Truth by The Jeff Back Group

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Truth by Jeff BeckThere probably has never a debut album like Jeff Beck‘s 1968 solo debut, Truth. This album, of unique interpretations of diverse covers, introduced the talents of future superstar Rod Stewart on lead vocals as well as bassist Ronnie Wood, pianist Nicky Hopkins and the combo future Led Zeppelin members John Paul Jones and Jimmy Page. Further, the choice to focus on hard-edged, guitar-centric, blues-based rock on this debut album pivoted from Beck’s previous solo output which focused on pop-based singles.

Beck was introduced to R&B by Rolling Stone Ian Stewart in the early 1960s, which set the course of his young music career. Through 1963 and 1964 he played in several groups around London, including the Rumbles and the Tridents, while also scoring some gigs as a studio session player. Following the sudden departure of Eric Clapton from The Yardbirds in early 1965, Beck was recruited on the recommendation of Page, a fellow session musician. Beck was present for The Yardbirds commercial peak, including several successful singles and the albums For Your Love in 1965 and the untitled album which became known as “Roger the Engineer” in 1966. Beck launched his solo career with a series of pop singles through 1967 and early 1968 which resulted in three Top 40 hits in the UK.

Aside from the session for the Page-composed track “Beck’s Bolero” in May 1966, recording sessions for Truth took place over just four days in May 1968 with producer Micky Most. The ten-song album features three blues-based original tracks composed by Beck and Stewart.


Truth by The Jeff Beck Group
Released: August, 1968 (EMI)
Produced by: Micky Most
Recorded: Abbey Road Studios, Olympic Sound Studios & De Lane Lea Recording Studios, London, May 1968
Side One Side Two
Shapes of Things
Let Me Love You
Morning Dew
You Shook Me
Ol’ Man River
Greensleeves
Rock My Plimsoul
Beck’s Bolero
Blues De Luxe
Ain’t Superstitious
Primary Musicians
Rod Stewart – Lead Vocals
Jeff Beck – Guitars, Bass, Vocals
John Paul Jones – Organ, Bass
Nicky Hopkins – Piano
Ronnie Wood – Bass
Micky Waller – Drums

 

The album commences with an interesting hard rock remake of The Yardbirds’ 1966 hit “Shapes of Things”. Here, the drums of Micky Waller really stand out throughout as the song features deliberate sections including a unique, the mid-section jam. A definite Cream influence is heard on the original heavy blues rocker, “Let Me Love You”, with a quick turn of co-lead vocals by Beck during the first chorus. Towards the end of the song, Beck’s guitar and Stewart’s vocals do call and response, a technique later borrowed by Page and Robert Plant on Led Zeppelin’s early albums. “Morning Dew” is an oft-covered track by folk singer Bonnie Dobson, with this album’s version focusing on Wood’s thumping bass and a subtle wah-wah-laden guitar throughout.

Next comes Willie Dixon‘s “You Shook Me”, a song first released by Muddy Waters in 1962. This happy-go-lucky version finds Beck, Jones and Hopkins all competing for lead instrumentation during its short duration, in contrast to a more extended Zeppelin cover recorded later in 1968. “Ol’ Man River” is a composition which dates back to the 1920s, with this version showcasing Stewart’s vocals better than any other track n the album, while “Greensleeves” has roots back to the 1500s. This second side opener offers a nice acoustic break to add warmth to the album and further showcase Beck’s diversity as a guitar player. “Rock My Plimsoul” is another original of authentic multi-textured electric blues.

Jeff Beck Group 1968

The hauntingly beautiful “Beck’s Bolero” was recorded while Beck and Page were active members of the Yardbirds and it offered a glimpse into rock n roll’s future back in 1966. Joining the guitar duo on this instrumental was Hopkins, Jones and Who drummer Keith Moon as they re-create a Spanish ‘bolero’ with a highly electric feel led by the Beck’s ethereal Les Paul riff in the main theme. Later, a second part is introduced by Moon’s thundering drums leading to section exemplifying the earliest form of heavy metal music. “Blues De Luxe” is an extended, half jocular original complete with canned studio applause and an impressive, extended piano lead by Hopkins. The album concludes with an indelible cover of Dixon’s “I Ain’t Superstitious” featuring a wild wah-wah guitar which is showcased through strategic stops. After Beck does much indulgence, Waller gets the final album thrill with a short drum solo before the collaborative crash which concludes the album.

Truth peaked at number 15 on the Billboard charts and its influence on future music is immeasurable. A 1969 follow-up album called Beck-Ola was recorded and released by much of this same group before the members went on to other musical endeavors. Despite being offered a slot with The Rolling Stones following the death of Brian Jones, Beck decided to re-form the Jeff Beck Group with new members into the 1970s.

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1968 Images

Part of Classic Rock Review’s celebration of the 45th anniversary of 1968 albums.

 

Having a Rave Up
by The Yardbirds

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Having a Rave Up by The YardbirdsHaving a Rave Up with The Yardbirds is an oddly constructed mish-mash of recent singles, new recordings, and live tracks recorded over 19 months prior to this album’s release. Still, this late 1965 release captures the heart of The Yardbirds from many different angles and laid a firm foundation for the heavy blues rock which would dominate the music world for decades to come. The songs on this album straddled between live and studio tracks as well as the group’s earlier pure blues and later psychedelic rock. Side one features (then) current lead guitarist Jeff Beck while Side Two features older live recordings with former guitarist Eric Clapton, songs which were previously released in England on the 1964 album, Five Live Yardbirds.

That live album failed to reach the charts and was subsequently not issued in the US or any other part of the world. Clapton soon departed as he considered himself a blues purist and didn’t like the commercial approach being forged with tracks like the hit single, “For Your Love”. Released in June 1965, the album For Your Love, was the group’s first international release and featured songs with both Clapton and Beck on lead guitar. Later in the summer, The Yardbirds embarked on their first US tour and decidedly shifted their focus towards the American market.

Some of the studio tracks for Having a Rave Up were recorded during that first American tour at Sam Phillips Recording studio in Memphis and Chess Studios in Chicago. The album was co-produced by Giorgio Gomelsky and group bassist Paul Samwell-Smith. Smith also helped give the album its title as he forged many of the “rave up” arrangements during the middle instrumental sections of several songs, especially those on the “live” side of the album.


Having a Rave Up by The Yardbirds
Released: November 15, 1965 (Epic)
Produced by: Giorgio Gomelsky & Paul Samwell-Smith
Recorded: London, New York, Chicago, Memphis, March 1964–September 1965
Side One Side Two
You’re a Better Man Than I
Evil Hearted You
I’m a Man
Still I’m Sad
Heart Full of Soul
The Train Kept A-Rollin’
Smokestack Lightning
Respectable
I’m a Man
Here ‘Tis
Group Musicians
Keith Relf – Lead Vocals, Guitars, Harmonica
Jeff Beck – Lead Guitars
Eric Clapton – Lead Guitars
Chis Dreja – Guitars
Paul Samwell-Smith – Bass, Vocals
Jim McCarty – Drums, Vocals

The understated but fantastic opener, “You’re a Better Man Than I”, launches things with advanced rock techniques and message. Production wise, there is a subtle play on amplitude to give a serious and somber effect and bring out the rolling bass and drums along with the catchy and hip melodies by vocalist Keith Relf. The song was written by brothers Brian and Mike Hugg and it features a sustain-heavy guitar lead by Beck. Group collaborator Graham Gouldman composed the guitar-driven “Evil Hearted You” which was a major hit for The Yardbirds in Britain. Here, Beck inventively uses Spanish scales and odd chords before the group launches into their first frantic, rave-up bridge.

Next comes a distinct and souped-up version of the Bo Diddley classic “I’m a Man”. This studio recording of the song was recorded at Chess Studios and it packs much into its two and a half minute duration while still remaining a loose and fun jam. Relf’s harmonica really shines as the main lead instrument here, with guitarists Beck and Chis Dreja contributing nicely to the frenzied end jam. On the second side is another fine but not quite as potent version led by Clapton’s guitars. “Still I’m Sad” is the only fully original composition on the album, co-written by Smith and drummer Jim McCarty. This track takes a radical turn as a dark folk song with monk-like chanting persisting throughout to a steady, slow beat.

The heart of the album comes at the end of the first side, starting with Gouldman’s “Heart Full of Soul”. Starting with a slightly Indian-influenced guitar riff by Beck, the song features a good mixture of rock elements with superb production and a perfect mid-sixties vibe, “Heart Full of Soul” reached the Top 10 on both sides of the Atlantic. “The Train Kept A-Rollin'” would become the classic late sixties jam song with renditions by countless bands following this version by The Yardbirds. Relf recorded two lead vocals for an odd effect, which becomes more of a distraction, but this is counterbalanced by a couple of great jam sections with over-driven guitars and shuffling rhythms.

The Yardbirds in 1965

The four remaining songs were renditions of traditional blues classics recorded live with Eric Clapton in London in March 1964. While these are not the best recordings, as the bass and drums are too loud and the lead vocals are a bit too low in the mix, the energy of the performances nevertheless seeps through. Howlin’ Wolf’s “Smokestack Lightning” is the best of these as a sixties rock interpretation of a pure blues song. The Isley Brother’s “Respectable” is fast and frantic, with early reflections of the latter ska genre, while the closing “Here ‘Tis” features great bass with a scat, chanting vocal chorus in the background and wild, frenzied guitar picking along with rapid percussion.

Having a Rave Up with The Yardbirds was the Yardbirds’ highest charting album in the US during their active career and a later re-issue was packaged with eleven additional bonus tracks. These include the popular single, “Shapes of Things”, a group original which lies on the cutting edge of sonic evolution, and “New York City Blues”, a true precursor to the Led Zeppelin blues sound several years later.

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1965 Page

Part of Classic Rock Review’s celebration of the 50th anniversary of 1965 albums.

 

For Your Love by The Yardbirds

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For Your Love by The YardbirdsAbout four years ago, we reviewed the 1966 album by The Yardbirds commonly known as “Roger the Engineer”, which saw the final days in the band for guitarist Jeff Beck. Today, we circle back to Beck’s earliest days with the group when he replaced Eric Clapton during the later stages of the debut studio album For Your Love, which was released 50 years ago today on June 13, 1965. The music on For Your Love was recorded over an extended time and features many different compositional styles.

The Yardbirds were formed in London in 1963 and got their name from a nickname of jazz saxophonist Charlie Parker. They got their first break by taking over for the Rolling Stones at the Crawdaddy rhythm and blues club. Here the quintet forged their reputation and were soon enlisted to be the backing band for Sonny Boy Williamson when he toured England in 1964. Clapton was complemented by rhythm guitarist Chris Dreja and vocalist/harmonica player Keith Relf, who all helped the band forge their distinct style of American-inspired English blues. The group’s first release was the December 1964 live cover album Five Live Yardbirds, which featured tracks that would later be reused for the late 1965 album Having a Rave Up.

The group’s manager Gorgio Gomelsky produced the album through the hodge-podge method of assembling previously released singles and B-sides. In total, the album contains mostly covers and outside compositions along with a few group-penned originals, but it all makes for a fascinating peer into this moment in rock history.


For Your Love by The Yardbirds
Released: June 13, 1965 (Epic)
Produced by: Giorgio Gomelsky & Manfred Mann
Recorded: London, March 1964–April 1965
Side One Side Two
For Your Love
I’m Not Talking
Putty (in Your Hands)
I Ain’t Got You
Got to Hurry
I Ain’t Done Wrong
I Wish Your Would
A Certain Girl
Sweet Music
Good Morning Little Schoolgirl
My Girl Sloopy
Group Musicians
Keith Relf – Lead Vocals, Harmonica
Eric Clapton – Lead Guitars
Jeff Beck – Lead Guitars
Chis Dreja – Guitars
Paul Samwell-Smith – Bass, Vocals
Jim McCarty – Drums, Vocals

The album commences with its title song, which was at once the first real hit for the band as well as the single song which made Clapton decide to depart. “For Your Love” was presented to the band by publisher Ronnie Beck and everyone in the group, aside from Clapton, loved it. Written by then 19-year-old Graham Gouldman, the song contains a distinct harpsichord by session man Brian Auger and is overall a strong departure from the blues-rock style of most of the other material on the band. Still, it was melodic and catchy and peaked in the Top 10 on the pop charts of both the UK and US. Clapton played the sessions for this song and then immediately left the group.

When Clapton departed, Gomelsky asked Jimmy Page, then the top session man in London, to join the group. However, Page was busy and happy with his session work and suggested Beck, who was sort of an understudy, for the position which Page would ultimately fill himself a few years later. Beck immediately makes an impact on “I’m Not Talking”, with its  heavy rock, crunchy riffs and rudiments along with great rhythmic elements by bassist Paul Samwell-Smith and drummer Jim McCarty. “Putty (In Your Hands)” contains a cool 60s groove while the bridge has some jazz elements, while Calvin Carter’s blues classic, “I Ain’t Got You”, features the fine harmonica playing by Relf for the first time on the album.

The Yardbirds“Got to Hurry” is the first real original composition as an instrumental credited to Gomelsky (as “Oscar Rasputin”), but really a jam composed by the group. Rhythmically, this instrumental has surf music elements while it also acts as a showcase for Clapton’s bluesy leads. “I Ain’t Done Wrong” is a driving rocker with blues vocals by Relf and some great rudimental riffs thrown in for fun, while “I Wish You Would” is another blues standard with consistent, upbeat guitar rhythm by Dreja and Relf adding harmonica between every line during the verses. This side two opener also has a bridge section which builds towards a frenzied crescendo and was released as a single in August 1964. Although “A Certain Girl” was just the ‘B-side’ for the previous track, but is the first real shot at pop with a bright sound, strong melody, call and response vocals, and a blistering pop lead by Clapton which sounds like a souped-up Byrds lead.

The Yardbirds sound like a whole different band on “Sweet Music”, a song produced by Manfred Mann who also brought in some outside session players and vocals. The track is interesting because of the players involved, but really out of place on this album. In contrast, “Good Morning Little Schoolgirl” is pure fifties-style pop style with harmonized vocals, Relf’s fine harmonica, and an outstanding, bluesy lead by Clapton. The song was originally composed and recorded by Williamson nearly three decades earlier. “My Girl Sloopy” is an interesting album closer as a fun rendition of a song which had not yet been made famous as “Hang On Sloopy” by The McCoys. The vocals here are odd but entertaining, especially the exaggerated high pitched harmonies and this extended track adds some Beatles elements.

While For Your Love barely broke the Top 100 on the album charts, it set The Yardbirds up for their first American tour, where Beck began to forge his own sound as well as help direct the group’s evolving sound through the mid sixties.

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1965 Page

Part of Classic Rock Review’s celebration of the 50th anniversary of 1965 albums.

 

Private Dancer by Tina Turner

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Private Dancer by Tina TurnerThe story surrounding Tina Turner and her remarkable comeback with Private Dancer is the stuff of Hollywood movies. In fact, it was a Hollywood movie, and this remarkable vocalist who got her start nearly three decades earlier made the biggest commercial splash of her career in 1984. The fifth overall solo album from Turner since leaving her ex-husband Ike’s band in 1976, this was Turner’s debut for Capitol Records after she had absurdly been left without a recording contract during several previous years. When the album that so many record executives were hesitant to make was finally released to the public, it was a tremendous smash world wide.

Just a few years earlier, no one could have imagined that this longtime star of the soul genre would become the top performer on the pop charts, and do so without compromising her musical repertoire. In the late 1970s, Turner made her living through various television appearances and Las Vegas-style gigs and her initial solo albums reflected this strategy musically. In 1982, Turner met A&R man, John Carter, who promised her a new record deal.

Carter also set about finding the right songs for Turner, which she recorded at several different studios and with several different producers. However, while recording was in process a new regime of executives at Capitol and initially planned to drop Turner. The new label president called Roger Davies and summarily dropped Tina Turner from the roster. Carter fought hard to keep her on and the label was more than rewarded when Private Dancer spawned seven singles.


Private Dancer by Tina Turner
Released: May 29, 1984 (Capital)
Produced by: Terry Britten, John Carter, Leon Chancler, Wilton Felder, Rupert Hine, Joe Sample, Greg Walsh & Martyn Ware
Recorded: England, 1983-1984
Side One Side Two
I Might Have Been Queen
What’s Love Got to Do With It
Show Some Love
I Can’t Stand the Rain
Private Dancer
Let’s Stay Together
Better Be Good to Me
Steel Claw
Help!
1984
Primary Musicians
Tina Turner – Lead Vocals  |  Terry Britten – Guitars, Vocals
Rupert Hine – Bass, Keyboards, Percussion, Vocals  |  Jack Bruno – Drums

Bassist and producer Rupert Hine was enlisted to work on several tracks on Private Dancer, starting with the opener “I Might Have Been Queen”. The song was co-written by Jamie West-Oram, lead guitarist of The Fixx, a band which Hine had recently produced with great success. The song was written specifically for Turner and its lyrics reflect Turner’s belief in reincarnation. “What’s Love Got to Do with It” is the most popularly sustained song from the album, due in part to the later movie of the same name. Turner’s vocal and melodic delivery are masterful in both their ascent and constraint. Written by guitarist Terry Britten and Graham Lyle, the song topped the charts in the Summer of 1984 and marked the undeniable moment of Turner’s comeback success.

“Show Some Respect” is another song written by Britten with a decidedly eighties synth and funk approach. One of the later songs released as a single, this track became a Top 40 hit in 1985. Britten also produced the next track, “I Can’t Stand the Rain”, a remake of of the 1974 hit for Ann Peebles. The album’s title song was written by Mark Knopfler of Dire Straits, who wrote the song for his band’s Love Over Gold album, but ultimately decided he didn’t want to sing a song from a female perspective. Ironically, Knopler is the only member of Dire Straits not to appear on Turner’s version of the song, which also features a guitar solo by the legendary Jeff Beck.

Private Dancer‘s second side begins with a cover of Al Green’s “Let’s Stay Together”, which turner released in late 1983, well ahead of the album. While Turner remains faithful to the original, she also adds some unique delivery to this track which topped the Billboard Dance chart. “Better Be Good to Me” is the most pop/rock oriented song on the album, originally intended for Pat Benatar. Produced by Hine and composed by the team of Holly Knight, Mike Chapman, and Nicky Chinn, the song reached #5 on the pop charts.

The album winds down with three lesser known recordings. “Steel Claw” was written by Paul Brady and features a lineup similar to “Private Dancer”, with members of Dire Straits (sans Knopfler) and Beck adding a solo. The Beatles’ “Help!” is delivered in a gospel-tinged by Turner, in a rendition she had been working on since the early eighties. David Bowie’s “1984” concludes the album as an electronic track that pays homage during the actual year it was written about.

Private Dancer reached the Top 10 in over a dozen countries, sold over eight million copies, and won four Grammy’s for Turner. Capitalizing on this immense popularity, Turner went on a World tour through 1985, which included over 170 dates on three continents.

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Part of Classic Rock Review’s celebration of the 30th anniversary of 1984 albums.

 

“Roger the Engineer”
by The Yardbirds

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Roger the Engineer by The YardbirdsThe Yardbirds put out their strongest album ever in 1966 as well as their only album of all original material. It originally had an eponymous title but has come to be known as Roger the Engineer because of the sketch (drawn by guitarist Chris Dreja) on the album’s cover of Roger Cameron, the album’s engineer at Advision Studios in London. The album was co-produced by bassist Paul Samwell-Smith, who left the band shortly after and was replaced by Jimmy Page, who filled in on bass until Dreja mastered the instrument and Page returned to his primary instrument, the electric guitar. But the central influence that shaped the sound of this album was the innovation and experimentation of lead guitarist Jeff Beck. His heavy blues and guitar distortion is considered by many to be the earliest precursor to heavy metal.

Beck joined the Yardbirds in May 1965 after founding guitarist Eric Clapton decided to leave the band. With Beck, the group began to expand their heavy blues base into different sects of rock and roll including unexplored areas of psychedelia, middle-aged chants, and Indian-influenced music. Primarily a singles-oriented band, each 7-inch release by The Yardbirds added new dimensions to the band’s sound or expanded on the ideas of the previous single. With Beck’s first full album with the group and the band’s first attempt at an album of all-original material, the band brought this experimentation to a new level, while still holding on to the core of blues roots.
 


The Yardbirds by The Yardbirs
Released: July 15, 1966 (Atco Original)
Produced by: Paul Samwell-Smith & Simon Napier-Bell
Recorded: Advision Studios, London, Spring-Summer, 1966
Side One Side Two
Lost Woman
Over, Under, Sideways, Down
The Nazz Are Blue
I Can’t Make Your Way
Rack My Mind
Farewell
Hot House of Omagarashid
Jeff’s Boogie
He’s Always There
Turn into Earth
What Do You Want
Ever Since the World Began
Band Musicians
Keith Relf – Lead Vocals, Harmonica
Jeff Beck – Lead Guitars, Vocals
Chris Dreja – Guitars, Piano, Vocals
Paul Samwell-Smith – Bass, Vocals
Jim McCarty – Drums, Percussion, Vocals

 
The album starts strong with “Lost Woman”, with a driving bass line and some fantastic dynamics from the guitar-free verse to guitar-intense chorus. The bridge contains a drum run with harmonica, guitar and bass spread out nicely, leading to a simmering guitar jam by Beck that ever intensifies towards the end.

“Over Under Sideways Down” may be the most popular song on the album due to its catchy, mid-eastern-inspired guitar riff over an upbeat, bluesy bass line, almost like two songs put together. The song was co-written by drummer Jim McCarty, who plays a classic rock beat throughout, holding the song together nicely while the fine lyrics paint a picture of the “upside-down” nature of fame.

Jeff Beck’s sole foray into lead vocals is on his pyschedelic blues song “The Nazz Are Blue”, a fine example of the better results of experimentation on this album. In the heart of the album are several more experimental and avant garde songs, such as “Hot House of Omagarashid” and “Turn Into Earth”, each driven by a steady, percussive beat an odd, sometimes haunting chants along with other sound effects. There are also a fair share of standard, upbeat blues songs like “Rack My Mind”, with a simple guitar riff and harmonica and the instrumentals “Farewell” and “Jeff’s Boogie”, where Beck shows off some fascinating speed technique for the day. “I Can’t Make Your Way” is almost folk, with multiple vocal harmonies and harmonica by Relf, and an edgy guitar interlude which sparks some life in the song. “He’s Always There” combines a Bossa-nova beat with a rock arrangement, something that would be expanded upon later by The Doors as well as directly sampled by The Pussycat Dolls.

The Yardbirds in 1966

Two songs which were not originally included on the album, but have been included on all modern day pressings of the album are “Psycho Daisies” and “Happenings Ten Years Time Ago”. Recorded after the departure of Samwell-Smith, both tracks include the dualing lead guitars of Beck and Page, one of the few Yardbirds recordings to do so. “Happenings Ten Years Time Ago” also includes Page’s future Led Zeppelin bandmate John Paul Jones as the session bass player and has become a classic song in its own right with its frantic guitars and erratic, psychopathic rhythm.

A bold and innovative album, “Roger the Engineer” has been described as a heavy blues oriented version of a Beatles album. Unfortunately, The Yardbirds would never again make an album like this. By October 1966, Beck was out of the group and Jimmy Page took the forefront as the band’s lead guitarist and producer. The next two years saw the original Yardbirds unravel as each member, save Page left to pursue other interests. Undaunted, Page went on to find replacements for the departed members in singer Robert Plant, drummer John Bonham, and Jones on bass to form “The New Yardbirds”, which eventually became Led Zeppelin.

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1966 Images

Part of Classic Rock Review’s celebration of the 50th anniversary of 1966 albums.