Smiling, Beguiling

So on to the last of the three Graham Gouldman written singles released by the Yardbirds.   In October of 1965, Evil Hearted You was released in the UK and rose up to #3 in the charts.  The opening guitar chords just blow me away every time I hear this.  I like to think of it as the sound of Thor's hammer slamming into solid rock.  The little drum para-diddle that kicks off a brief second before the first chord is just awesome.   Listen for the amazing downward spiral guitar work at 1:06.   Then in the center, Mr. Beck lets fly with a slide guitar solo that mimics the main verse melody.

In the US a different A-side was released.  Stay tuned tomorrow.

Sick At Heart and Lonely

As soon as For Your Love left the charts, the followup single was released in June of 1965.   Their second single in a row written by Graham Gouldman, Heart Full Of Soul gave Jeff Beck his first chance to be heard on a Yardbirds 45rpm.  And what an introduction it is!   Originally the lead guitar line was intended to be played on the sitar, but was replaced by the guitar due to its increased volume.  The guitar sound was processed by a fuzz box to give it that sitar-like sound.  During the chorus an acoustic twelve string guitar plays a vigorous rhythmic figure similar to what the Moody Blues would use several years later in Question.  Keith Relf delivers his best vocal to date, sounding somewhat like Eric Burdon.  This great recording sets the pattern for what is to follow - guitar-driven minor key A-sides with Mr. Beck showcasing his unique playing style.  This single peaked at #3 in the UK and #9 in the USA.

Les Yardbirds

In March of 1965 the Yardbirds next single was released in the UK.  Written by Graham Gouldman, the great sixties songwriter who furnished Bus Stop and Look Through Any Window for the Hollies and would later be a key member of 10cc.  For Your Love would be the first of three tunes penned by him that were recorded by the Yardbirds as singles.  Heart Full of Soul and Evil Hearted You were soon to follow.

The song was introduced to their manager in late 1964 by a representative of the music publisher.  Apparently he was hoping to shop it out to The Beatles, but the Yardbirds manager knew pure gold when he heard the demo and immediately snagged it for their next single.   The harpsichord opening with bongo accompaniment was light years away from the R&B sound that had been the bands hallmark up to that time.   Immediately the band had its first hit, reaching #6 in the US and #3 in the UK.  Eric Clapton was so incensed at the change in direction that he quit the band.  He suggested young session guitarist Jimmy Page as his replacement.   Mr. Page determined he was better off playing session work and suggested his friend Jeff Beck as the new lead guitarist.   Mr. Beck took the gig and the future course was set.  

You can see Jeff Beck in the French promo video below.  There is also a live YouTube performance in which he pretty darn well replicates the sound of the harpsichord with his guitar.   However this early attempt at a music video is a hoot so I went with it. 

If You Let Me I Can Tease You Baby

The first Yardbirds single in the previous post was a flop.  It failed to chart in either the UK or the US.   In October 1964 a second single was released in the UK only.  Good Morning Little Schoolgirl is definitely an improvement, with a red hot Clapton guitar solo about midway through, and the ratio of harmonica time is greatly reduced.  The old blues standard was first recorded by Sonny Boy Williamson, and the Yardbirds based their take on an updated version created by Don Level and Bob Love in 1961.

The Clapton era of the Yardbirds is about to end, and the next single will take off in a completely different direction.   Though blues tunes would remain in their repetoire, no further singles would be based on it with one amazing exception.

Early In The Morning By The Break Of Day

So here is the deal - I have been revisiting the music of the Yardbirds and have come to the conclusion that they were perhaps the most innnovative 60s band in terms of musical style and guitar work.   That said, their best work can be found on their 45rpm singles.   Their official LPs (ignoring the USA releases which cobble together singles, live takes, etc). are sadly lacking.   But not only are their singles much superior, they had a strange dual personality in that some singles were major rock'n'roll revelations into uncharted territory, while others were little pop tunes foisted on them from outside writers.   But more often than not, the pop stuff is quite good.  While the self-penned songs are sonic brick bats that pummel you into submission.

So I plan to write a post about each of their UK singles, in chronological order.  You  will note massive changes as the lead guitarist moves from Eric Clapton to Jeff Beck, and then again when Jimmy Page takes over the reigns

Starting off then with I Wish Your Would from May 1964.  Mr. Clapton keeps a lid on the guitar sound, letting lead singer Keith Relf fill the space with harmonica spasms.  This single is totally authentic to its time but frankly does not give a hint to what is just around the corner in 1965.

You Could Tell I Was No Debutante

I'm in a Blondie mood tonight after listening to I Know But I Don't Know for the first time in years.  And that sent me on a YouTube spree which unearthed a real treasure that I had totally forgotten.  From 1979's "Eat To The Beat", Dreaming was Blondie's most overt power pop song.  They flirted with PowerPop early in their career, but for me this was where they achieved pure gold. This video is from the UK Top Of The Pops. Deborah Harry certainly had a stage presence.  I had a friend from Southern California named Debbie who danced on American Bandstand back in the early 80s, and she and Ms. Harry remind me of one another.   I lost track of Debbie years ago so Deborah will have to stand in.

Dogs Part 2

Over at the always wonderful Burning Wood blog I learned of a 1968 single B-side featuring a rare and unusual quartet of 60's rock musicians.   The Dog Presides feature Paul Jones of Manfred Mann on vocals, Paul McCartney on drums, Jeff Beck on guitar and Paul Samwell-Smith of the Yardbirds on bass.   Amazing song - it rocks like nobody's business.   Beck and McCartney go to town and Paul Jones layers one of Beck's psychedelic guitar journeys with a ripping harmonica solo.   The world may not have been changed as a result of the recording of this song, but it sure is fun to hear a group of excellent musicians working outside of their usual band and having a blast doing it.