Monocled Alchemist

“Over Under Sideways Down” / “Jeff’s Boogie” (Columbia DB 7928) May 1966

The Yardbirds | Over Under Sideways Down | (Columbia) 1966 | I can only suppose that on their next record the Yardies will have the entire Dagenham Girl Pipers playing pick and shovels . . . things have got to quite a pitch in their research for new sounds.

On this they have great clappings and Russian-type “Heys,” Indian rave-ups and a part that sounds like the Arabic call to prayer. In fact I think it’s fascinating and all very splendid. So there! (Disc & Music Echo, 28/05/66)

SUSI KLEE — girlie from Zurich who finds herself in competition with Keith Relf on a Rob Lind number.

THE two trainers holding a whispered conversation in the paddock at a well-known racecourse didn’t pay any attention to an attractive blonde girl standing nearby. They should have, because she was working for a detective agency and listening for clues about an alleged doping ring. Actually she’s known better now as Susi Klee.

Susi — twenty years old and sugar sweet — came to England from her home town of Zurich to learn English. At the end of the course, she got a job at the agency and accompanied agents on jobs. Investigating divorce cases, even.

“I was very lucky to get that job because normally the jobs were only in offices,” Susi smiled. “I didn’t have a gun or anything, though.”

To the everlasting joy of journalists who now can meet her and for session men and record people, Susi decided to try her hand at pop singing, so she got in touch with the renowned Georgio Gomelsky.

“When the Yardbirds came to Zurich I went to see them, but I hadn’t heard of them,” Susi admitted. “They gave me Georgio’s address in London and said I could call and see him and them if I came here. When I was in London, I wrote to him, but the management of the Yardbirds had just changed.”

Which was a bit of luck for Susi because Georgio had intended to record Keith Relf singing “Mr. Zero” and put it out on a single. When Keith left him and did the number with someone else, Georgio decided to press on and get another singer. Enter Susi Klee.

Susi made the record within a matter of days and had it issued very quickly. It’s a bit of a job competing with someone as well known as Keith Relf, but Susi says she won’t give up if this one doesn’t make it. If looks count for anything, Susi will get to No. 1. And if it sounds as though I’m raving about her, well I am. No excuses, I’ve met her and I know. (Record Mirror, 28/05/66)

Mr Zero

KEITH RELF, lead vocalist with The Yardbirds, has made his first solo record. “However, because of this, I don’t want people to think that I would ever leave the group,” he told me. “I’ll never think in terms of leaving The Yardbirds, never think in terms of recording without them. But the record I’ve released—“Mr. Zero” is such a beautiful song that if another number comes along that’s as good, then I’d like to have a crack at recording it solo.

The decision to record of group to do that backing. “Mr. Zero” solo was taken because The Yardbirds couldn’t do justice to the number, not being the type of the group to do that backing. We’ve never thought in terms of one of the group recording solo before, but every member of the group likes Bob Lind and they all agreed that I do one of his numbers.”

The disc was released in Britain two weeks prior to The Yardbirds single “Over Under Sideways Down”. How did Keith feel about competing for a place in the charts with his own group?

“Well, we all hope that the two discs won’t conflict. I have one or two promotions for “Mr. Zero”, but not many because group commitments don’t allow me to.

“Whether the record will rise in the charts on the strength of what plugs it has got is a matter of conjecture. I may appear on two or three television shows and receive plugs from the radio—I hope that will be sufficient—and perhaps the fans will buy it on the strength of both my name and Bob Lind’s.

“The group have made an arrangement of it, so that we’ll be able to feature the number on ballrooms.

“The record will be released in the United States and on the Continent — in fact, on a worldwide basis. I’m making tapes in Britain specially for promotion on American television.”

The Yardbirds are particularly pleased about the fact that they now have a new manager. It seems to have given the group a new enthusiasm. They say: “Things are in a transgressional period. Our new manager Simon Napier-Bell is so keen and enthusiastic. We hope to make this year our year and our ambition is to become the most popular group, second to The Beatles.

We’re going to wear suits and promote individual people in the group—we’re all going to be ‘faces’ if the policy works out. Yes, this is our go-ahead period.”

Paul Samwell-Smith also pointed out that from now on The Yardbirds will be concentrating on songwriting —and it seems that in future, all their releases will be their own compositions. (Record Mirror, 28/05/66)

GUESS WHAT! ‘I Can’t play a sitar properly’ says Jeff Beck

NOW that Mr. Ravi Shankar is actually in the country, all those funny little Indian shops that flog sitars are in for a good time. But if you’re thinking in terms of rushing out with a handful of money and doing a Jeff Beck—forget it. For Jeff doesn’t play the sitar.

“I’ve messed around with one, but I can’t play well enough to play it commercially,” he told me. “I haven’t got one of my own. I play Jimmy Page’s sometimes.

“We started off all this Indian thing with ‘Shapes Of Things’ and all the other groups have hyped it off us. They reckon it’s the big thing to use a sitar on their records, but we don’t. We’ve been using the sound about two years now, I didn’t listen to Indian music or anything to get the idea, I got it when I was out of my head with the music in Chicago.

“It happens like that sometimes. I was just playing and the whole thing happened. Anyone who can play a guitar could learn the sitar, it’s quite easy really. You only play one string and the other strings echo it. It’s a kind of fuzzy sound. We could never have got the sound that’s on the record with a sitar, it wouldn’t play that sharply.

“There are 16 sympathetic strings and lots of little pegs on the neck. It’s all a bit complicated, but once you’ve got the knack, you’re okay. The thing is to play one of the main strings and pluck a couple of the others.”

No doubt someone will be able to understand what that’s all about. Perhaps, though, it would be easier to try and get a Jeff Beck sound out of your guitar. I was talking to Jeff at a West End recording studio where the Yardbirds were trying to complete their next LP. Manager Simon Napier-Bell was sitting cooly in the corner licking a pineapple-topped ice cream and occasionally conferring with Paul Samwell-Smith who had taken over the supervision hit.

EVERYTHING DIFFERENT

Jeff returned to his seat on the table and added: “On the record, I’m playing lead, bass and rhythm. Chris is singing with Keith and Sam is in the control box. This thing they’re doing now has got everybody doing different things.”

To demonstrate, I was allowed to listen to the playback of one of the tracks. It was supposed to have an African sound and included a wobble hoard and someone bashing a teacup with a spoon.

“We don’t want that bit going on so long, we ought to fade it out or something,” Paul told the engineer. “What can we put over it to get a different sound?”

The engineer suggested a harmonica, but Paul decided that wasn’t a good idea. Nevertheless, Keith took to it and happily proclaimed: “I could play a bit . . . ”

“No, Keith!” Paul boomed. And that was the end of that.

In the actual studio, Jim and an unidentified person were chasing each other about. Keith went in, donned a pair of earphones and began singing. Paul called for order and the trio lined up in front of the mike.

“Can you get me an ice cream?” Jeff asked of a girl.

“Send some in here,” Keith called, not knowing that the tape was still running. “Jim, clear off and get your own.”

When the tape was played back, the ice cream comments came out loud and clear over the music which had been pre-recorded.

“Hey, leave ’em on, man. That’s great. We’ll have an African ice cream song.”

Nobody lifted a finger to erase the argument from the tape, so it may well have been left on to be included on the LP. Maybe that’s what Keith means by the Yardbirds’ custom of featuring something different every time. (Record Mirror, 11/06/66)

Yardbird Jeff on solo kick

JEFF Beck is the second Yardbird to bring out his own record. After Keith Relf‘s “Mr Zero,” Jeff’s disc, as yet untitled, will be released in about seven weeks’ time.

“It’s a sort of bolero—very pulsating and exciting,” said Jeff on Saturday. “I’m not going to swear on it, but I think it should go, it’s so strong. You’ve never heard such a thrashing sound!

“Originally I thought it would he great if on the B-side we just had two-and-a-half minutes’ silence with a bit at the end saying ‘Well that’s it – goodnight.’ That sort of idea sounds good at the time, but if you did it, it would sound corny.”

Jeff is also featured singing on the Yardbirds’ next LP.

“There’s even a nursery-rhyme type number called ‘Farewell’ on it,” he said. Keith is philosophical about his record’s lack of success. “It came at the end of the Bob Lind era,” he said. “We were just a little bit too late. Perhaps there was only room for one ‘Elusive Butterfly’—certainly not a ‘Mr. Zero’.”

He added: “My next record may be a screaming hairy ballad. (Disc & Music Echo, 18/06/66)

New Yardbird In The Nest

NEW YARDBIRD Jimmy Page is the original Mr Tall, Dark and handsome. He is 20, has sleepy eyes, long curly dark hair and elegant sideburns more befitting an actor in a Victorian melodrama. He’s also to be reckoned to be one of the best guitarists in the business. But his sudden appearance in ‘Bird brain Paul Samwell Smith‘s shoes is a big surprise.

Exhausting routine

Why—stars and session men alike are asking themselves—should Jimmy forsake the regular, immensely remunerative session-stool for the exhausting, often cut-throat life of a full-blown pop star?

When I finally cornered the elusive Mr Page he’d been dashing around London fulfilling outstanding session engagements. The night before he’d done his first gig with the Yardies at London’s Marquee —and was desperately worried about how he’d gone down.

“Frankly,” he explained, “I felt I was getting stale doing sessions. I was restricted—and it was beginning to tell. “You can let yourself go in a group. Jeff Beck (whom he’s known for years and recommended for the job when Eric Clapton quit) and I have hundreds of ideas stored away.”

Jimmy, who taught himself to play guitar, has done studio work with top musicians for two years, he’s been in the backing tracks of some of the top pop names records (“You name them—I’ve played with them,” he grinned self-consciously. “Except the Beatles!”), he’s been to America, and he’s written songs with Jackie De Shannon for Marianne Faithfull and Barbara Lewis.

Strangely enough, joining the Yardbirds won’t be his first taste of solo pop, though. “I was pressurised into doing a single of my own once. Nothing fantastic. A song called “She Just Satisfies” which Jackie persuaded me to record. Still, I got a great advance for it and was able to go to the States.”

Jimmy will fit into the group nicely. He’s known most of the boys since pre-hit days. In fact, when he was first approached to play sessions he was with Keith Relf at the time—who almost tagged along to play harmonica.

His Marquee debut in front of fans had him worried, he admitted.

‘I’ve taken a chance’

“After playing for two years at muted volume, I was a little uncertain about playing live and loud. I thought I would fluff it up because I only had a couple of hours rehearsal—and when I got up onstage I just gave everything I had and got very excited.

“I expect people will obviously think I’ve taken a chance because I always felt secure on sessions. But I’ve got so many ideas going—things I’ve had tucked away at the back of my mind for ages. Anyway group life is a little more intimate. It appeals to me now.” (Disc & Music Weekly, 02/07/66)

Jimmy, the new Yardbird, settles in

JIMMY PAGE is apparently doing everything in reverse. Having spent about two years as one of Britain’s top session musicians he is now joining a professional group. Usually it’s the old group members who become session musicians.

Page, 21, is at the moment playing bass guitar with one of our top groups—the Yardbirds. Their bass player Paul Samwell-Smith left the group last week and Page was quickly in as a replacement. And he’d never played bass guitar before.

“I’ve mucked about on a bass guitar for about two minutes but never played one properly,” said Jimmy. “We had about two hours rehearsal last week and then played at the Marquee Club on Tuesday night. I was a bit worried but I said to myself—’Give it all you’ve got. As long as it’s not too drastic.’ Fortunately once we started playing, everything was all right.”

As a top session guitarist will Page’s earnings be at all affected? “Oh no, certainly not in the long run. I lost a lot of spontaneity lately playing sessions. Things weren’t flowing out so easily as they were a year ago, and my ideas weren’t happening very well. I joined the Yardbirds because I thought it would wake up my mind a bit. Yes, I might still do the occasional session.”

What exactly will Jimmy Page’s musical role be with the Yardbirds? “This is something that hasn’t been ascertained yet. At the moment I’m playing bass guitar but maybe I’ll do a few things with a second guitar. Jeff Beck and I have had a lot of very interesting talks about using two lead guitars.

“In fact we’ve even experimented with them ourselves but not with the group. On the free form parts of the numbers, twin lead guitars will be absolutely great. The whole trouble with feedback is that there is never enough power or backing to carry the sound itself.

“I was using bass guitar feedback the other night which was very good—a whole wall of sound—I got a ridiculous droning sound. On ‘Mister You’re A Better Man’, the over-all sound was fantastic.”

Already reports verify that Page has perked up the Yardbirds—and he seems to be pretty enthusiastic himself: “We’ve been cutting some more records this week. Very little is planned with the Yardbirds. They like to go into the studio, pick up their instruments and then take it from there.

“They’ve got some very good ideas,” said Jimmy, “and Jeff and I have got one or two sounds we’d like to start on. I hope that I can add ideas and techniques to the group.”

Page wouldn’t commit himself to what instrument he would be playing full-time in the group or indeed whether he will be Sam’s permanent replacement.

“Everything’s very cool at the moment. I’ve sort of stepped in because Sam has left, but I wouldn’t like to say I was exactly on trial. I’m sure they’re keeping an eye on me, but it’s not like an audition. We’re just playing together and seeing which way things go.

“I’d like to go to America with them in the near future,” admitted Jimmy. “because I want to see what the scene is like. The Yardbirds are a big, big, group over there and they are very interested in what they are doing on the West Coast of America. The Californians are interested in the electronics and all that—whereas the rest of the US aren’t quite so keen.”

You can probably imagine the Californians shattered surprise if Page does make it with the group. Two electronic fanatics both raving away could well do the Americans in. We’ll be seeing the Beach Boys in Union Jack jackets next! (Melody Maker, 02/07/66)

Paul Samwell-Smith

“I’M a bit too old at twenty-three for all those screaming kids leaping about. I don’t really think I’ll be missed in the group—no one really noticed me on stage. I might just as well have been a dummy. A robot could have done what was required of me. Keith and Jeff are really the only two faces that matter in the Yardbirds.”

The speaker is Paul Samwell-Smith, the bass player who has just left the group after three years’ hard work. Sam was the widely recognised spokesman for the group, and also played a part in the production and composition of the majority of the group’s hit singles.

Whatever his reasons for leaving, one thing is certain, and that is it takes a degree of moral courage to give up the money that a successful group like the Yardbirds are making, both in the U.S. and England, now.

However, Sam’s three-year stand has not exactly left him impoverished, as was evident from the Lotus convertible we sped about London in last Monday, and his remarks about trading it in for a Rover 2000 next week.

“Naturally there are things I regret about leaving —like the money,” said Sam, “but you can’t go on doing something you don’t want to do for the rest of your life. It was just one long grind up and down the country.

“I shall miss the companionship and the humour of the group. We’d built up a kind of humour of our own. I can remember the early days when Keith and I tried so hard to keep the group together looking for work in pubs all around Harrow. There was a lot of excitement to begin with, but now it s gone, and I’ve got to find a new baby.”

Teaming with Davies?

Just what kind of a “new baby” Sam is looking for seems vague, but he is obviously still very interested in the pop music world and would like to continue working on the production side—very much on the secret list seems to be something that he and Ray Davies are working on.

“I should like to work with the Yardbirds on a few of their numbers, but obviously this would be very difficult now I am not in the group and atoned to their ideas.

“I’m also very interested in film work, particularly the advertising side of things. Most of the advertising techniques today are old fashioned ideas worked out by old men. A few are good, like the Guinness adverts, but mostly they rely on sex-appeal, which is very old fashioned.

Sam has been out of the group now for nearly ten days. He looks happier, healthier, and more relaxed than I have ever seen him.

“I’m doing things—ordinary things—which I had almost forgotten about which give me great pleasure,” said Sam.

Jimmy Page

“I WANT to contribute a great deal more to the Yardbirds than just standing there looking glum. Just because you play bass does not mean you have no presence. Look at Bill Wyman in the Stones—he wears all that strange gear on stage and stands there doing nothing, but he does it better than anyone else !”

The speaker is Jimmy Page, the session musician who has taken up the Yardbirds’ bass, although he is widely recognised as one of the finest guitarists on the popular music scene in Britain.

“Chris Dreja is learning the bass at the moment,” said Jimmy, “and it seems likely that I will take over on guitar at a later date,”

Most artists seem to leave groups and go into record production for themselves, but Jimmy has worked the trick in reverse. Was he not getting more satisfaction out of his session work?

“I was drying up as a guitarist,” said Jimmy. “I played a lot of rhythm guitar, which was very dull and left me no time to practise. Most of the musicians I know think I did the right thing in joining the Yardbirds.

“I wrote a few songs to which Jackie de Shannon put words, and sure I produced records, but take a look around—who hasn’t produced a record?”

Jimmy has had previous experience with a group when he played for Neil Christian while he was still at school.

“I was only fourteen then,” recalled Jimmy, “and Neil was . . . older! I chucked it in because of the terrible conditions and travelling rough.

“With the Yardbirds we travel in a Chevrolet, and the instruments follow on behind in a van. If we have a date like the one in Blackpool at the weekend, we fly —that’s not a hardship.”

Initially, the Yardbirds thought of Jimmy to replace Sam because of his long-standing friendship with guitarist Jeff Beck.

“Jeff and I have known one another since school days, when he tried to sell me a guitar he had made,” said Jimmy. “I was delighted when the offer was made to join the group.

More new sounds

“The Yardbirds have begun something with their new sounds and unusual techniques which is by no means over, and I would like to contribute and help develop their ideas.”

Jimmy has worked on sessions for both the Kinks and the Who, but he became bored with doing work which the groups themselves could have performed. He is happy to be working with his friend Jeff, and genuinely enthusiastic about the future with the Yardbirds.

One thing is certain, and that is with Jeff and Jimmy in the same group, the Yardbirds have, with the exception of Eric Clapton (himself an ex-Yardbird), the two most creative guitarists around the group scene today. One wonders, though, how Jimmy Page will feel in, say, one year’s time, when the pressures and tensions of working in a frantically busy group have really got to work. (NME, 08/07/66)