Extra!
Extra! Friedlander Misses the Boat!!!
The Yardbirds, and
their three guitarists, Eric Clapton, Jimmy Page, and Jeff Beck, were
a hugely influential rock band in the 1960's. In Rock
& Roll, A Social History,
Paul Friedlander gives ample credit to both Clapton and Page, but
severely underestimates the role of The Yardbirds, and especially,
Jeff Beck. Friedlander devotes an entire chapter to The Who, citing
their stage theatrics and rock opera Tommy.
He makes the claim that their social relevance was deeper and their
musicianship greater than those of their contemporaries.
Far from being a critic of The Who, I was a somewhat rabid, teenage
fan of the band. At the age of 15, I saw them perform live during
their second U.S. tour. It was in a spruced up barnyard in Algonquin,
Illinois. Humorously, my bandmate and I had arrived early, and were
asked to help the roadies set up those lovely Marshall stacks! Quite
an experience for a couple of teenage rockers. I would agree with
Friedlander that The Who were one of the most entertaining and
energetic acts in rock history. Their social relevance was no more
than that of the Beatles, Rolling Stones or many others of the era.
Their musicianship was fine, but not exemplary. Their lasting
influential was outshone by The Yardbirds and their three guitar
greats.
The Yardbirds began like many of the British bands in the 60's They
were informally trained musicians and art students who were rooted in
the urban black blues. The early members were Paul Samwell-Smith on
Bass, Keith Relf-Vocals, Chris Dreja-Guitar, and Jim McCarty-Drums.
They followed the Rolling Stones with a residency at the Craw Daddy
Club in London, and in October of 1963, a young blues guitarist by
the name of Eric Clapton joined the band. Although Clapton's tenure
with the Yardbirds would be brief, he was the first in a string of
guitarists who would go through the band on their way to influencing
generations of future rock players and listeners. Clapton had been
gaining a reputation as a fine blues player, and ironically, he was
to announce his departure from the Yardbirds a week after they
recorded what was to become their first hit, For Your Love.
The single was released in March of 1965, months before The Who's My
Generation. The influence of Eric Clapton through Cream, Derek
and the Dominos, Blind Faith, and his ongoing solo career have been
well documented, and needs no further explanation here.
Master studio session man Jimmy Page was recommended to replace
Clapton. He declined, citing his fondness for the security of
studio work, and friendship with Clapton. Page had been friends with
Jeff Beck since childhood, and recommended him. Thus, Jeff Beck
became Clapton's replacement.
Jeff Beck was ahead of his time in his use of feedback, fuzz,
distortion, and non-traditional ways of coaxing new sounds out of an
electric guitar, and the the Yardbirds were a perfect format for Beck
to develop his sonic explorations. Very much a “live”
improvisational band, they stretched blues classics such as Howlin'
Wolf's Smokestack Lightning into “rave-ups,” extended
improvisational excursions intended to excite the audience into a
frenzy. In his solo on Bo Diddley's I'm a Man, Beck engages
harmonicist Keith Relf in trading two bar phrases. At his solos'
climax, he rakes the strings behind the bridge, and strums the guitar
rapidly while muting the strings. Another early Yardbirds-Beck
vehicle was Shapes of Things. Inspired by a Dave Brubeck tune
called Pick up Sticks, it was recorded in December of 1965 in
Chicago at the Chess studios. The song uses fuzz guitar, and includes
a double-time solo section with extensive use of controlled feedback.
This was months before Jimi Hendrix had set foot in London, and
before the formation of Cream.
In the summer of 1966, Paul Samuel-Smith left the band, and now the
Yardbirds needed a new bassist. The replacement came in the form of
Jimmy Page, who by tiring of the studio, and was anxious to play with
a live performing band. Pages' studio experience was an asset, and
at this point the Yardbirds were pushing the envelope of what would
be audience accessible. Listen to Happenings Ten Year's Time Ago,
recorded in July of 1966. The songs' guitar hook was done by Page,
but the solo section is a masterful exchange between Pages' ambulance
siren effect, and Beck's searing solo and rather demonic recitation.
This recording also found Pages' session mate John Paul Jones on
bass. Clocking in at just two minutes and fifty-five seconds, there
is a wealth of new sounds and fresh musical ideas in this landmark
piece. These techniques were being used a full year before the
release of Sgt. Pepper. The solo reportedly influenced the
guitar solo on The Beatles' Taxman.
Another piece which has survived the test of time is Beck's
Bolero, recorded in secrecy in the spring of 1966. It was the
forerunner of the supergroups to come, in that the lineup was Beck
and Page on guitars, John Paul Jones on bass, Nicky Hopkins on piano,
and Keith Moon on drums. The group nearly formed, but the idea failed
as a result of Moon deciding to stay with The Who. The song wasn't
released until the spring of 1967 as the “B side” of Beck's Hi
Ho Silver Lining.
Jeff Beck left the Yardbirds in the fall of 1966, but his
contribution to the new direction of the Yardbirds was enormous.
Drummer Jim McCarty and singer Keith Relf both credit Beck with
leading the group from the blues-based Clapton era into the sonic
explorations that were to change the way guitarists viewed their
instruments. Jimmy Page continued on with the now four-piece
Yardbirds, but the groups' days were numbered. During this period,
the band began performing the song Dazed and Confused. The
song would appear in almost identical arrangement on the first Led
Zeppelin album. Puzzles (March, 1967) was the first recorded
example of what is commonly thought to be a Led Zeppelin first, Jimmy
Page using a cello bow on the strings of his guitar. An interesting
side note to the end of the Yardbirds is that when the band
dissolved, Page was asked to fill a few remaining concert dates. The
musicians hired to play out the schedule were: John Paul Jones,
Robert Plant, and John Bonham, performing as The Yardbirds! The
influence of Jimmy Page through Led Zeppelin was also well documented
in Friedlander's book, and doesn't require embellishment.
The Yardbirds began much like the Rolling Stones, strongly
influenced byAmerican blues. They cultivated somewhat of a bad boy
image. Their songs spoke of many of the relevant topics of the 60s.
But their real contribution was the raw, free sound exploration and
improvisational jamming that so many groups took up in the
Psychedelic era. Their lack of smooth studio production was a result
of their “live” sound preference, and influenced raw, modern punk
sounds. The Yardbirds career was short-lived to be sure. The Who
and the Rolling Stones outlived them by decades. (Heck, they're still
playing the Super Bowl!) The Yardbirds did however, supply Rock with
three of the finest and most influential guitarists. Jimmy Page,
after Led Zeppelin, has for the most part disappeared from the scene.
Eric Clapton has continued his very successful solo career based on
his strongly blues-based style. His tribute to Robert Johnson, and
collaborations with B.B. King are examples of his recent work.
Clapton and Page readily acknowledge the influence that Jeff Beck,
the second Yardbird guitarist, had on the world of rock guitar.
Clapton, receiving an award for “Best Guitarist,” stated, “I
think...this should have gone to Jeff.”
We now continue with the career of the man about whom so few words
were written in Mr. Friedlander's book.
Jeff Beck's health (tonsillitis), and hatred of the road life led
to his being essentially fired from the Yardbirds. He returned home,
and near the end of 1966 made a nearly disastrous mistake, signing
with pop producer Mickey Most. After a few semi-hits that were in no
way suitable for Beck's style, he began putting together The Jeff
Beck Group (JBG). This consisted of then unknown vocalist Rod
Stewart, future Small Face and Rolling Stone Ron Wood (who ended up
playing bass), and Mickey Waller on drums. They toured to rave
reviews and in May of 1968, recorded the landmark Truth. It's
almost Impossible to overstate the importance of Truth both
for Beck and for the direction of rock music as a whole. Every cut
on the album has stood up to the test of time, and there is no lack
of variety, taste, beauty, and raw energy. The album was conceived
in the studio and no real song writing had taken place before the
sessions. The version of Willie Dixon's I Ain't Superstitious
is still a textbook for the classic use of the wah pedal. No less a
voice than Dixie Dregs and Deep Purple guitarist Steve Morse has
claimed that the tune contain's his favorite licks of all time. Also
included were beautiful versions of Greensleeves (Beck-solo
acoustic guitar), Old man River (Keith Moon on Tympani, John
Paul Jones on Hammond organ) and Tim Rose's Morning Dew,
complete with a bagpipe introduction. Slowed-down and dirtied-up, a
version of The Yardbird's Shapes of Things kicks the album
off. Beck had apparently not prepared any material for the session,
and Shapes of Things apparently was spontaneously suggested by
Stewart. The aforementioned Beck's Bolero was finally
released on this album. Ron Wood, known primarily as a guitarist,
lays down some of the most musical, and obviously unrehearsed rock
bass lines ever.
Beck at this time was jamming with Clapton, Page and Hendrix. It
must have been a very exciting time to witness the explosion of the
rock guitar gods, or “kings” as Friedlander refers to them.
Truth was a celebration of the heaviest rock and proto-metal
yet committed to vinyl, and if this was Beck's only output it would
still be enough to guarantee Beck's place in rock history. He
released one more album, Beck-Ola before Stewart and Wood
would depart for the Faces. He was however, far from finished.
Jeff Beck was never one to be enticed into the rock and roll
lifestyle. He disdained the dangerous drugs and alcohol so prevalent
in the 60s, and had a difficult time staying healthy when touring.
He preferred a quiet life in the country, surrounded by animals and
his beloved hot rods. His reputation of being difficult to work with
was apparently well founded, although much of it seems to be a result
of his lack of personal direction and weak organizational skills.
The absence of good management also played a role, and it must have
been difficult for him to deal with the success of his childhood
buddy Jimmy Page with Led Zeppelin. Zeppelin included You Shook
Me on their debut album. It sounds remarkably similar to the
version on Truth, and as Page had been in the audience
numerous times to see the Jeff Beck Group, perhaps it's not mere
coincidence. Perhaps Beck was lucky in not being more popular. If he
had been, it's entirely possible that he would have been stuck with a
reputation for one style of music.
Beck continued on in the 70s with a few different versions of JBG,
and had developed an interest in funk music. The early 70s were
alive with new music that combined elements of jazz, rock, and R&B.
Beck was always interested in exploration, and took up the challenge
with Rough and Ready
and “The Orange Album.”
The albums did relatively well,
but Beck needed more from his musicians. Wanting to be more of a
group member and less of a leader, he spent the early-mid 70s with
the group “Beck, Bogert and Appice,” and recorded some excellent
material. Beck's playing continued to develop and his reputation was
still growing.
With the album Blow by Blow (March 1975) Beck
re-established himself at the top of rock guitarists. Influenced by
John McLaughlin and the fusion jazz of the 70s, Blow by Blow was
nothing more than Beck's take on the Miles Davis-led jazz/rock
movement, but his leanings were more to the rock side and led many
new fans to appreciate the instrumental guitar virtuoso. Blow by
Blow was very well received in the U.S. and signaled a
resurgence in Beck's career, both artistically and monetarily. He
experimented with odd meters in Air Blower, Diamond Dust and
Scatterbrain. Besides developing his famous legato style, he was
reaching further into the sonic capabilities that would be a huge
influence on such legendary guitarists as David Gilmour and Eddie Van
Halen. He was breaking away from the 12 bar blues and incorporating
more complex harmonic changes. The album also contains the ballad
Cause We've ended as Lovers, and the shuffling Freeway Jam,
done in the the classic improvisational Beck style. A
first U.S. tour with the Mahavishnu Orchestra in 1975 was followed by
a second tour with Rod Stewart and the Small Faces and Aerosmith,
where guitarist Joe Perry got to know Beck and later would state,
“It's hard to say who's the best because there are so many
different styles, but for what he is and what he stands for, I'd have
to say that Beck's the best.”
Blow by Blow was a huge success for Beck. He would follow
up this masterful effort by recruiting jazz keyboardist Jan Hammer
for what was to be his second consecutive instrumental best seller,
Wired. Hammer was a huge fan, “He's the only person of his
type - which is genuine 60s rock 'n roll guitar hero - that actually
advanced anywhere beyond the 60s. You take everyone of those guys,
from Clapton down to Page and Wood or whoever, they're still sitting
where they started, haven't moved one inch. But Jeff has progressed
incredibly, because he's open to all kinds of melodic invention.”
The album contains the riveting version of Charles Mingus' Goodbye
Porkpie Hat, although Beck would strongly deny that what he was
doing could be considered jazz.
With these two albums, Beck ruled the late 70s of rock guitar. He
racked up many awards and grammy nominations, including 1976 “Best
Rock/Blues Musician” from Downbeat magazine, and the Guitar Player
Reader's Poll “Best Overall Guitarist,” “Best Rock Guitarist,”
and “Best Guitar Album.”
A self imposed five-year hiatus followed, and when Beck finally came
out to play again, it was at Clapton's urging. This resulted in their
performing together at the Amnesty International shows in 1981. In
1983 another television appearance proved the far-reaching admiration
that Beck had among guitar legends. Les Paul was the featured
performer on the new U.S. television show “Rock 'n Roll Tonight.”
When asked to select a co-star for the “Superstar jam” segment of
the show, his response was immediate: “Jeff Beck.” Les Paul cited
Beck's consistency and phrasing and said, “Among all of the players
in the rock field, Jeff has more taste and more going for him than
any of them.” The 80s were filled with reunions with many of his
old friends, and not much recording. Another testament to his
versatility was his stepping in to supply the lead guitar on Tina
Turner's classic rendition of Mark Knopfler's Private Dancer.
Beck sat back and watched as the young guitar virtuosi thrilled.
Eddie Van Halen, Yngwie Malmsteen and the hair bands of the late 80's
were all the rage. They all owed him a huge debt. He openly admired
and raved about their dedication and chops, saying he wasn't focused
enough to keep up with them. A moment of the 80s he thoroughly
enjoyed was the send-up given him in the Rockumentary “This is
Spinal Tap.” The character of lead guitarist Nigel Tufnel is a
direct take-off of Beck. The movie was graced by scenes such as Nigel
reading a Hot Rod magazine in the airport, and the classic
reference to large Marshall amps, “But, these go to eleven.”
Beck finished the 80s with the release of Guitar Shop, a
collaboration with old friend Tony Hymas and drummer Terry Bozzio.
This record sent chills up and down the collective spines of peers
and lovers of musicianship if for nothing else than the astounding
Where Were You? The false harmonics-vibrato bar
bending-volume and tone control wielding-string muting technique that
Beck mastered for this cut remains a marvel. And...He pulls it off
LIVE, leaving the likes of Van Halen shaking their heads. The album
won a Grammy award for “Best Rock Instrumental Performance of
1989.” A 28-city U.S. Tour with Stevie Ray Vaughn followed, which
included the two brilliant taking turns opening for each other and
finally joining Buddy Guy for a jam a Buddy's House of Blues club in
Chicago. Beck and Vaughn also closed each show with a guitar duel on
Goin' Down.
Jeff Beck has continued recording and guesting on other's records
through the the 90s and up to the present. He was inducted into the
Rock and Roll Hall of Fame in 2009, and has received numerous awards
including 5 Grammy Awards for “Best Rock Instrumental Performance,”
the most recent being in 2010 for Hammerhead and his
beautiful rendition of Puccini's Nessun Dorma from the opera
“Turnadot.” Both tunes are from the album Emotion
Commotion.
Jeff Beck's contributions have been monumental. Using a variety
of unbelievably simple setups: Strats, Tele's or Les Paul's driven
through a little wah and fuzz or distortion and then through Marshall
stacks or Fender Twin Reverbs, he has displayed an amazing catalog
of guitar sounds. The techniques he has developed and the accolades
from his peers are rivaled by none. He has remained true to his
ideals and been in constant search for the new. He has avoided the
temptations of stardom and drugs, and has trusted modestly in himself
and his music. For this, I believe that he deserved more than seven
short references in a 350-page book on the history of rock.
I have loved the music of The Yardbirds and of Jeff Beck since I was
a young rocker. His music and musicianship have always been a source
of amazement. Truth remains to me as fresh as the first day I
heard it. It seems to set the tone for so much of what was to
follow. I suppose this has turned into the chapter I would have
liked to have seen in Friedlander's book. I now thank him for giving
me the opportunity to write it. The research has led me to a renewed
and greater appreciation of Jeff Beck's music. How did I not go see
him at the Electric Theater in 1968?!?!
Upon receiving the October 2004 issue of Guitar Player magazine(GP),
I sat down in front of the repair counter at Glenwood Music with my
good friend Larry. Looking at the cover I was drawn to the headline:
“The 50 Greatest Tones of All Time.” Fully aware of the limited
awareness of his stature among many of the rock world, my first
thought was, OK, where did they slot Beck? I mentioned this to
Larry, who responded, “Don't worry, he's there.” I quickly
opened to page 44.
This was an article by the staff of GP about the wonders of great
guitar tone, and those who possess the best of it. The list was
arranged alphabetically to begin with, Allman Bros., Belew,
Blackmore, Bloomfield. Hmmm...no Beck. I flipped through the pages.
Page 49, The “Duh” Dozen. OK, surely he's here. AC/DC,
Clapton, Hendrix, Iommi, B.B. King, Wes Montgomery, Jimmy Page, Keith
Richards, Carlos Santana, The Edge, Van Halen, Stevie Ray. “What
the $%#&*^@?!?!” Larry is hearing it by now. My rant is
reaching a feverish pitch. “What are these people thinking? Have
they even heard of Truth?”
I settle down and begin to quietly mumble about the lack of
knowledge, and class, of the GP staff. I casually turn the page.
There, covering 2/3 of a page is an image of Beck. Ever present brown
mop of hair, sleeveless shirt, right hand cupping the whammy bar of
the famous cream Strat, no pick, left hand fingers splayed across the
strings and completely covering the neck pickup, a sly grin on his
face. The photo caption states: “Even though playing guitar is not
a competition, Jeff Beck is better than everyone.”
Below the picture and caption, it reads:
OFF THE MAP
JEFF BECK
“Most everyone would argue that Jeff Beck's tone deserves to be
listed among the top 50 Greatest - But which one? From his silky
slide work with The Tridents in 1963 to the devilishly twisted sound
spasms on the 2003 release Jeff, Beck has consistently
navigated new and uncharted tonal waters, routinely leaving other
guitarists bobbing in his wake.” The paragraph goes on to describe
a lengthy list of sounds he was responsible for, and concludes with,
“There are lots more examples, of course, and that's why Beck
couldn't be contained in either of our other categories-he's in a
class by himself.”
References
Yardbirds-The Ultimate Rave-Up
by Greg Russo
Crossfire Publications
2001
Jeff Beck-Crazy Fingers
by Annette Carson
Backbeat Books
2001
Guitar Player magazine
October 2004
“The 50 Greatest Tone of All Time”
by Matt Blackett and the staff of Guitar Player
Truth...Rod Stewart, Ron Wood and the Jeff Beck Group.
By Dave Thomson
Cherry Red Books
2006
