THE YARDBIRDS
Recording years |
Main genre |
Music sample |
1964–1968 |
Classic rhythm’n’blues |
Heart Full Of Soul (1965) |
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Album
released: Dec. 4, 1964 |
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Tracks: 1) Too Much Monkey Business; 2)
Got Love If You Want It; 3) Smokestack Lightning; 4) Good Morning, Little
Schoolgirl; 5) Respectable; 6) Five Long Years; 7) Pretty Girl; 8) Louise; 9)
I’m A Man; 10) Here ’Tis. |
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REVIEW "Good evening, and now it is time for birdmerizing...
yardmerizing... in fact, most blueswailing Yardbirds. Here they are, one by
one: the drums — Jim McCarty, the rhythm guitar — Chris Dreja, the bass —
Paul Samwell Smith, lead guitar — Eric Slowhand Clapton, the singer and harp
— Keith Relf: Five Live Yardbirds!"
No idea who was the announcer on that particular night, but it is hard to
forget that intro — and hard not to chuckle at the album sleeve photo, poking
a different kind of fun at the band’s name. (And for all the Eric Clapton
haters out there in the COVID-19 era, this may be the only chance you ever
get to stare at your anti-hero behind bars!). |
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Each time I
listen to Five Live Yardbirds, I cannot
help being reminded of just how irreparably skewed is our modern perception
of all those young R&B bands that sprang up all over the UK in the early 1960s.
What we do is hear them (usually with an air of timidity and reverence)
recording short, thinly sounding, relatively quiet covers of Chicago blues
and Chuck Berry in the studio; see them properly dressed and, as a rule,
lip-syncing to the same studio recordings on their scant TV appearances; read
condensed biographic descriptions of their early years which largely focus
upon their managers, producers, and girlfriends; and, if we are very very lucky,
we can occasionally treat ourselves to «raw» bootlegs with awful sound
quality, the closest we ever come to true history but also a total chore to sit
through and enjoy. The club scene,
however, is where it was all really happening — where bands such as the
Animals and the Rolling Stones could feel themselves free from the shackles of
their public image and the restrictions imposed on them by the record
industry, long before the psychedelic revolution shook all these foundations
to their core. The club scene was where you could really go wild, extending
your three-minute singles into lengthy free-form jams or trance-inducing dance
grooves; at the expense of clarity and precision of sound, for sure, but with
the added benefit of being able to release the proverbial beast inside. We
know the huge difference between a studio and a live Stones album, or a Who
album, or a Led Zeppelin album from the late 1960s / early 1970s, but, if at
all possible, this gap must have been even wider in the early 1960s — it is just
because that era was so poorly documented that we are not constantly reminded
of where it was at. Consequently,
manager and producer Giorgio Gomelsky’s pioneering decision to make the first
album by his latest acquisition, the Yardbirds, a real live one was nothing short of entrepreneurial genius — and
exceptionally favorable for the Yardbirds themselves, a band that had not yet
properly found its studio wings, and had a lot going against it in terms of
competition. Its strict separation between rhythm and lead guitar left rhythm
guitarist Chris Dreja without any active voice whatsoever (unlike John
Lennon, he did not sing, did not write, and did not even laugh and act like a
clown, mostly sticking to just wearing a frown). In the rhythm section, bass
player Paul Samwell-Smith was, at best, competent, and drummer Jim McCarty,
even being somewhat more than just competent, was, after all, just a drummer.
The weakest
link, however, was their frontman: Keith Relf, next to the wildman image of
people like Mick Jagger and Eric Burdon, looked and sounded like a timid, well-behaved,
clean-cut college student, probably very nice to know, handsome in an almost
teen idol sort of way, and clearly admiring his blues and R&B idols to a much
higher degree than being capable of imitating them. In the States, such nice
young gentlemen usually went to Greenwich Village and became reverent
folkies; in the UK, the same degree of academic reverence could easily be
applied to blues and R&B. Which is not to imply that Relf had any sort of
scholarly background — his father was a builder, after all — but he did look like an adoring young scholar
most of the time, and performed the material accordingly. The Yardbirds’ first
of many bits of luck came along in 1963, when their lead guitarist Top Topham
had to leave for art school and cede his place to one Eric Clapton, of the
Roosters’ (non-)fame. With the young, but still virtually unknown, guitar
prodigy at their side, the Yardbirds gained something that nobody else had in the entire British
R&B scene — a top-notch blues guitarist who could not only cop all the
black dudes’ licks to perfection, but put his own stamp on the songs as well.
Unfortunately, no recordings survive from the Roosters (who were only active
for several months in 1963 anyway; Tom McGuinness, the band’s other
guitarist, would later join Manfred Mann), but one thing is for sure: much,
if not most, of Clapton’s guitar genius had already been manifested before he joined the Yardbirds — you
don’t really get to listen to a very young Eric Clapton and go «wow, amazing
how he got from this to ‘Sunshine
Of Your Love’ and ‘Layla’!» You have no choice, really, but to hunt down all
those TikTok videos he recorded in his bedroom in Surrey when he was only
twelve... uh, wait a minute. Never mind. Anyway, as
their first album clearly shows, the Yardbirds never had the slightest
intention of turning into «The Eric Clapton Revue» (or, for that matter, any guitar player’s revue, be it Eric,
Jeff, or Jimmy in later years). The man was too shy to sing, too stiff to
show off on stage, and he did not even take solo turns on at least half of
the numbers that they performed — drastically underused, some might say;
admirably humble, others might object. Regardless, Clapton’s presence on
these tracks is a good, but far from only, reason why Five Live Yardbirds still deserves your attention more than half
a century since its release. The most
important thing about Five Live
Yardbirds is that it is the only document of its epoch, at least outside
the scarce territory of crappy-sounding bootlegs, which lets you hear what a
genuine club-based «rave-up» sounded like at the time. (It was actually not
the first live album by a UK R&B band — that honor should probably go to
Alexis Korner’s Blues Incorporated; however, Korner’s live recordings had an
even more «academic» feel to them, and were typically performed by
middle-aged men with a mixed training in blues and jazz, rather than by
exuberant young kids with plenty of rock’n’roll energy to spare). Those of
the album’s songs (recorded, by the way, at the Marquee Club on March 20,
1964) that go well over three minutes usually turn, sooner or later, into
loud, noisy, «primitive» jams, with all the band members kicking the shit out
of their instruments — about as far removed from one’s idea of an Eric
Clapton-led band as possible. And in those blessed moments when the band
reaches its energetic peak, any individual shortcomings on the part of the
players just melt away, and what remains is an awesome tribal groove, perhaps
best felt on dance-oriented R&B numbers such as the Isley Brothers’ ʽRespectableʼ or Bo Diddley’s ʽHere ’Tisʼ which closes the show. ʽHere ’Tisʼ, in
particular, features a mammoth groove from the rhythm section — for a short while, Jim McCarty ceases to be a suburban British kid
and becomes one of the Loa-possessed mythical African savages... a
clichéd bit of praise, for sure, but honestly, you do not often get
such spirited bombast from anybody else in the Britain of 1964. Straightahead
rock’n’roll and blues numbers are, of course, generally saved by the young
Mr. ʽSlowhandʼ Clapton — when it comes
to Chuck Berry’s ʽToo Much Monkey
Businessʼ, if you want
great lead vocals, hear the Hollies; if you want young punk flavour, your
best bet is the Kinks or the Downliners Sect; but if you want top level lead
guitar with the rawest, sharpest, screechiest tone of 1964 and the speediest,
most easily fluent picking style of them all, you shall have nowhere to turn
to but the Yardbirds. All of these British bands were united in transforming
Chuck’s original solos from a harmlessly playful invitation to dance your
hips off into a rallying call for air-punching the lights out of your virtual
oppressors; but nobody other than Eric Clapton could bring an almost
military-like order and elegance to that onslaught without sacrificing the
rage and fury. Come to think of it, you do not often hear Eric Clapton
engaging in a fast Chuck Berry number anytime after his Yardbirds days (even
in Hail! Hail! Rock’n’Roll, they
brought the man on stage to assist Chuck with ‘Wee Wee Hours’, a slow blues),
so this is sort of a unique experience to show you that yes, Mr. Clapton could
rock’n’roll away like crazy in the early days, before blues purism ate out a
large chunk of his youthful abandon. Unfortunately,
if quite predictably, the sound quality of the recording is too poor to
properly enjoy all the nuances of Eric’s lead guitar — he probably does great on the classic
blues tune ‘Five Long Years’, but you would really have to wait thirty long years for the definitive
version on From The Cradle; Eric’s
thin Fender Telecaster tone can only be discerned through the dense and dark
smokescreen of the rhythm section (Samwell-Smith’s bass obscures every note
played by the man) and will probably be deemed barely listenable by all who
have been spoiled by the cleaner live recording standards from the 1970s and
later on. Still, unspoil yourself just a bit, take the record in the context
of its time, and it won’t be much of a problem to understand the ‘God’ tag on
this young man — which, technically, would not be applied until his stint
with John Mayall, but it is already quite clear that a completely new
standard for electric guitar playing is being set here. That said, ʽToo Much Monkey Businessʼ, ʽFive Long Yearsʼ, and John Lee Hooker’s ʽLouiseʼ are pretty
much the only songs on which Eric gets a proper solo spot — all the more ridiculous considering how often Keith Relf gets a solo
spot with his harmonica, which he really only plays because he is a
non-guitar-playing frontman, and if you are a frontman in a rhythm-and-blues
band and you do not play a guitar, you at
least have to play harmonica. Like Mick Jagger, you know? Even on ʽGood Morning Little Schoolgirlʼ — the studio
version of that song had Eric playing a darn fine guitar solo, but this live
version only has Keith. WHY? Admittedly, he is decent with the instrument,
but neither Sonny Boy Williamson nor Little Walter have much to fear in the
competition department. Every once in a
while, though, the Yardbirds really come together as a single powerful unit: ultimately, you will never «get» the point
of the album if you just think of it as a launching platform for Clapton’s
soloing (let alone for Keith Relf’s singing and harp playing). The first such
number is ‘Smokestack Lightning’, formerly a creepy voodoo show focused on
Howlin’ Wolf’s persona, but here transformed into a collective bombastic
ritual, with Relf as the harp-blowing shaman and the rest of the band banging
away with all their might to bring all those sleepy spirits out of their
slumber. This is where drummer Jim McCarty summons Keith Moon-like powers,
both guitarists sacrifice melody for aggressive noise, and we, the listeners,
temporarily forget the aura of teenage entertainment that normally rules over
this album and begin taking these guys really
seriously. This is harder to do on subsequent rave-ups such as the Isley
Brothers’ ‘Respectable’ or Bo Diddley’s ‘Pretty Girl’, because these numbers are mostly there to
provide a good time for the dancing crowds — ‘Smokestack Lightning’, on the
other hand, is much more of a proto-psychedelic jam to which it is much
easier to groove while sitting down, nodding your head, and letting yourself
be taken far away into a world of mysterious swamps, dense smoke,
three-headed alligators, and oddly colored mushrooms — regardless of whether
you need some chemical assistance for this or not. Overall, all
the inevitable criticisms aside, Five
Live Yardbirds is more than just a historical document: it is a special
experience that lets you penetrate those «wild and innocent days» like
nothing else — before egos and drugs took over and maybe added some extra
wildness, but definitely took away most of the innocence. Because of their
long and troubled history, the Yardbirds may not have carved out such an
unmistakable identity for themselves as a band
as they did for several of their classic songs — but in a way, this recording
carves out an identity for the year of 1964 that is much more telling than
any of the great studio albums recorded by a variety of artists in that same
year. On top of that, you get the earliest bunch of Eric Clapton solos known
to mankind, so, what’s not to like? Tech note:
since the dawning of the CD era, Five
Live Yardbirds have apparently been released in a million different
repackagings, many of which throw on tons of bonus tracks — such as the band’s
early studio singles (which we shall discuss later, in a separate review for For Your Love), or additional live
performances from the Crawdaddy Club and other venues: seek out the one that
has a rippin’ version of Chuck Berry’s ʽLet It Rockʼ on it, a
really tight performance and another extremely rare occasion to hear a young Eric
do a fast Chuck number. |
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Album
released: June 13, 1965 |
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Tracks: 1) For Your Love; 2) I’m Not
Talking; 3) Putty (In Your Hands); 4) I Ain’t Got You; 5) Got To Hurry; 6) I
Ain’t Done Wrong; 7) I Wish You Would; 8) A Certain Girl; 9) Sweet Music; 10)
Good Morning Little Schoolgirl; 11) My Girl Sloopy. |
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REVIEW Back in the day,
it was common practice for record labels to not allow their artists to put
out LPs until they’d proven their worth with at least one or two substantial
hit singles, and upon first glance, that might have precisely been the deal
with the Yardbirds: March ’65 = release and chart success of ‘For Your Love’
(the single); June ’65 = follow up with the album of the same title. Extra
scrutiny, however, shows that the real situation was more complex. First, the
Yardbirds already had an official
LP — Five Live Yardbirds —
courtesy of Giorgio Gomelsky putting pressure on their record label,
Columbia. However, it was only released in the UK (and other members of the
Commonwealth), since the band had not managed to make a dent in the US market
with their first singles. That situation was reversed with the release of
‘For Your Love’, which became a smash hit across both sides of the Atlantic —
and at that point, their American
distributor (Epic Records) accepted the idea of a studio LP, while the UK
division of Columbia, on the other hand, stalled. The UK, in fact, would not
see the release of a proper Yardbirds studio LP until Roger The Engineer in 1966 — and for a good reason, because the
Yardbirds never really got together to make
a proper studio LP until Roger The
Engineer. For the first two years of their existence, they concentrated
fully on singles — a decision that ultimately made them a disservice in terms
of critical reputation. As great as your individual songs may be (and one
might make a strong case for the Yardbirds’ line of 1965–1966 singles as the most musically important and
astonishing line of that entire era), people tend to remember those years for
the emergence of the album as the more important medium than the single, and
if you lived through them without a Rubber
Soul, an Aftermath, or a Pet Sounds to your name, well... it’s
like you weren’t all there. |
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So the American
market did receive a couple of Yardbirds albums in 1965 — but they were
pretty odd bastards, slapped together from widely different periods and
sessions, with pretty poor sequencing at that. Take For Your Love, for instance. Most
of the songs on it are from the Clapton era of the band, but there is no
Clapton on the front sleeve: only Jeff Beck, sitting at a... keyboard? He isn’t even playing one on
any of the songs here. The Beck / Clapton material is chaotically interspersed,
although at this point the gap between the two eras is not yet quite as huge
as it would become by the end of the year — still, they should have probably
at least tried to segregate the two
groups of songs onto different sides of the LP, because ‘Good Morning Little
Schoolgirl’ and ‘My Girl Sloopy’ feel really odd next to one another. Nevertheless, it is at least good
to have most of the early Yardbirds studio stuff in one place — and what was
lacking would be lovingly assembled by Repertoire Records thirty-four years
later and packed into thirteen bonus tracks for the expanded CD release of
the album; this is probably the most commonly accessible version these days,
and it provides a more or less exhaustive history of the Yardbirds from the
earliest demo versions recorded at the R. G. Jones Studio on December 10,
1963, and up to their first attempt to record ‘Heart Full Of Soul’ in April
1965, which ended in failure because the hired sitar player, according to
Beck, couldn’t properly nail the 4/4 time signature (!). These sixteen months
were not the greatest months in Yardbird history — but they were certainly the sixteen months that put the band
on the general musical map and prepared them for greatness. Okay, so we should probably
subtract the first three months, because all of the bonus tracks that date
from the December ’63 R. G. Jones Studios sessions are sort of... just okay.
Most of them are covers of American idols — Chuck Berry, John Lee Hooker,
Sonny Boy Williamson, Billy Boy Arnold — performed in a fairly tepid and
cautious manner. This early version of ‘Boom Boom’, for instance, feels like
the boys are almost afraid to push
themselves too far, next to the blazing-cannon rendition of the Animals — and
so does ‘Baby What’s Wrong’, for that matter; basically, whenever the
Yardbirds try on for size anything that was or would be done by the Animals
or the Stones, they inevitably lose big time because of their overall «nice
college boy» attitude. What’s worse, at this point in time they were also unable
— in the studio, at least — to make the best of their single most musically
gifted member: Clapton’s guitar tone on those early demos is thin, and
although he already shows an impressive fluency, producing a lilting,
harmonious blues sound that had few equals on the British rhythm’n’blues
scene, he is being way too modest
for all that talent to be properly noted. The first of the Yardbirds’ many
sonic mini-revolutions, then, took place sometime between those tentative
sessions at the R. G. Jones Studios and their first proper venture into the
Olympic Studios in London, which allegedly took place some time in March
1964. You can easily hear the difference when comparing the «long» version of ‘I Wish
You Would’, their first single (actually, the early demo version; amusingly,
it ended up by mistake on the official 1965 Canadian version of For Your Love, retitled Heart Full Of Soul), and the final
product from three months later. The former is a slightly darker, swampier,
more menacing cover of Billy
Boy Arnold’s original, extolling his trademark riff (which you can
probably also recognize on Bo Diddley’s ‘Diddley Daddy’, since that song was
also based on an Arnold original) and rather making a musical hero from
bassist Paul Samwell-Smith than Eric — it is his chuggin’ train of a bassline
that really holds together the «messy», climactic noise sessions in the
middle and at the end of the song. It’s a good, tight jam, but the Stones
could do that kind of jamming just as well, and maybe even Manfred Mann. However, by the time the boys got
to Olympic Studios, they were all set to use advanced studio technology to
their advantage — and give themselves
as musicians that extra push which takes you out of the crowd and puts you
among the chosen few. Just compare the opening bars of the old version with
the new. The first thing you’ll probably notice is the extra distortion on the
opening guitar riff (not quite sure if it’s played by Eric or, more likely,
by rhythm guitarist Chris Dreja). The old one was a lil’ puppy dog cautiously
sniffing around the corners; the new one is a gruff, angry beast snappin’ at
your heels — the tone is not as thick and rumbling as on ‘You Really Got Me’,
yet it is still one of the earliest examples of a seriously hard, crunchy rock riff on a British
rhythm’n’blues record. The rest of the band step up their game as well,
particularly Jim McCarty, who gives his drums a more bombastic, cymbal-heavy
sound than on the demo version. Tellingly, the only member of the band who
pretty much stays the same is Keith Relf: his singing and harp playing are
nearly identical on both versions (identically stiff, that is). I have seen people complain about
the messy, murky production on those early Yardbirds singles, but I have a
hunch that they do not quite get the point — Gomelsky and the band were most
likely trying to emulate the acoustics of the band’s live sound from all
those small, tight-packed, cavernous clubs they were playing in, which is why
there’s so much echo and reverb all around and the instruments sometimes congregate
in a swampy puddle. It doesn’t quite
work, of course, but I have no problem with the production as long as it does
not hide the catchiness of the original songs or the enthusiasm of the band.
On the other hand, I can also see how some might prefer the older version of
‘I Wish You Would’ — not only is it «cleaner», but it is also longer, thus,
more representative of the Yardbirds’ famous jamming style. Basically depends
on whether you want four minutes of old-school dark blues or two minutes of a
«blues-punk» explosion. Claptonologists world-wide,
though, will probably get a bigger kick from the B-side, a cover of Allen
Toussaint’s somewhat novel piece of New Orleanian R&B called ‘A Certain
Girl’ — originally produced by Toussaint himself, but performed by singer Ernie
K-Doe in 1961. Back then, it was a very typical New Orleanian piece
distinguished by a very typical humorous New Orleanian attitude — the same
one you observe on contemporary releases by Huey ‘Piano’ Smith and similar
artists. Why it became so popular in the UK is unclear (an even earlier cover
than the Yardbirds’ was by The Paramounts, who would eventually grow into
Procol Harum), but in any case, The Yardbirds strip away much of the
original’s playfulness and humor (the only «funny» bit still left in is the
call-and-response of "what’s her name?
— I can’t tell you! — NOOOOO..."), tightening up everything so that
the song becomes more of a threat than a joke. Again, the song is dominated
by Samwell-Smith’s thick, fuzzified bass, giving it a very unusually heavy
aura for early 1964 — and again, the Olympic Studios version is crunchier and
more aggressive than the R. G. Jones Studios demo. But what specifically distinguishes the finalized version of ‘A Certain
Girl’ is, of course, the guitar break by Eric Clapton. It is not just
historically significant — though it is
damn well historically significant — as the first ever commercially released
example of a guitar solo by soon-to-be «God» of electric guitar playing. It
also, well, just kicks ass. Out of
nowhere, it bursts through a broken window in your living room, like a zombie
dog in Resident Evil, and wreaks
tightly controlled havoc for nearly 30 seconds, before vanishing in a puff of
smoke, leaving you with your jaw on the floor in a "what was
that?..." state of mind — at least, I’m pretty sure that was the kind of
reaction quite a few people might have lived through in 1964. Today, it might be easier to
understand the impact if, once again, you compare that ferocious guitar break
with the solo on the earlier
demo version (I pity the poor Canadians who, by mistake, got that version
instead). The early version is, well, just a decent guitar solo. The polished
Olympic Studios break is a shrill, screechy, crackly blast of distortion,
perfectly constructed from a melodic point of view and at the same time full of youthful rage spirit. I could, in
fact, argue that, for all the dozens and dozens of magnificent Clapton solos
throughout his career, none have managed to surpass the original guitar break
on ‘A Certain Girl’ in terms of beauty of tone, technical smoothness, and
emotional dynamics. Its only potential flaw is that it is quite short — and,
actually, for some people it might not be a flaw at all (I, for one, will
certainly take this beautiful brevity over quite a few over-extended Cream
jams). The fact that the single did not
chart either in the UK or in the US is quite a bit of a travesty — when you
consider, for instance, that right at the same time the Stones’ ‘Not Fade
Away’ was riding up all the way to #3, you can’t help but feel a little pity
for ‘I Wish You Would’ and that criminally underappreciated Clapton solo on the B-side. For some
reason, though, the general British public just wasn’t too enamored with the
Yardbirds’ take on rhythm’n’blues — which could, of course, be explained by
various technical reasons such as lack of proper publicity, although I also
suspect that having Keith Relf as the band’s frontman didn’t really help the
band get extra attention. (Admittedly, he was quite dashing visually in a
Brian Jones kind of way, but it seems as though good looks could actually
work against you if you were
playing in a «wild» rhythm’n’blues band: ultimately, it was Mick who got all
the girls, not Brian, and all of the Yardbirds looked almost pathetically
«clean» for a band that took its inspiration from such «dirty» music). Not at all disencouraged by the
lack of public interest, the Yardbirds at first persevered, putting out a
second single in the same vein, although this time the roles were reversed:
the more humorous and playful of the two songs was chosen as the A-side,
while the darker and grittier blues-rock number was relegated to the back.
Amusingly, I have seen some negative reactions thrown at ‘Good Morning Little
Schoolgirl’ for being much more silly and corny than Sonny Boy Williamson’s,
Muddy Waters’, or John Lee Hooker’s versions — but this is not the same ‘Good Morning Little
Schoolgirl’! This is actually a cover of a novelty number originally recorded in
1961 by «Don and Bob» (Don Level and Bob Love, an obscure rhythm &
blues duo who used to record for Chess) which simply borrows its title from
the old blues number, but is otherwise a merry teen anthem, rather in the
style of the Coasters and other «light» R&B artists of the time. The
Yardbirds do it relative justice, though the lyrical matter feels a bit
«immature» for their serious image ("won’t
you let me take you to the hop, have a party at the soda shop" is a
pretty shoddy pick-up line for Keith Relf and the boys) — and once again,
Eric tries to save things with a gritty, clenched-teeth guitar solo, a little
less distorted than the one on ‘A Certain Girl’ but just as melodic and
smoothly fluent, and again feeling
like it kinda sorta belongs in a completely different song. The B-side is where it all finally
comes together: the band’s cover of Jimmy Reed’s ‘I Ain’t Got You’ finally
stands out loud and proud against the (slightly later) competitive release by
the Animals — the Yardbirds’ group harmonies are no match against Eric
Burdon, but the heavy guitar sound crushes the Animals’ much thinner
performance, and Alan Price’s eloquent organ solo is buried by Clapton’s
firecracker break, which, combined with the song’s stuttering tempo, is a
natural early predecessor of the classic ‘Steppin’ Out’ instrumental in his
days with John Mayall. More importantly, the guitar break is now fully
coherent with the rest of the song — vocals aside, this is all as pissed-off
and nasty as the Yardbirds ever got in their Clapton days. Oh, and there’s
none of that cavernous production on ‘I Ain’t Got You’, so this time, Eric’s
solo jumps out directly at you, the
poor prey, out of the speakers, letting you enjoy that sharpest, shrillest,
dryest, crackliest guitar tone of 1964 in all of its red-hot glory. Catch it
while it’s hot: the only places where you can feel it to its fullest effect
are those early Yardbirds singles and the album with John Mayall’s
Bluesbreakers. By late 1966, it would be gone. The only other recording from that
period which made it onto the LP but had not previously been issued as a
single is ‘Putty (In Your Hands)’, a cover of a semi-obscure, LP-only Shirelles number from 1962. If you
like your mean old riff to be delivered by a mean old electric guitar rather
than a dirty brass section, you’ll probably enjoy the Yardbirds cover more
than the original — otherwise, there is little to cherish about it, because
Keith Relf is Keith Relf, and Eric Clapton is nowhere to be seen (no solo
breaks on the recording, true to the original). Gender studies people might
give a shoutout to Keith and the boys, though, for turning the rather
predictable girl-submissive attitude of the original ("you say hop and I’ll hop, you say come and
I come") into boy-submissive — though, frankly, we must admit that
none of those performers really gave much of a damn about the words they were
singing, as long as the melody was catchy and the energy was flowing. I mean,
one minute Keith Relf sings "you
can use me, abuse me, without your love I ain’t nothing at all", and
the next one he’ll go "all you
pretty women stand in line, I’ll make love to you in an hour’s time",
and where’s the internal contradiction in that? I don’t see any contradiction.
Do you see any contradiction? And now we finally come to the
oddest chapter in the history of the Yardbirds, which was pretty packed with
odd chapters, but this one certainly takes the cake. Perhaps if Columbia
Records did not reject the proposal of young songwriter Graham Gouldman to
put out one of his first original compositions, ‘For Your Love’, as the first
single for his own band, The Mockingbirds, history would have played out in a
different way. As it was, what was not good enough for The Mockingbirds
turned out to be quite alright for The Yardbirds — or, at least, a slightly
truncated version of The Yardbirds, because Chris Dreja and Eric Clapton only
join in with their guitars for the short middle section. Instead, the
dominant instrument on the recording is a (fairly simplistic) harpsichord,
played by the not-yet-too-famous Brian Auger. The jump from the first two
singles to ‘For Your Love’ was the single most ambitious thing in the life of
the Yardbirds — before this, their gaze had always been strictly directed
across the ocean, but here was a song actually written on UK soil and channelling rather the (somewhat
abstract) spirit of the «European art song» than the African-American
tradition. Suddenly, it was becoming obvious that Keith Relf and drummer Jim
McCarty might have been cut out not
for the blues but for the slowly emerging universe of «art-pop» — a suspicion
that would be fully vindicated four years later, when, upon the final
dissolution of the Yardbirds, the two of them would go on to found
Renaissance, and yes, the long road to Renaissance properly starts here, with
this recording of ‘For Your Love’, its look-at-me-I’m-so-baroque harpsichord,
and the crazyass promotional
movie in which the entire band dressed up as knights and musketeers. Naturally, Clapton hated it,
though who knows — maybe if they’d thought of a nice guitar break in the
middle to butter up Mr. Slowhand, he wouldn’t be so adamant about leaving the
band. This definitely wasn’t his kind of music, and although in later years
he’d go on to make many recordings that easily qualify as «pop», most of them
were still blues-based. The chords of ‘For Your Love’, however, are in more
of a medieval folk vein (hence all the suits of armor, I guess), and that
was, I guess, just way too «white» for Eric at the time. (Although do give
props to Mr. Gouldman for throwing in that middle section which, for a while,
pushes the song in a completely different direction — bluesy, in fact!). My
own problem with the song is that there is a bit too much repetition: the
entire second half adds absolutely nothing to the first one, and the
mid-section is too short and simple. Straining a bit, I think I could see
Cream covering it, with Jack Bruce giving a much more soulful tint to "I’d give you diamonds bright, things that
will excite and make you dream of me at night" (he’d have to use his
best "I’ll be with you when the
stars start falling" intonations) and then following it up with ten
minutes of jamming before reverting to the verse once again. Here, at 2:30,
strangely enough, it’s just a tad too short and a tad too long at the exact
same time. But still a flash of early art-pop genius from the man who’d go on
to give us 10cc. As a bitter reminder of what was
more important for the Yardbirds’ historical reputation — Clapton or the
harpsichord — we have to consider the B-side to ‘For Your Love’: ‘Got To
Hurry’, for some reason credited to Gomelsky even if the base melody is just
a standard blues shuffle, reminiscent of Booker T. & The MG’s ‘Green
Onions’, essentially just a showcase for Eric’s guitar playing from top to
bottom. But who remembers it? Nobody. It’s just a blues jam, and all that
soloing does not even have the ferociousness of ‘A Certain Girl’ and ‘I Ain’t
Got You’ oozing out of it. No wonder that Eric always gets derided by the
cool people for leaving the Yardbirds because they were going «poppy»: given
the choice between records like ‘For Your Love’ or ‘Got To Hurry’, it would
seem fairly clear that the future belonged to this kind of «innovative pop»
rather than that kind of «conservative blues». But then again, why should we even
choose sides? Eric’s decision ultimately gave us three more years of The
Yardbirds and three years of Cream,
so basically a win-win for everybody involved. It was the mid-Sixties, for Christ’s
sake — if you had talent at all, almost everything you did would fall on
fertile soil anyway. The 21-year old Jeff Beck (actually
older than Clapton by almost a year) came in as Eric’s replacement just in
time for a couple of recording sessions that yielded enough material to
complete the band’s first studio LP — and the first of these recordings
should have laid to rest any fears of one of Britain’s most revered rhythm’n’blues
combos going «soft» and «artsy» for good. The slashing, choppy chords that
open ‘I Ain’t Done Wrong’, the only original composition on the album (credited
to Keith Relf, though I’m sure Beck should take most of the credit for
transforming a generic 12-bar blues into something seriously different), announce
the arrival of an even grittier and dirtier brand of the Yardbirds than ever
before, and, more importantly, a much more experimental brand of the Yardbirds. In between the brief opening
and closing verses, Beck and the band pull just about all of the stops that
could technically be pulled in early ’65. There are aggressive bits of «heavy
metal slide guitar», sometimes by itself, sometimes in a call-and-response
mode with Relf’s harmonica. There’s weird sound effects that resemble
flanging and wah-wah (even if the wah-wah wasn’t properly invented yet!). There’s
a proto-punkish barrage of «dirty» chords that nobody had ever considered
putting inside a basic 12-bar blues number before. And it’s all captured on a
track that nobody even remembers, because it was never released as a single. Even more impressive is ‘I’m Not Talking’,
a cover of a relatively recent piano jazz composition by Mose Allison. Allison
was in the process of becoming the talk of the town, largely due to the «viral»
(for the time) popularity of his ‘Parchman Farm’, already a staple inclusion
into the repertoire of many rhythm’n’blues artists; the smarter ones,
however, were willing to dig deeper into this weird, not-easily-categorizable
artist’s work (The Who would score a big winner in a few years with ‘Young Man
Blues’), realizing that his unconventional, modernistic approach to vocal
jazz — imagine a cross between Thelonious Monk and Nat King Cole! — could be
converted into heavy rock with most fascinating results. Taking a relaxed,
pensive, but subtly dynamic original recording, the
Yardbirds turn it into a fast-paced, frenetic, hystrionic «new-school-rock’n’roll»
number, driven by a metallic riff whose brutal tone puts ‘I Wish You Would’
squarely in the past. Even Relf gets unusually energized for the performance,
screaming his head off, but there is no question that the song belongs to Beck
— he plays a couple of totally head-spinning guitar breaks for the time. The approach is completely
different from Eric’s: where Clapton would put huge emphasis on fluent smoothness, having each single
lick flawlessly floating out of the previous one, Beck plays it broken-up and
choppy, rarely letting you predict which frets his fingers shall land on next
— which makes the solos somewhat harder to memorize, but easier to admire in
terms of improvisational freedom. Additionally, ‘I’m Not Talking’ is the
first classic example in the Beck canon of the man’s life-long fascination
with sustain and vibrato; the protagonist of the song may not be «talking» (by
the way, "things like idle chatter
/ Ain’t the things that matter / That’s one thing I can do without"
is quite a sound piece of advice for our age of social media, though, alas,
hardly at all realizable), but Beck’s guitar is talking all the way — or,
rather, grumbling, wailing, sighing, grinning, and spasming, all due to the
guitarist’s mastery of the vibrato mechanism. Listening to this track, it’s
as if you are witnessing the birth pangs of the classic hard rock sound. Not
a single other guitarist for miles around was doing stuff like that in April ’65
— and the only reason why it fell to Clapton, after all, to be pronounced «God»,
rather than Beck, is because this kind of sound was way too «far out» at the time for the general public. Again, no
need to promote favoritism or generate empty claims of objective superiority:
both approaches were and remain perfectly valid and admirable, and I, for
one, have absolutely no problem observing ‘A Certain Girl’ and ‘I’m Not Talking’
sharing space on the same chunk of vinyl — in fact, I sometimes amuse myself
by imagining an impossible version of the Yardbirds where Clapton, Beck, and Page
would all be playing at the same
time, sort of like a Lynyrd Skynyrd thing. Wouldn’t that be something? (On
second thought, they might have created too much anti-matter in the process,
so perhaps better not). Last, but not least, on the album
comes ‘My Girl Sloopy’, and while I’m not really a huge fan of its pseudo-Caribbean
vibe, it does continue and solidify the tradition of the Yardbirds regularly
setting up mini-revolutions in popular music. By the time they finally got to
recording it with Beck (although the idea of adding it to the repertoire had
already been expressed by Clapton in late ’64), the song was already a staple
with contemporary garage bands — the original version,
released by The Vibrations on the Atlantic label, was not exactly «rock», but
its party attitude and simplistic ‘Louie Louie’-style chord structure were
infectious, and it was a good pretext to get the audience on its feet and
join in the rave-up. The most commercially successful version of the song
would be recorded by The McCoys a few months later, introducing the world at
large to the dubious talents of Mr. Rick Derringer — but the Yardbirds went
for a much more experimental approach, with «experimental», in this
particular case, being the song’s length and structure: at more than five and
a half minutes in length, it is an extended jam based on the «I-feel-too-good-to-stop-this»
principle. The band just goes on and on, sending out their rays of support to
the mysterious «Sloopy Girl», speeding up, slowing down, ad-libbing,
whooping, basically just running around in free-form mode. It’s all a bit
silly, and the jubilation feels just a bit less than adequate, but it’s one
of those «door-opening» moments — of the «hey, I never thought one could get
away with something like this» variety. Not sure if this vibe was exactly
what Eric was thinking of when he recommended the song to the band, though... And it is
at this point that our retrospective finally comes to a pause, breaking off
at a rather arbitrary point — at the very moment when For Your Love was released as an album in the US, the band was
already witnessing the rise in the charts of its next single, ‘Heart Full Of Soul’,
which would open yet another mini-era in Yardbirds history... but that will
be the subject of the next review. The Repertoire Records release does throw
in, as a bonus track, the earliest version of ‘Heart Full Of Soul’ with the
inclusion of a sitar part, but we’ll talk about this later; a few other
inclusions from later recording dates can be dismissed as well, like the
rather uninteresting pop-rock tune ‘Paff.. Bum’ and the band’s appropriately horrendous
contribution (‘Questa Volta’, sung by Keith Relf in perfectly dreadful Italian)
to the appropriately horrendous San Remo festival (a place where they
belonged about as naturally as Martin Scorsese at Comic-Con). But, well, this
is the price to pay for historical accuracy and completionism — for every
amazing Jeff Beck solo, you have to endure a bit of Keith Relf trying to be Lucio
Battisti. Ah, just... forget about it. In
retrospect, For Your Love seems to
have become a little lost in the shadow of Having A Rave-Up, its far more mature, diverse, and influential
follow-up — in a large part, this is due to the serious anti-Clapton, pro-Beck
bias on the part of «discerning audiences» who might sincerely believe that Eric’s
role in the band was actually holding them back from achieving proper
greatness. It’s not an unreasonable attitude, but in reality, the things that
the Yardbirds were doing with Clapton in 1964 were just as groundbreaking —
not to mention enjoyable — for that year as the things they would be doing
with Beck in 1965 (and then you could always argue that whatever they were
doing with Beck in 1965 would be totally eclipsed and obliterated by the
achievements of Hendrix in 1967, and so on ad infinitum). The difference is that Eric wanted to stay inside
his comfort zone — the blues — whereas for Beck, the blues was never a comfort
zone for him in the first place (he himself admitted, in various interviews,
that he felt more drawn to jazz and avantgarde before joining the band). But that
does not mean that Clapton’s playing on all those early Yardbirds singles did
not try to expand that zone, or adapt it to Eric’s own personality, or
modernize it in ways that no Chicago player in the 1950s could have dreamt
of. Even the new breed of fierce American electric guitar players, such as Freddie
King (probably the single biggest influence on Eric at that period), could
not really match the combination of tone
and fluency achieved by Eric at the
time: in fact, if you study the evolution of Freddie’s playing style over the
years, you could build up a solid case that it was a back-and-forth process
of mutual influence, where American guitarists like King would push British
guitarists like Clapton and then take quite a few lessons from them in
return. Which is, come to think of it, a perfectly natural process in the
tightly intertwisted world of proactive musicians — a big chunk of which
around 1964-65 is reflected within this album in quite a beautiful mess. |