Nobody’s written a serious article yet saying what they’re trying to do,” Giorgio complained. “That’s what you could do.”

Obliging as ever, I asked Keith what exactly the Yardbirds were trying to do musically. Were they trying to educate the masses? Did they have a target at which they were aiming?

“Are we trying to do something?” Keith asked Sam as he was about to depart for a nearby watering hole. “Are we”

“He doesn’t know what we’re thinking,” said Keith in reply to his own question indicating Giorgio with a nod of his head. “We just go up there and let it happen.

“People can see us two nights running and not see the same thing. We developed this using feedback years ago before the Who really.

“Jeff played with the Tridents, then the Deltones and he twirled his guitar round on top of the amplifier to get off sounds when he was with them. “I think the Who watched us and other groups and picked bits up from them all. Good luck to them, I’m not getting at them.”

NOT READY

Could this mean, then, that the Yardbirds may in future release a pop – artish record? “Oh yes, we couldn’t before, though, because we didn’t think it was commercial. The public wasn’t ready for it. I agree that ‘I Wish You Would’ had a slight quality about it with raving and wailing harmonicas. “Perhaps in two records time, we’ll do something like that.” (Record Mirror, 17/07/65)

Yardbirdwatcher! | That’s Keith’s Dad – their road manager

THE YARDBIRDS need keeping an eye on! Otherwise they are apt to miss their meals, not get enough sleep, be in a nearby cafe when they’re supposed to be on stage. And get ill.

And Bill Relf ought to know. As far as the Yardbirds are concerned he is a Very Important Man—not only is he Keith Relf’s father, but also the group’s road manager.

Bill, a thin wiry man with a sweet face, who used to be a builder, regards all the boys as his sons and has them all weighed-up. If they get angry, he gets angry with them. If they shout, he shouts. It is, he says, a near perfect arrangement.

crafty

“Sometimes they come off stage, and they’re all tied up. Keith will be knocked out and Jim will be screaming his held off—and the others get sulky and difficult. At times like that I just give them all they give me and five minutes later we’re all sorry and we forget about it.

“The thing I’ve learned is that you can’t tell them to do or not to do something,” he said. “They make up their own minds. But if you’re crafty you can get your opinions taken up without anyone noticing.

rehearsing

“For instance, when they’re rehearsing new numbers and they ask me what I think I never say anything definite. I just make vague suggestions and they shout me down, and about four weeks later they’re doing it!

“The same thing goes for parties. They rarely go because they are so knocked out from work. They say that only one party out of a hundred is any good, anyway.

“But once when I said they weren’t to go, Jim and Jeff went to a party, and the next morning we had to get up early to travel somewhere and they were exhausted. After that they listened to me!”

Bill has been the group’s road manager since they started three years ago. He has been with them carting around their tons of equipment, since they were semi-professional and says that however corny it might sound they haven’t changed at all.

“Of course, they can all be difficult, Jim has a mad sense of humour and Jeff sits very quietly a lot of the time. He has great faith in himself as a musician, but when he first started he obviously wasn’t used to talking to a lot of people . . . he’s very introvert.

“Chris is the steady reliable one, and very easy-tempered. Sam is supposed to be off-hand, but I put this down to nerves. Keith has moods sometimes. I did think of leaving once after Keith and I had a difference. But funnily enough it was Keith who talked me into staying.”

scapegoat

Apart from being their road manager and having his glasses broken as he hauls Keith out from under fans. Keith also acts as the group’s scapegoat. As he pulls the boys away from eager admirers he can bear them muttering about him.

“I don’t mind.” he said, smiling gently. “After all, at least they don’t think badly about the boys. Keith likes signing autographs. He has a very good relationship with the fans and if we’re rushing off after a date he stops—and I tell the others to keep walking. Then I drag him off so that people dislike me and still like him.”

The group and Bill have a very good arrangement fixed up for when they are actully inside a club or theatre playing on a date. Bill walks about the hall listening to what’s happening and then goes back and reports: “Sam’s too loud” or “Jim needs to come forward more.”

“I get as tense as they do playing a date. It really takes it out of them. If the audience is good, they feel marvellous. If it hasn’t been a good night, they come off badly and then go at me for saying I didn’t think they were very good. ‘Oh, you’re always trying to bring us down” they say. But they don’t really mind!

“The most fantastic thing I ever saw in audience reaction to the group was in Paris. I don’t know how they weren’t sick. The whole audience of 7,000 was swaying in front of them. It was a great night, but I felt sick just watching that audience.”

dad knows

Today Keith ReIf is probably the only boy in England who has a father who actually KNOWS about groups and pop music. And what’s more actually enjoys them.

“Once I used to go home with my ears buzzing from listening to pop music. I hated it! But I really enjoy it now,” said Bill. (Disc Weekly, 17/07/65)