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MUSIC: Beck's
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This programme Contains
some strong language.
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I was taken there by a girlfriend
as a tourist about 1966.
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She took me in and i wandered in
onto the stage, and it just
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struck me, "This is the most famous
place in Hollywood, isn't it?"
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And I just thought,
"We'll never play here."
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And 50 years later,
I had my own show there.
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He's a maverick,
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a maverick guitar player who doesn't
like to repeat himself, who takes
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big risks all the time, has done so
all the way through his Career.
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The guitar player
who builds hot rods.
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I mean the two
go very well together.
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There's been a lot of wake-up calls
for me watching Jeff
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and listening to Jeff play
and working with Jeff.
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It's always intriguing, you know?
And he's a great musician.
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He has so much to offer that...
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..you know, he's been able
to carve his own path.
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Music draws people together,
and somebody lights a touchpaper
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and it goes bang and that's it.
He makes you feel, like, impoetant,
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like what you have to offer's
a beautiful thing.
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Most guitar fans just play guitar,
and Jeff can make it sing.
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Jeff has got effects
up the ying-yang when he"s recorded,
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but live he brings it
to a different level.
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Part of Jeff's mystique
is that he likes being mysterious.
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He's a bit of an unsung hero
to the masses.
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Part of that is due to
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many albums not having vocals.
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I told him that he was the Pablo
Picasso of electric guitar and
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he said back to me,
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"I would think i was more
the Jackson Poliock."
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And I was like, "Touche!"
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It"s so instinctive
and it's so exciting to be around,
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because you just don"t know
what's going to happen next.
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This is not paint by numbers,
this is the muse,
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and the muse is going to say
what it"s going to say.
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And he lets it happen, and, "Next!"
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He's such a forward thinker
and an innovator.
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He's just always
reaching for a new thing.
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Jeff is an incredible artist,
and i always have an affinity
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for male artists
who can find fantastic
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female artists to accompany them.
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Jeff is the guy who took
the instrument of guitar to the
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furthest reaches
of guitar universe.
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And nobody even come close.
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Everybody respects Jeff.
He's an extraordinary musician,
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and he's developed a technique
which is so complex it's just
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a beauty to behoId and to hear
and to feel his playing.
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He's having a conversation
with you when he"s playing,
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it's just he's not singing.
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He gets sounds that
no other guitar player gets.
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He bends notes like no other
guitar player. You know?
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He was - and is still - the most
original guitar player ever.
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My mum played the piano
so, being in close proximity to her,
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music was always around.
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She was either playing the piano
or sticking me in the living room
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with the radio, so there'd be
whatever was on at the time.
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She had very strict ideas and hopes
of what she wanted me to be.
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I would love to play the piano,
but it"s already done.
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And after i heard Art Tatum,
there was
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a good enough reason never to
ever sit in front of a piano again!
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I just thought, "There's
no place for another pianist."
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I didn't feel that was my destiny,
whereas guitar,
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I didn't have to think about it.
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I wouldn't have cared if it had been
the worst waste of my life,
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I still wanted to be alone with it
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and just pour my feelings into it.
It responds so readily to touch.
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The radio was never off. I think my
mum put it there just to shut me up.
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# Somewhere there's music
How faint the tune
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# Somewhere there's heaven
How high the moon
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# There is no moon above
When love is far away, too
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# Till it comes true... #
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And the Les Paul influence was
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because some programme or other had
How High The Moon, and every time it
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Came onto the radio,
I would run to the kitchen
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and say, "Mum, what's this?"
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She said, 'i've read about that guy.
He's just a box of tricks.
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""He's a phoney." i went...
"This is interesting!""
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Electric guitar, phoney -
you know, to a kid, it"s intriguing.
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She said, "Well, it was revealed
that he can't play that fast,
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"it's all sped up."
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And I said, "Well, I like
the sound he's making.
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"It doesn't matter if it's sped up."
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I was interested in the guitar solos
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on the records
my sister was playing.
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Hound Dog for example. Rock
Around The Clock. This was heaven!
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And I staeted to analyse sound
in great detail.
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Eddie Cochran had a slap echo.
Cliff Gallup had a slap echo.
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It was just too good. Those records
still sound astonishingly good.
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Once i got to know Jeff and talked
to him about his influences,
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he liked that guy that was with
Gene Vincent a lot, you know,
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Cliff Gallup.
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My sister went to the Sutton Granada
and saw this film,
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and she said "You have to see it.
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"It"s just the most amazing
TechniColor film of everything
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"you like, everything we like."
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And I went with some friends to see
VinCent and the Blue Caps in colour.
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It was life-changing. That is the
best rock and roll film ever made.
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Everything that I loved
seemed to be coming from America -
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the cars, the music. I couldn't see
any way of ever getting there.
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I'm talking about no money at all.
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My sister came in one day
from school
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and threw this piece of paper
with a phone number on it.
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"Here's the number of
a geek at school who"s got
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"a weird-looking guitar like yours."
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And she agreed to take this bus ride
over to Epsom where we
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knocked on the door
and this fresh-faced little kid
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answered the door,
and he invited us in.
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Well, he came round to my house.
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I was living at home,
of course, with my parents.
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And Jeff came in
and he had a home-made guitar,
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and i also had a home-made
guitar there as well.
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And we just soet of
Clicked immediately.
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It was like two brothers,
you know, almost.
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It was just a joyous thing, to find
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somebody else who had
this Common interest.
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He'd come round
and we"d soet of hang out
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and i'd play records to him.
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He had equipment. He had
a tape recorder and all the goodies
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and a great reCord collection,
mouthwatering collection.
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I had such an electric mix
of recordsI even as a teenager.
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It was a great adventure,
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finding other people who might
know a different chord to you or
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finding a record shop
where they were importing, say,
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Vee-jay records - this is
a Chicago movement of the fifties,
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a blues movement - as opposed to
all the Chess catalogue.
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And there was lots of
pilgrimages involved.
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And all of those guitarists
from that point,
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we aIl learnt from records.
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So we used to sit there listening
and go baCk over the solo.
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Never mind the song,
never mind the singer!
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"What the hell"s THAT going on?"
You know?
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"How is this sounding like
a ricochet effect?
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"And why does it sound so exciting?"
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You wanted to see if you Could
play what was on them.
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It was quite an acComplishment
to hear something that was really,
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really amazing to you and
really moved you but then really,
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actually, work towards
being able to play it.
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You"ve got a paetner in crime,
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you've got somebody
to hammer out ideas.
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When you've learnt something
that sounds reasonably impressive,
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you want somebody to see
what they think of it.
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We were really, really keen
on exactly the same things,
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with the Gene Vincent records
and Ricky Nelson records.
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There were always fine
guitar solos by James Burton,
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and one of the things that we would
ask of each other was,
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"What's your version of My Babe?"
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"OK, yeah. What's your version?"
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That seemed to be a soet of communal
ground between most guitarists
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around that time, to see how well
other guys could cut this solo.
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MUSIC: My Babe
by Ricky Nelson
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I used to Iove going over there.
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To have something that was
so close to my heaet and to my ears,
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as well it hit all the jackpots.
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It seemed like everybody was Coming
out of aet school in the 'SOs,
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when rock and roll first staeted
to reach out from America to here.
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It was a great way of escaping
any form of work, I think
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any form of day job!
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I did love it. i did love the fact
that there was a place you could go
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and draw and learn
the basics of art.
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I had two years of great fun there.
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But the music took over, because
midweek there was a gig in a town
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not far from where I lived and that
kept me going, just that one gig.
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And then two gigs a week
Came in, and so on.
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And, unfoetunately, i had to bail
before the end of the course.
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Music was our hobby, and then
we ended up being professionals.
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When the Yardbirds came about, Eric
was the force to be reckoned with.
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They had Eric, so why did they
want me? I don't understand that.
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They were looking for hit records,
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and we weren't making
any music of that nature.
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His name was used as a replacement.
They were telling me,
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in a way I wasn't that vital to the
organisation. So i went to see him -
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he was with the Tridents -
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because I wanted to see, was he
really as good as they made out?
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And he had all these sound effects
going on, and i thought, "My God!
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"I'm gone. i'm Iong gone."
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I actually thought
about retiring then
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because I thought, "i'm in
the wrong business."" You know?
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But seeing jeff, i thought,
"Well, they're on to a good thing!"
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SCREAMiNG
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# Sick at heart and lonely... #
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I liked the Yardbirds a lot. I liked
that Heart Full Of Soul and the...
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..sitar-like playing of Jeff's.
He's such a distinctive player.
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He didn't follow
anyone else, really,
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just Completely out there
on his own.
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They had a sitar player
in the studio,
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and he was thinking in sort of
1 3-and-a-quarter time signature!
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And they said, "No, it's 4/4."
HE iMITATES THE MELODY
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And I said,
"It's soet of like this."
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And I got the octave, the G octave,
and then played...
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And I said, "Why the hell have
we got him here? I can play that!"
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I think he was a hard-rock
pioneer from day one.
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He was doing stuff that didn't exist
except for him.
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When i first heard the Yardbirds,
when i heard jeff's playing,
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00:12:01,420 --> 00:12:05,499
it was noticeably different,
even then, to my young ears.
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There was a sound to his guitar
that kind of stood out
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and was different from the usual pop
stuff. There was something about it,
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00:12:12,880 --> 00:12:17,379
the notes he was playing, I mean,
that was more lyrical to me.
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00:12:17,380 --> 00:12:19,959
And within a month,
we were flying over to America!
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00:12:19,960 --> 00:12:21,759
Not only had i been to America,
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but i'd recorded at the famous
Sun Studios AND Chess Records.
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MUSIC: Shapes Of Things
by the Yardbirds
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# Shapes of things before my eyes
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# Just teach me to despise
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# Will time make man more wise?... #
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Shapes Of Things, amazing.
I remember that distinctly.
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"How is it we've had to come
this far to get the sound we want?"
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In England,
the studios didn't get it.
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00:12:54,200 --> 00:12:56,659
The engineers back in England
were all pure,
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they didn't like anything
that rattled or squeaked.
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I wentI "Bring on the squeaks!
We don"t care about that!"
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00:13:04,120 --> 00:13:06,019
Instantly, you hear the playback,
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00:13:06,020 --> 00:13:09,419
we were all looking at each other
going, "This is the stuff."
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00:13:09,420 --> 00:13:14,419
Jeff would come round
and he'd play me the sort of first
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00:13:14,420 --> 00:13:18,879
Cuts of the reCords, and I remember
him playing Shapes Of Things.
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00:13:18,880 --> 00:13:21,499
And when it came to
the solo, i thought,
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00:13:21,500 --> 00:13:24,239
"This is the most
extraordinary solo."
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00:13:24,240 --> 00:13:27,899
Ravi Shankar was playing quite a big
paet in the Beatles and stuff,
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00:13:27,900 --> 00:13:30,719
and i used to sit over
at Page's house iistening to ragas
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00:13:30,720 --> 00:13:35,499
and Vilayat Khan and Ravi Shankar
and just marvelling.
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00:13:35,500 --> 00:13:39,259
How could this be adopted
in the guitar, this bending of the
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string to such an extent that you
Could play a melody with one bend?
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00:14:00,500 --> 00:14:05,259
The work that Jeff did
in the Yardbirds was of paramount
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00:14:05,260 --> 00:14:07,419
impoetance to guitar-based groups
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00:14:07,420 --> 00:14:11,619
because he had an incredible ear
and he set an amazing standard,
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00:14:11,620 --> 00:14:16,239
and also that his technique
was extraordinary, as well.
226
00:14:16,240 --> 00:14:18,999
And I must say, when i heard that,
227
00:14:19,000 --> 00:14:23,719
I really understood what Jeff
was really capabie of.
228
00:14:23,720 --> 00:14:28,139
The Yardbirds had a crazy manager,
and i remember Giorgio freaking.
229
00:14:28,140 --> 00:14:31,759
Steam was coming out of his ears
when i played that song.
230
00:14:31,760 --> 00:14:34,239
"This is exactly why
you"re in this band.
231
00:14:34,240 --> 00:14:40,539
"You are opening up surreal avenues,
like avant-garde avenues,
232
00:14:40,540 --> 00:14:43,139
"for the guitar in this band."
233
00:14:43,140 --> 00:14:45,119
Giorgio was great but i think
234
00:14:45,120 --> 00:14:47,999
there was some skulduggery
going on with the money.
235
00:14:48,000 --> 00:14:50,999
I don't know. All i know is
I never made any of it.
236
00:14:51,000 --> 00:14:53,619
I think i must have threatened
to leave unless they got rid of him.
237
00:14:53,620 --> 00:14:57,079
Then Simon Napier-Bell appeared
and agreed to take over.
238
00:14:57,080 --> 00:14:59,779
Within five minutes,
jimmy Page is in the band
239
00:14:59,780 --> 00:15:02,779
and we were on the set of Blow-Up.
240
00:15:02,780 --> 00:15:05,199
And nobody knew what it was going to
be like, as most movies,
241
00:15:05,200 --> 00:15:06,499
they don"t really tell you.
242
00:15:06,500 --> 00:15:09,299
But I was just told that Antonioni
was a great director
243
00:15:09,300 --> 00:15:12,359
and surreal, and itjust
seemed like a cool thing.
244
00:15:12,360 --> 00:15:15,379
And the cheque for 3,000
was amazing.
245
00:15:15,380 --> 00:15:17,139
And I don't think any of the band
246
00:15:17,140 --> 00:15:19,499
had ever seen
that kind of money in one lump.
247
00:15:19,500 --> 00:15:24,539
They all went out and invested
sensibly in fruit-and-veg shops.
248
00:15:24,540 --> 00:15:26,379
Shops. Business.
249
00:15:26,380 --> 00:15:29,539
And I invested in
a "63 split-window Corvette,
250
00:15:29,540 --> 00:15:32,479
which was the only sensible thing
for a person like me to deal with!
251
00:15:32,480 --> 00:15:34,979
ENGINES ROAR
252
00:15:35,360 --> 00:15:39,539
I had a girlfriend in LA,
and it was a Comfoetable place,
253
00:15:39,540 --> 00:15:41,839
the weather was amazing.
254
00:15:41,840 --> 00:15:46,299
And I left all that to go
on this tour with the Yardbirds.
255
00:15:46,300 --> 00:15:48,539
I'd never played in America before.
256
00:15:48,540 --> 00:15:50,879
It was a shock,
it was really surreal
257
00:15:50,880 --> 00:15:53,379
from everything that I thought
that it was going to be.
258
00:15:53,380 --> 00:15:58,299
The Dick Clark Caravan of Stars
was a conglomeration of acts that
259
00:15:58,300 --> 00:16:01,139
would all get on stage
and do two or three songs.
260
00:16:01,140 --> 00:16:02,719
They would tour in buses.
261
00:16:02,720 --> 00:16:04,619
You know, you had to be
a real trouper.
262
00:16:04,620 --> 00:16:09,999
I mean they would go out on the
road and do 60 dates in 60 days.
263
00:16:10,000 --> 00:16:14,139
And that was very, very odd,
because it was a colleCtion
264
00:16:14,140 --> 00:16:19,379
of teenybop stars, teenyboppers
for a very young audience.
265
00:16:19,380 --> 00:16:21,259
..in a bus that stank,
266
00:16:21,260 --> 00:16:24,199
and it was crammed with people
that didn"t really like us.
267
00:16:24,200 --> 00:16:26,759
We didn't get on
with the rest of the cast.
268
00:16:26,760 --> 00:16:30,259
And there was a toilet that
got busted and that didn"t work,
269
00:16:30,260 --> 00:16:33,999
and people had to sleep
in the luggage racks.
270
00:16:34,000 --> 00:16:36,879
But Jeff missed all that,
because he left pretty early,
271
00:16:36,880 --> 00:16:38,599
after just a few dates.
272
00:16:38,600 --> 00:16:42,759
After two gigs, I thought,
""I"ve just nearly killed myself to
273
00:16:42,760 --> 00:16:47,899
"do nearly 15 minutes on stage,"
the two hits plus one other song.
274
00:16:47,900 --> 00:16:50,199
That's it.
It was a quick turnaround.
275
00:16:50,200 --> 00:16:54,259
Jerry Lewis's son was on the tour
Gary Lewis and the Playboys,
276
00:16:54,260 --> 00:16:57,839
and i thought,
"This is so Middle America.
277
00:16:57,840 --> 00:17:01,139
"We're telling people that we're
paet of this. We're not."
278
00:17:01,140 --> 00:17:06,919
The Yardbirds were completely
on the road to forging a unique
279
00:17:06,920 --> 00:17:08,759
Career, you know?
280
00:17:08,760 --> 00:17:12,439
And they threw it into
this ridiculous mixing box.
281
00:17:12,440 --> 00:17:17,679
And I Called Jim to my room. I said,
"Jim, I've just had the horrors.
282
00:17:17,680 --> 00:17:20,239
"Here's my guitar.
You take lead tomorrow.
283
00:17:20,240 --> 00:17:22,858
"I'm not even going to take
the guitar." That was the end of me.
284
00:17:22,859 --> 00:17:25,959
No girlfriend, no Yardbirds
no nothing.
285
00:17:25,960 --> 00:17:28,959
But I had my Corvette
parked in my mothet's sideway,
286
00:17:28,960 --> 00:17:30,959
so i was free to dream again.
287
00:17:30,960 --> 00:17:36,399
MUSIC: Shapes Of Things
by the Jeff Beck Group
288
00:17:36,400 --> 00:17:41,519
# Shapes of things before my eyes
289
00:17:44,760 --> 00:17:48,879
# just help me to despise
290
00:17:50,340 --> 00:17:55,839
# Will time make men more wise?... #
291
00:17:57,820 --> 00:18:02,719
Jeff and I met up at the
Sheffield Mojo, when I was doing
292
00:18:02,720 --> 00:18:07,259
the circuit up and down the motorway
in my first group, the Birds.
293
00:18:07,260 --> 00:18:08,639
We got on really well,
294
00:18:08,640 --> 00:18:11,159
and he was telling me about
this gig with the Yardbirds
295
00:18:11,160 --> 00:18:15,779
and kind of spoke, well,
"If we ever are not in the set-up
296
00:18:15,780 --> 00:18:18,299
"we're in now, one day
we"ll work together."
297
00:18:18,300 --> 00:18:22,479
One of the good things about
the Yardbirds times was that we'd
298
00:18:22,480 --> 00:18:27,479
Come back from a tour,
maybe up north, and even at two
299
00:18:27,480 --> 00:18:30,019
o'clock in the morning, we'd
stop off at the Cromwellian Club.
300
00:18:30,020 --> 00:18:31,579
And after the Yardbirds, i thought,
301
00:18:31,580 --> 00:18:34,819
"There's nothing to stop me
from going back there on my own."
302
00:18:34,820 --> 00:18:38,299
And the guy on the door went
"Jeff! Nice to see you back."
303
00:18:38,300 --> 00:18:40,858
That night, there was
not much going on.
304
00:18:40,859 --> 00:18:44,399
There were Motown records playing,
and i'm thinking, "This is sad.
305
00:18:44,400 --> 00:18:45,858
"I'm sitting alone with a beer."
306
00:18:45,859 --> 00:18:51,239
And there was one other guy in
the corner, and it was Rod Stewart!
307
00:18:51,240 --> 00:18:55,299
We talked a little bit,
and he said he was forming a band,
308
00:18:55,300 --> 00:18:57,299
he'd left the Yardbirds.
309
00:18:57,300 --> 00:19:00,959
I was out of work, and I think
I may have mentioned Woody and said,
310
00:19:00,960 --> 00:19:02,759
"He's out of work as well."
311
00:19:02,760 --> 00:19:06,239
So it was like three out-of-work
musicians, and we formed a band.
312
00:19:06,240 --> 00:19:10,479
His collaboration with Rod Stewaet
was kind of legendary,
313
00:19:10,480 --> 00:19:15,779
I mean one of the best things
that Rod ever did as well as jeff
314
00:19:15,780 --> 00:19:16,999
on that Truth album.
315
00:19:17,000 --> 00:19:19,479
It was the huskiness that was
316
00:19:19,480 --> 00:19:25,579
rare to have in a white singer.
I loved it.
317
00:19:25,580 --> 00:19:28,159
# Let me love you, baby
318
00:19:28,160 --> 00:19:33,659
# You're driving my poor heart crazy
319
00:19:35,099 --> 00:19:37,719
# Let me love you, baby
320
00:19:37,720 --> 00:19:41,098
# You're driving
my poor heaet crazy... #
321
00:19:41,099 --> 00:19:44,759
The band, with Micky Waller,
myself on bass
322
00:19:44,760 --> 00:19:46,199
and jeff on the guitar,
323
00:19:46,200 --> 00:19:50,098
the holes and the spaces
that it left
324
00:19:50,099 --> 00:19:53,339
for Rod's voice in its rawness...
325
00:19:53,340 --> 00:19:55,919
jeff used to really treasure
Rod"s voice, you know,
326
00:19:55,920 --> 00:20:00,759
and treasure all the things
that could happen in those spaces.
327
00:20:00,760 --> 00:20:05,299
# Oh, yes, you do, darling
Every time I see you
328
00:20:05,300 --> 00:20:08,199
# Oh, baby, when you walk,
you know what?
329
00:20:08,200 --> 00:20:12,639
# You shake just like a willow tree
330
00:20:12,640 --> 00:20:15,479
# No, i know, i know, I know... #
331
00:20:15,480 --> 00:20:17,299
He believed in me, he really did.
332
00:20:17,300 --> 00:20:19,479
He wanted a proper singer
in his band.
333
00:20:19,480 --> 00:20:22,399
He had a voice that was so...
334
00:20:22,400 --> 00:20:24,759
..the vital instrument
within the band
335
00:20:24,760 --> 00:20:26,999
that you didn"t need
a rhythm guitar.
336
00:20:27,000 --> 00:20:34,399
Jeff's virtuoso performances
tied up with Rod's blues-type
337
00:20:34,400 --> 00:20:39,239
vocals on that album. That was
absolutely a seminal album.
338
00:20:39,240 --> 00:20:43,259
Truth has Rock My Plimsoul on it,
it's got I Ain't Superstitious.
339
00:20:43,260 --> 00:20:48,299
It's really my favourite Jeff Beck,
stylistically, you know?
340
00:20:48,300 --> 00:20:50,858
It's more sort of
in-your-face rock and roll.
341
00:20:50,859 --> 00:20:52,579
Jeff didn't just want to play
342
00:20:52,580 --> 00:20:55,779
what Muddy Waters had played
and Howlin' Wolf.
343
00:20:55,780 --> 00:21:01,199
He wanted to take it
more Chicago-ish and more electric
344
00:21:01,200 --> 00:21:07,098
and just take it out of that basic
idiom that it's in, you know,
345
00:21:07,099 --> 00:21:10,339
and electrify it,
make it more arrangements.
346
00:21:10,340 --> 00:21:12,499
Even though the songs
are 1 2-bar biues,
347
00:21:12,500 --> 00:21:15,479
we arranged the songs
to sound more interesting.
348
00:21:15,480 --> 00:21:18,339
Right, let's go. I don"t want
to sing it in unison,
349
00:21:18,340 --> 00:21:20,019
I want to sing it in harmony.
350
00:21:20,020 --> 00:21:24,539
Well, however you want. I'll try
something on this first few chords.
351
00:21:24,540 --> 00:21:26,759
If it sounds sus, stop me, right?
352
00:21:26,760 --> 00:21:29,579
Make the voice
nearly in the baCkground.
353
00:21:29,580 --> 00:21:32,499
Mickie Most, he didn't want
to know about Rod at all.
354
00:21:32,500 --> 00:21:35,199
He said, "You"re the artist.
Your name is on the label."
355
00:21:35,200 --> 00:21:37,759
I said, "No, no.
I'm not interested in that,
356
00:21:37,760 --> 00:21:42,059
"I"m interested in being part of
a great rock band, or a blues band."
357
00:21:42,060 --> 00:21:46,339
Mickie just believed in the old
dollar, make it as quiCk as you can,
358
00:21:46,340 --> 00:21:52,059
and really wanted us to be a pop
band, you know, much to our dismay,
359
00:21:52,060 --> 00:21:54,239
because that"s not
what we'd want to do.
360
00:21:54,240 --> 00:21:59,579
He didn't see any point in having
me, really. He wanted Jeff to sing.
361
00:21:59,580 --> 00:22:03,999
# You're everywhere
and nowhere, baby
362
00:22:04,000 --> 00:22:07,259
# That's where you're at
363
00:22:07,260 --> 00:22:11,539
# Going down a bumpy hillside
364
00:22:11,540 --> 00:22:13,919
# In your hippie hat... #
365
00:22:13,920 --> 00:22:15,999
Why was he
such a reluctant pop star?
366
00:22:16,000 --> 00:22:20,479
I guess that just wasn't really
what he ever wanted to do.
367
00:22:20,480 --> 00:22:22,779
I don't know how
that song came about.
368
00:22:22,780 --> 00:22:26,639
Some soet of pressure,
if you like, from Mickie Most,
369
00:22:26,640 --> 00:22:29,499
to try and come up with a hit.
But I think he very, very quickly
370
00:22:29,500 --> 00:22:32,539
realised that wasn't ever
going to be what he wanted to do.
371
00:22:32,540 --> 00:22:34,999
Absolutely his prerogative.
372
00:22:35,000 --> 00:22:38,098
But it's given lots of other peopIe
an enormous amount of pleasure!
373
00:22:38,099 --> 00:22:40,479
MuCh more pleasure
than it ever gave him.
374
00:22:40,480 --> 00:22:44,299
It"s like being asked
to wear a pink frock
375
00:22:44,300 --> 00:22:47,019
and walk on top of a bus
down Oxford Street!
376
00:22:47,020 --> 00:22:49,159
HE LAUGHS
377
00:22:49,400 --> 00:22:54,399
It was framing me with
this embarrassing pop song that
378
00:22:54,400 --> 00:22:59,239
wasn't me. But over the years
I've become warmed to it,
379
00:22:59,240 --> 00:23:00,999
because it makes people feel happy.
380
00:23:01,000 --> 00:23:05,339
Jeff, I believe, asked Mickie
if I could sing Hi-Ho Silver Lining,
381
00:23:05,340 --> 00:23:07,439
but Mickie said no.
382
00:23:07,440 --> 00:23:11,059
But you can hear me yodelling
in the baCkground on the chorus.
383
00:23:11,060 --> 00:23:15,939
# And it's hi-ho, silver lining
384
00:23:16,000 --> 00:23:19,819
# Anywhere you go, now, baby
385
00:23:19,820 --> 00:23:23,399
# I see your sun is shining
386
00:23:23,400 --> 00:23:26,299
# But I won't make a fuss
387
00:23:26,300 --> 00:23:28,919
# Though it's obvious... #
388
00:23:28,920 --> 00:23:31,539
just when you think
you're getting there,
389
00:23:31,540 --> 00:23:33,719
you realise you're
about six months away!
390
00:23:33,720 --> 00:23:36,639
I kicked off in
Mickie Most"s office,
391
00:23:36,640 --> 00:23:38,679
and on this paeticular argument,
392
00:23:38,680 --> 00:23:42,199
Peter Grant was there, and he was
smiling at me. i was going...
393
00:23:42,200 --> 00:23:44,779
It was as though the smile was
saying, "Give him some stick,
394
00:23:44,780 --> 00:23:47,858
"he needs to be put in his place,"
meaning Mickie.
395
00:23:47,859 --> 00:23:50,539
Shoetly after that, he must have
had a word with Mickie and said,
396
00:23:50,540 --> 00:23:53,239
"Look, Jeff was in the Yardbirds,
he already opened
397
00:23:53,240 --> 00:23:56,499
""the door in America for himself
to go baCk with the band.
398
00:23:56,500 --> 00:23:58,479
"And there's an underground scene
over there."
399
00:23:58,480 --> 00:24:01,639
Steppenwolf was happening,
FM radio was happening.
400
00:24:01,640 --> 00:24:06,159
There were venues and there was
press and there was radio stations
401
00:24:06,160 --> 00:24:09,959
and, you know, you could
build an act by coming and touring.
402
00:24:09,960 --> 00:24:13,959
So, this was mind-boggling,
I remember, when Woody and i drove
403
00:24:13,960 --> 00:24:17,759
across the Brooklyn Bridge in
the back of a limo with Peter Grant,
404
00:24:17,760 --> 00:24:22,098
the manager. I mean, it was
just heaven. "Here we are!"
405
00:24:22,099 --> 00:24:27,159
But it was a five-month tour. it was
hard work, but it was great fun.
406
00:24:27,160 --> 00:24:30,959
When we went to America
we opened at Fillmore East.
407
00:24:30,960 --> 00:24:33,819
Talk aboutjump in the deep end!
408
00:24:33,820 --> 00:24:37,299
And that's the famous night when
Rod wouldn"t come on stage. He hid.
409
00:24:37,300 --> 00:24:40,858
That was the night i hid behind
the amps - absolutely true story -
410
00:24:40,859 --> 00:24:43,479
because I thought,
"I"m in America, New York,
411
00:24:43,480 --> 00:24:45,959
"I'm trying to sound like
a black singer, and there's going to
412
00:24:45,960 --> 00:24:48,719
"be loads of black people out there
and they"ll throw things at me."
413
00:24:48,720 --> 00:24:51,059
"Phoney! Fake!"
But lo and behold,
414
00:24:51,060 --> 00:24:54,099
I came out and there was
all loads of hippies, you know?
415
00:24:54,100 --> 00:24:58,159
And it was the staet of
a wonderful, wonderful career.
416
00:24:58,160 --> 00:25:01,339
We stormed the place.
We blew the Dead off the stage.
417
00:25:01,340 --> 00:25:02,479
HE LAUGHS
418
00:25:02,480 --> 00:25:06,199
Robert Shelton from the
New York Times gave us a write-up.
419
00:25:06,200 --> 00:25:08,479
Peter Grant rang me
at seven in the morning and said
420
00:25:08,480 --> 00:25:10,639
"Have you read the review?"
I went "i don't want to."
421
00:25:10,640 --> 00:25:12,259
He said, "No, it's amazing."
422
00:25:12,260 --> 00:25:15,299
He read it to me, about the Pinter
play, the interaction of...
423
00:25:15,300 --> 00:25:16,679
H E CH UCKLES
424
00:25:16,680 --> 00:25:19,859
And I soet of read it and i thought,
"Right, what do we do now?"
425
00:25:19,860 --> 00:25:22,719
We had it reproduced and sent ahead,
426
00:25:22,720 --> 00:25:27,199
we had it sent to all the places
on the way to the West Coast,
427
00:25:27,200 --> 00:25:33,479
so by the time we got to the
Fillmore West, we'd already broken
428
00:25:33,480 --> 00:25:38,199
the ground, broken into the American
scene, which was fantastic!
429
00:25:38,200 --> 00:25:40,759
We all decided
to try and write songs,
430
00:25:40,760 --> 00:25:44,479
and Ronnie and i sat around
his mum's CounCil flat for hours
431
00:25:44,480 --> 00:25:46,719
and hours with
a blank piece of paper
432
00:25:46,720 --> 00:25:49,759
until we got a bottle of wine out
and we finished that.
433
00:25:49,760 --> 00:25:53,479
Then we were able to write
a song called Plynth.
434
00:25:53,480 --> 00:25:58,099
# I've woken up
on mornings such as this
435
00:25:58,100 --> 00:26:02,299
# And thought exactly the same
as i'm thinking now
436
00:26:02,300 --> 00:26:06,499
# Every night for a year,
I've slept alone
437
00:26:06,500 --> 00:26:10,639
# My cold, damp room
looks worse than me
438
00:26:10,640 --> 00:26:15,059
# I got a fear of death
that creeps on every night
439
00:26:15,060 --> 00:26:18,999
# I know I won't die soon,
but then again, i might
440
00:26:19,000 --> 00:26:23,239
# Just like water down the drain,
I'm wasting away
441
00:26:23,240 --> 00:26:28,259
# And, oh doctors Can't help
the ghost of a man that's me... #
442
00:26:28,260 --> 00:26:29,719
Plynth i'm very proud of,
443
00:26:29,720 --> 00:26:32,239
Cos that was one of my compositions
where I wrote the words.
444
00:26:32,240 --> 00:26:34,299
"Moisture from the ocean
fills the sky
445
00:26:34,300 --> 00:26:37,159
"Falls back down to the ground
as time goes by."
446
00:26:37,160 --> 00:26:41,479
# Like moisture from the ocean
fills the sky
447
00:26:41,480 --> 00:26:47,019
# Comes on down the ground
as time goes by... #
448
00:26:47,020 --> 00:26:51,299
I was very proud of my bass sound
and the whole thing with the drums
449
00:26:51,300 --> 00:26:53,059
and the guitar
450
00:26:53,060 --> 00:26:57,239
and Rod's soulful singing
and Nicky"s piano playing.
451
00:26:57,240 --> 00:26:59,479
It was a magic combination.
452
00:26:59,480 --> 00:27:02,779
And it was an honour to be in the
band, to be quite honest with you,
453
00:27:02,780 --> 00:27:06,639
along with Micky Waller
and Nicky Hopkins and Ronnie Wood.
454
00:27:06,640 --> 00:27:08,099
It was a great band.
455
00:27:08,100 --> 00:27:11,639
If you think about how long ago
that was and what an impact
456
00:27:11,640 --> 00:27:15,479
they must have had at the time,
he's so unique and original.
457
00:27:15,480 --> 00:27:17,579
Truth and Beck-Ola really stood out,
458
00:27:17,580 --> 00:27:19,679
sort of benchmark
rock and roll records.
459
00:27:19,680 --> 00:27:22,679
Definitely big statements
for the time.
460
00:27:22,680 --> 00:27:25,819
The sounds of those records
are definitely...
461
00:27:25,820 --> 00:27:30,639
I still use them as touchstones
for even what i do today,
462
00:27:30,640 --> 00:27:34,339
because nothing sounds
like those records.
463
00:27:34,340 --> 00:27:37,539
And I was lucky enough to
see them live two or three times,
464
00:27:37,540 --> 00:27:39,259
and it was really exciting.
465
00:27:39,260 --> 00:27:41,539
And you never knew
if he was going to show up or not.
466
00:27:41,540 --> 00:27:44,679
I meanI some of the stories
about quitting in the middle
467
00:27:44,680 --> 00:27:48,439
of a tourI that's, you know,
pretty heavy.
468
00:27:48,440 --> 00:27:51,399
You know? But that's Jeff.
469
00:27:51,400 --> 00:27:53,199
There was a rift between
me and Rod at that time.
470
00:27:53,200 --> 00:27:54,999
I don't know how it came about.
471
00:27:55,000 --> 00:27:59,399
It Cast a bit of doubt,
like I didn't want to bank too
472
00:27:59,400 --> 00:28:01,579
much on the next tour
in case it didn't happen.
473
00:28:01,580 --> 00:28:07,239
I saw this big festival
looming up on the Calendar.
474
00:28:07,240 --> 00:28:11,299
And I was nervous about it. I
thought, ""We're not ready for that.
475
00:28:11,300 --> 00:28:14,159
"We're not ready to go up against
Sly and the Family Stone."
476
00:28:14,160 --> 00:28:17,019
The Woodstock festival
was two weeks away
477
00:28:17,020 --> 00:28:22,579
when the Beck Group kind of
Collapsed, and i thought,
478
00:28:22,580 --> 00:28:26,399
"It's a shameI because there"s a big
gig Coming up in a Couple of weeks."
479
00:28:26,400 --> 00:28:27,819
Woodstock!
480
00:28:27,820 --> 00:28:31,959
He disappeared. In the middle of the
night. Next morning, he was gone.
481
00:28:31,960 --> 00:28:34,239
And we get a phone call.
"jeff"s gone home."
482
00:28:34,240 --> 00:28:37,539
When i saw the film, ijust thought,
"Thank God for my integrity,
483
00:28:37,540 --> 00:28:41,019
"thank God that the little birdie
whispered, "Don't do it,'"
484
00:28:41,020 --> 00:28:46,019
because I would have been up there,
dated and frozen with that image,
485
00:28:46,020 --> 00:28:50,439
you know, with the music not being
quite right. I did the right thing.
486
00:28:50,440 --> 00:28:53,099
He could have explained it to us,
and that would have made sense.
487
00:28:53,100 --> 00:28:55,919
But I do agree,
I'm glad we didn't do it.
488
00:28:55,920 --> 00:29:00,059
Once again, i'm baCk
to my mum's house again!
489
00:29:00,060 --> 00:29:04,339
He's not paeticularly
wrapped up in his success.
490
00:29:04,340 --> 00:29:09,539
He'd just as soon not discuss
music and the guitar.
491
00:29:09,540 --> 00:29:14,719
He'd rather talk about the movies
that he likes and, you know,
492
00:29:14,720 --> 00:29:16,499
Certainly his cars.
493
00:29:16,500 --> 00:29:21,059
My gran used to take me to
the cinema, and she took me to see
494
00:29:21,060 --> 00:29:25,239
a posh film, but the supporting
film was Hot Rod Gang.
495
00:29:25,240 --> 00:29:27,779
She just freaked out and said,
"Oh, this is not suitable,"
496
00:29:27,780 --> 00:29:31,439
because the word "gang"" was in it,
and she said "Right, we're leaving.
497
00:29:31,440 --> 00:29:34,919
"Let's go out of the cinema and come
back when the main feature staets."
498
00:29:34,920 --> 00:29:38,779
I clung on to the seat.
499
00:29:39,820 --> 00:29:43,059
The opening sequence shows
these two hot rods racing one
500
00:29:43,060 --> 00:29:46,639
another on opposite sides
of the street. Totally cool.
501
00:29:46,640 --> 00:29:51,159
And I was hit, smitten right away.
502
00:29:51,160 --> 00:29:54,719
For a B movie, I mean,
it was pretty nonsensical.
503
00:29:54,720 --> 00:29:58,999
I still watch it from time to time,
as it was suCh a massive impact.
504
00:29:59,000 --> 00:30:00,719
Come on, Johny, let's go!
505
00:30:00,720 --> 00:30:03,259
Hot rods has always been his
passion, from when he was really,
506
00:30:03,260 --> 00:30:05,579
really young. And then
he staeted building them.
507
00:30:05,580 --> 00:30:09,339
The way that he puts it
most of the time, musiC and guitar
508
00:30:09,340 --> 00:30:15,819
is his job, and that's his pastime,
for when he gets baCk home off tour.
509
00:30:15,820 --> 00:30:19,099
He's always kind of tinkered
with his Cars as long as I've
510
00:30:19,100 --> 00:30:20,479
known him, you know?
511
00:30:20,480 --> 00:30:23,679
I think the first time
that i went to his house, the hood
512
00:30:23,680 --> 00:30:27,099
of his Corvette was open and
he might have been under the hood!
513
00:30:27,100 --> 00:30:30,499
The fact that Jeff builds those cars
and the fact that he does it
514
00:30:30,500 --> 00:30:36,099
so well he's kind of a man of two
passions, i think, guitar and cars.
515
00:30:36,100 --> 00:30:38,679
Your senses are sharpened,
because you built it.
516
00:30:38,680 --> 00:30:41,779
And even if you had
a professionally built car,
517
00:30:41,780 --> 00:30:47,019
you're still driving an early Car,
maybe a Ford or a Chevy,
518
00:30:47,020 --> 00:30:51,299
'305, and they don't handle
the same as a late-model car.
519
00:30:51,300 --> 00:30:54,639
And I'm going over this hill - no
top of the car, you know -
520
00:30:54,640 --> 00:30:58,959
just 30 mph over this little,
gentle incline, get to the
521
00:30:58,960 --> 00:31:03,099
top of it and the car starts to go
straight on to the oncoming traffic
522
00:31:03,100 --> 00:31:05,199
without me touching the wheel.
523
00:31:05,200 --> 00:31:07,499
And I turned the wheel
on the opposite lock, and it still
524
00:31:07,500 --> 00:31:12,299
kept going and hit this poor chap
in this Morris Traveller head-on.
525
00:31:12,300 --> 00:31:19,239
Broke his legs, broke my face up.
BaCk injury, ieg injury.
526
00:31:19,240 --> 00:31:23,439
I got taken into Maidstone General,
who were amazing, just incredible.
527
00:31:23,440 --> 00:31:26,339
We had a cheerful Chappie that
used to come round and shave you
528
00:31:26,340 --> 00:31:29,019
and bring you tea.
I was recovering,
529
00:31:29,020 --> 00:31:32,959
and then this guy decided
to bring me in a music paper.
530
00:31:32,960 --> 00:31:34,479
And he was Scouse, and he went...
531
00:31:34,480 --> 00:31:37,059
SCOUSE ACCENT: .."Your mate's
gone and joined the Faces.""
532
00:31:37,060 --> 00:31:38,399
I went, "Oh, terrific."
533
00:31:38,400 --> 00:31:41,439
You didn't need to hear that
right at that particular time.
534
00:31:41,440 --> 00:31:44,759
I think the biggest problem for Jeff
is finding somebody to front
535
00:31:44,760 --> 00:31:48,199
the band that really fit
what he was doing.
536
00:31:48,200 --> 00:31:51,299
He had the, y"know, arguably
one of the best
537
00:31:51,300 --> 00:31:53,479
singers at the time in his band,
538
00:31:53,480 --> 00:31:56,439
and how long did that band last?
A couple of years.
539
00:31:56,440 --> 00:31:59,919
Rod Stewart was great, but,
you know, more often than not...
540
00:31:59,920 --> 00:32:02,019
And I think one of the reasons
why he ended up being
541
00:32:02,020 --> 00:32:04,679
an instrumentalist is just
it was hard to find anybody that
542
00:32:04,680 --> 00:32:09,819
really interpreted the music
correctly or just had
543
00:32:09,820 --> 00:32:12,199
the right energy
or whatever it was.
544
00:32:12,200 --> 00:32:16,319
I got to Epic in mid-'72,
545
00:32:17,240 --> 00:32:20,579
and the Orange Album had come out
a few months before that.
546
00:32:20,580 --> 00:32:22,959
The name of the album
is Jeff Beck Group,
547
00:32:22,960 --> 00:32:25,819
but we all always refer to it
as the Orange Album
548
00:32:25,820 --> 00:32:33,819
because there was the photo
of the orange on the Cover.
549
00:32:53,480 --> 00:32:56,499
I staeted looking round
for players that could really...
550
00:32:56,500 --> 00:32:59,399
..like, drummers that Could...
I was always foCused on drummers.
551
00:32:59,400 --> 00:33:03,259
They are the life of the band
they are the driving force.
552
00:33:03,260 --> 00:33:06,639
You get your drummer right,
you"re pretty muCh set for life!
553
00:33:06,640 --> 00:33:09,499
We obviously lost
a lot of regular contact,
554
00:33:09,500 --> 00:33:14,199
but when i did see Jeff, he'd always
be keen on his latest line-up.
555
00:33:14,200 --> 00:33:16,639
He'd always rave about
different drummers.
556
00:33:16,640 --> 00:33:18,579
He'd say, "i've got this guy
Called Cozy Powell.
557
00:33:18,580 --> 00:33:20,299
"Listen to what i'm doing!"
558
00:33:20,300 --> 00:33:25,059
I loved Cozy. i piCked him out of
a line-up of 20-odd drummers.
559
00:33:25,060 --> 00:33:29,959
Mickie Most"s secretary organised
this whole audition, and she said,
560
00:33:29,960 --> 00:33:34,539
"Jeff, I know you're late, but you
don't need to look at anybody else.
561
00:33:34,540 --> 00:33:36,959
"There's your brother over there!"
562
00:33:36,960 --> 00:33:41,539
Looking the same - same hair, you
know. "All right, jeff, I"m Cozy."
563
00:33:41,540 --> 00:33:44,339
I went, "All right?"
And he started playing.
564
00:33:44,340 --> 00:33:47,199
And you saw people putting
their Cymbals back in the cases!
565
00:33:47,200 --> 00:33:48,579
HE LAUGHS
566
00:33:48,580 --> 00:33:51,639
They were packing their drums ready.
They knew that that was it.
567
00:33:51,640 --> 00:33:56,159
And then Max Middleton came up
with the idea of a simple melody
568
00:33:56,160 --> 00:33:58,339
a bluesy thing, with a bottleneck.
569
00:33:58,340 --> 00:34:01,859
And he said, ""Why don't we
write three melodies?""
570
00:34:01,860 --> 00:34:03,859
And there are three melodies
in there.
571
00:34:03,860 --> 00:34:06,299
One plays the countermelody,
572
00:34:06,300 --> 00:34:09,039
and then there's a third descant
on top of that.
573
00:34:09,040 --> 00:34:13,259
And I remember thinking,
"This is a cacophony of noise."
574
00:34:13,260 --> 00:34:17,139
MUSIC: Definitely Maybe
575
00:34:33,120 --> 00:34:37,198
Steve Cropper came down. He said,
"Man, this is really amazing,"
576
00:34:37,199 --> 00:34:40,519
because I was doing these parts
individually and dubbing on.
577
00:34:40,520 --> 00:34:44,419
And I wasn"t hearing the blend,
I was only doing them individually
578
00:34:44,420 --> 00:34:46,979
because if I'd heard
guitar number one,
579
00:34:46,980 --> 00:34:49,859
I would not have been able
to play against it.
580
00:34:49,860 --> 00:34:53,459
And when i went up and heard
all three put together, y'know,
581
00:34:53,460 --> 00:34:56,119
it was, "Let's buy Max
a round of drinks for that one."
582
00:34:56,120 --> 00:34:59,819
I think there's no question
that Definitely Maybe led the way
583
00:34:59,820 --> 00:35:02,119
to Blow By Blow...
584
00:35:02,120 --> 00:35:05,238
..with a detour. With Jeff,
there's always a detour.
585
00:35:05,239 --> 00:35:08,419
# Looking for another pure love
586
00:35:08,420 --> 00:35:11,519
# In my life... #
587
00:35:11,520 --> 00:35:14,859
Well, i've always liked
playing on other people's records
588
00:35:14,860 --> 00:35:16,979
and not being named.
589
00:35:16,980 --> 00:35:21,899
I mean that thing where
Stevie caIls out, "jeff!"...
590
00:35:21,900 --> 00:35:24,599
..on Looking For Another Pure Love.
591
00:35:24,600 --> 00:35:26,959
GUiTAR SOLO
592
00:35:27,719 --> 00:35:30,339
Hit it, jeff.
593
00:35:44,239 --> 00:35:47,299
And it is actually great
when it happens,
594
00:35:47,300 --> 00:35:53,419
but i think I like Jeff
playing on records where we're just
595
00:35:53,420 --> 00:35:59,379
kind of the mystery agent,
and i like the idea of someone being
596
00:35:59,380 --> 00:36:03,259
able to identify me
by what i'm playing.
597
00:36:03,260 --> 00:36:07,039
Stevie's record company
needed him to do something.
598
00:36:07,040 --> 00:36:09,159
And I wasn't doing anything.
599
00:36:09,160 --> 00:36:12,979
And Epic said, "What if we got you
in the studio with Stevie?"
600
00:36:12,980 --> 00:36:15,559
Couldn't wait for this to happen.
601
00:36:15,560 --> 00:36:20,459
So, the deal was i was to play
a Couple of tracks on Stevie's
602
00:36:20,460 --> 00:36:23,599
album Talking Book and then
he'd write me a couple of traCks,
603
00:36:23,600 --> 00:36:25,198
one of which was Superstition.
604
00:36:25,199 --> 00:36:29,519
He said, "What about we get
a song with superstitions
605
00:36:29,520 --> 00:36:33,979
"that you know about that
the Americans maybe not know about?"
606
00:36:33,980 --> 00:36:37,599
And I said, ""Well, we don"t
walk under ladders for bad luck."
607
00:36:37,600 --> 00:36:39,939
And I said,
"If you dropped a mirror,
608
00:36:39,940 --> 00:36:41,779
"that would be
seven years" bad luck.""
609
00:36:41,780 --> 00:36:46,718
I staeted playing the drums
in a break. He'd gone out for lunch,
610
00:36:46,719 --> 00:36:50,639
and he'd come back and he was
Clapping along to my bit, my rhythm.
611
00:36:50,640 --> 00:36:54,238
I said, "Steve, it's not...
I'm not a drummer."
612
00:36:54,239 --> 00:36:57,939
He goes, "Yeah you are now.
Don't stop."
613
00:36:57,940 --> 00:37:03,779
And he just grabbed the clavinet
and staeted playing that vamp.
614
00:37:03,780 --> 00:37:07,639
And I"m thinking, "Christ,
I"m playing drums to Stevie Wonder!"
615
00:37:07,640 --> 00:37:11,339
It was pretty cool, just
a simple thing that I could play.
616
00:37:11,340 --> 00:37:14,339
And then he went,
"OK, I"ll lay the track down,"
617
00:37:14,340 --> 00:37:17,339
because I was messing up
with the fills and stuff.
618
00:37:17,340 --> 00:37:20,159
And he came and sat at the same kit
and played exactly what
619
00:37:20,160 --> 00:37:23,599
I was playing. But better.
620
00:37:23,600 --> 00:37:27,459
And he made space
for a five-chord turnaround
621
00:37:27,460 --> 00:37:31,198
all right away, and then he went
straight in and put a bassline on.
622
00:37:31,199 --> 00:37:32,599
That was it.
623
00:37:32,600 --> 00:37:36,979
When that bassline came on,
the whole studio turned upside down.
624
00:37:36,980 --> 00:37:40,039
Then he went and put
the lyrics on, rough lyrics,
625
00:37:40,040 --> 00:37:42,718
and that was how that song was made.
626
00:37:42,719 --> 00:37:46,839
# Seven years of bad luck
627
00:37:47,340 --> 00:37:52,099
# The good things in your past
628
00:37:52,600 --> 00:37:57,379
# When you believe in things
that you don"t understand
629
00:37:57,380 --> 00:38:00,519
# Then you suffer
630
00:38:01,160 --> 00:38:04,639
# Superstition ain't the way
631
00:38:04,640 --> 00:38:07,939
# Hey-hey, hey... #
632
00:38:07,940 --> 00:38:11,939
Just do your thing, son!
633
00:38:26,780 --> 00:38:31,718
But then, when the demo went back
to Motown and Berry Gordy heard it,
634
00:38:31,719 --> 00:38:35,599
he said, "This is the best thing
you"ve ever written."
635
00:38:35,600 --> 00:38:39,519
So out comes Stevie's single,
and it's a smash, number one.
636
00:38:39,520 --> 00:38:44,198
And it still is the biggest seller,
I think of all time of his singles.
637
00:38:44,199 --> 00:38:47,899
And it worked out OK, because
it was a much better version
638
00:38:47,900 --> 00:38:51,779
than the one we did, i think.
We did a heavy metal version.
639
00:38:51,780 --> 00:38:53,859
I don't think he Cared for it
too much.
640
00:38:53,860 --> 00:38:56,679
When i heard Stevie Wonder's
version of that song,
641
00:38:56,680 --> 00:38:59,079
that's the definitive version
of that song, you know,
642
00:38:59,080 --> 00:39:01,599
nobody should ever Cover it,
just leave it alone,
643
00:39:01,600 --> 00:39:05,559
otherwise it'lljust sound like
a bar band butchering it.
644
00:39:05,560 --> 00:39:09,039
Not so with Jeff Beck. Not so.
645
00:39:09,040 --> 00:39:12,039
And when Beck, Bogert & Appice
recorded it,
646
00:39:12,040 --> 00:39:15,379
it stood on its own, like another
entity again. And they were great.
647
00:39:15,380 --> 00:39:18,299
I mean they were just
incredibly exciting to play with.
648
00:39:18,300 --> 00:39:22,039
I'd seen the Fudge threeI four
times, and they blew me away.
649
00:39:22,040 --> 00:39:23,639
It"s pretty powerful.
650
00:39:23,640 --> 00:39:30,259
MUSIC: Superstition
by Beck, Bogert & Appice
651
00:39:32,080 --> 00:39:35,579
# Very superstitious
652
00:39:36,760 --> 00:39:39,299
# Writings on the wall... #
653
00:39:39,300 --> 00:39:42,119
Unknowing that maybe Stevie
had written the ultimate power
654
00:39:42,120 --> 00:39:46,599
trio song, because the double bass
drum that Carmine used was perfect.
655
00:39:46,600 --> 00:39:50,379
Timmy"s busy bass playing, you know,
with that riff. What more could...?
656
00:39:50,380 --> 00:39:54,119
They sang, as well, so we'd got two
singers, bass player and a drummer.
657
00:39:54,120 --> 00:39:57,259
Good morning! it's over.
658
00:39:57,260 --> 00:40:00,759
# ..you'll get along
659
00:40:02,160 --> 00:40:05,779
# Going out the door!
660
00:40:07,120 --> 00:40:11,738
# Things you don't understand
661
00:40:11,980 --> 00:40:14,479
# You suffer
662
00:40:17,040 --> 00:40:19,899
# Hey, hey... #
663
00:40:20,719 --> 00:40:23,759
I meanI there's a certain amount
of "fuck you"-ness
664
00:40:23,760 --> 00:40:25,559
to everything jeff does.
665
00:40:25,560 --> 00:40:30,599
And I think there's a big dose
of that in that song.
666
00:40:30,600 --> 00:40:35,259
But, unfortunately, we couldn't
match any song to that level,
667
00:40:35,260 --> 00:40:39,198
that quality. So there was never
really a proper album.
668
00:40:39,199 --> 00:40:43,559
We toured, and we were knocking
people out the park. it was great.
669
00:40:43,560 --> 00:40:47,899
We played Crystal PalaCe, and there
were girls swimming across this
670
00:40:47,900 --> 00:40:51,718
pond to get to the front
of the stage. It was great!
671
00:40:51,719 --> 00:40:53,379
I thought, "We"re on our way."
672
00:40:53,380 --> 00:40:56,079
And we were getting
a ridiculously good response.
673
00:40:56,080 --> 00:40:59,238
And then along Comes
the mental writers" blocks.
674
00:40:59,239 --> 00:41:01,238
We weren't writing very good songs.
675
00:41:01,239 --> 00:41:07,238
They were making a second album,
and itjust kind of petered out.
676
00:41:07,239 --> 00:41:13,419
The managersI they had to
get together and affeCt a divorce.
677
00:41:13,420 --> 00:41:16,119
The record company didn't have
a whole lot to do with it.
678
00:41:16,120 --> 00:41:19,639
We were observers, speCtators.
679
00:41:19,640 --> 00:41:22,759
It just exploded, you know?
Sadly, it did.
680
00:41:22,760 --> 00:41:26,599
He"s not as wrapped up in being
a rock star, that whole thing.
681
00:41:26,600 --> 00:41:29,238
He can be true to his aet
and still...
682
00:41:29,239 --> 00:41:32,419
And then he leaves it there
and then he goes home,
683
00:41:32,420 --> 00:41:34,939
works on his cars,
lives out in the country,
684
00:41:34,940 --> 00:41:40,519
and so i think he's found a really
good balance between the two.
685
00:41:40,520 --> 00:41:44,639
I was working on the wrecked rod
of a "69 accident,
686
00:41:44,640 --> 00:41:47,119
and i had a transistor radio
playing.
687
00:41:47,120 --> 00:41:50,639
I was lying on the ground
doing something to this back axle
688
00:41:50,640 --> 00:41:53,979
or whatever, rainwater
was streaming past me,
689
00:41:53,980 --> 00:41:57,198
and i thought, "'I'm in the gutter.
I've ended up baCk in the gutter!"
690
00:41:57,199 --> 00:41:59,759
And it almost washed the radio away.
691
00:41:59,760 --> 00:42:07,759
And it was McLaughlin playing
on jack johnson, that amazing album.
692
00:42:34,719 --> 00:42:38,459
Miles. i mean, please,
it"s a wonderful thing.
693
00:42:38,460 --> 00:42:40,939
And then you hear McLaughlin
going in there.
694
00:42:40,940 --> 00:42:44,639
And it was a moment where i just
stopped work, went in there
695
00:42:44,640 --> 00:42:48,459
made a Cup of tea...
Continued listening.
696
00:42:48,460 --> 00:42:52,559
And that was it. ijust thought,
"There's a door open now.
697
00:42:52,560 --> 00:42:55,198
"This is what I want to do."
698
00:42:55,199 --> 00:42:57,779
It's more foCused on guitar only
699
00:42:57,780 --> 00:43:01,459
and it negates the necessity
for a vocalist.
700
00:43:01,460 --> 00:43:03,859
There's no point in
going round the world
701
00:43:03,860 --> 00:43:09,238
trying to find another Rod Stewart.
702
00:43:10,560 --> 00:43:13,779
What a great line-up of musicians -
703
00:43:13,780 --> 00:43:16,519
the brilliant Max Middleton
playing keyboards...
704
00:43:16,520 --> 00:43:19,159
Richard Bailey and Phil Chenn
on drums and bass.
705
00:43:19,160 --> 00:43:22,159
..and produced by George Martin
at Air Studios!
706
00:43:22,160 --> 00:43:24,859
GEORGE MARTIN: i came to
the album title, Blow By Blow,
707
00:43:24,860 --> 00:43:28,459
because the word "blow""
means many things.
708
00:43:28,460 --> 00:43:31,859
But I was using it
in the sense of a jazz thing.
709
00:43:31,860 --> 00:43:37,119
When you do an extempore bit,
you are giving it a blow.
710
00:43:37,120 --> 00:43:39,459
To look at the joy on George's face
711
00:43:39,460 --> 00:43:42,639
when he discovered
that we were going to have fun...
712
00:43:42,640 --> 00:43:46,299
jeff and I met up,
and he invited me to the studio,
713
00:43:46,300 --> 00:43:49,679
and he was telling me how George
was really just letting him
714
00:43:49,680 --> 00:43:52,259
play and stretch,
and he was recording all the things
715
00:43:52,260 --> 00:43:55,459
and then making
the finished version.
716
00:43:55,460 --> 00:43:57,979
It was somebody
who would reaily understand
717
00:43:57,980 --> 00:44:00,639
the precision of Jeff"s playing
718
00:44:00,640 --> 00:44:04,419
and just how different and how
separate it was from anybody else's.
719
00:44:04,420 --> 00:44:07,679
George Martin really understood
that Jeff was a serious musician.
720
00:44:07,680 --> 00:44:12,939
He wasn't a producer
with a singular vision of how
721
00:44:12,940 --> 00:44:15,819
he thought it would be
that he would want to impose.
722
00:44:15,820 --> 00:44:17,899
And I don"t suppose anyone
would have much luck
723
00:44:17,900 --> 00:44:20,559
imposing their vision on Jeff.
724
00:44:20,560 --> 00:44:22,979
GEORGE MARTIN: Well,
jeff Could be temperamental
725
00:44:22,980 --> 00:44:24,899
but never a big problem.
726
00:44:24,900 --> 00:44:27,238
I mean if he felt frustrated
727
00:44:27,239 --> 00:44:31,079
because he wouldn't be
getting what he wanted,
728
00:44:31,080 --> 00:44:33,639
sometimes he would get
very upset, and in faCt
729
00:44:33,640 --> 00:44:36,759
he did fling his guitar right
across the studio at one point.
730
00:44:36,760 --> 00:44:38,939
But, you know,
people are temperamental.
731
00:44:38,940 --> 00:44:40,779
That's all right,
they can blow off steam.
732
00:44:40,780 --> 00:44:43,299
So long as they don't throw it
at me, i'm all right.
733
00:44:43,300 --> 00:44:46,599
We didn't have any problems.
We got on very well.
734
00:44:46,600 --> 00:44:50,419
He loves exploring the guitar,
and when he does hear
735
00:44:50,420 --> 00:44:55,759
something that catches his ear
or gives him a new idea,
736
00:44:55,760 --> 00:44:57,259
he gets deeply into it.
737
00:44:57,260 --> 00:45:00,519
John McLaughlin was
kicking my butt at the time.
738
00:45:00,520 --> 00:45:03,939
The Mahavishnu Orchestra,
that played a big paet.
739
00:45:03,940 --> 00:45:07,119
jeff's always said the Mahavishnu
Orchestra is like his one -
740
00:45:07,120 --> 00:45:09,759
he still holds it
as like a Holy Grail.
741
00:45:09,760 --> 00:45:13,819
"This is what inspired me to staet
pushing things to the next level."
742
00:45:13,820 --> 00:45:18,259
One tune that has some of that
Mahavishnu feei is Scatterbrain.
743
00:45:18,260 --> 00:45:21,159
It staeted as a schizophrenic run
that i did
744
00:45:21,160 --> 00:45:23,819
when i was nervous
in a dressing room.
745
00:45:23,820 --> 00:45:27,119
Two seconds before going on,
I went...
746
00:45:27,120 --> 00:45:30,939
And Max being the calculating SOB
that he is, he said,
747
00:45:30,940 --> 00:45:34,599
"You know
that annoying scale you play?
748
00:45:34,600 --> 00:45:37,379
"I've written some chords
underneath it."
749
00:45:37,380 --> 00:45:39,779
He said, "If you move it up
a semitone,
750
00:45:39,780 --> 00:45:41,599
"I Can make a track out of it."
751
00:45:41,600 --> 00:45:47,718
And before we knew it
we had this song.
752
00:45:49,780 --> 00:45:57,779
Yeah, it's... That's a really...
It's a Chop buster, that song.
753
00:46:14,239 --> 00:46:17,899
He really was getting away from
the straight rock stuff that he
754
00:46:17,900 --> 00:46:20,979
was doing, and he wanted
to open it up to a more melodic
755
00:46:20,980 --> 00:46:24,559
and a little softer
and jazzier angle.
756
00:46:24,560 --> 00:46:30,039
George loved it and staeted putting
the string arrangements to it,
757
00:46:30,040 --> 00:46:34,119
just bare-bones creativity
on the spot.
758
00:46:34,120 --> 00:46:38,738
STUDiO VERSION OF TRACK PLAYS
759
00:46:46,820 --> 00:46:50,159
When i suggested to him
that we use an orchestra with it,
760
00:46:50,160 --> 00:46:53,119
he was a little bit
taken aback, i think.
761
00:46:53,120 --> 00:46:56,159
And, for me, it was
a fairly risky thing,
762
00:46:56,160 --> 00:46:58,899
because Jeff had never
done this before,
763
00:46:58,900 --> 00:47:03,039
and i wondered whether the audience
would accept the fact that
764
00:47:03,040 --> 00:47:06,039
Jeff Beck was working
with a string sound.
765
00:47:06,040 --> 00:47:08,299
George was open to anything
766
00:47:08,300 --> 00:47:11,859
and the most encouraging
and most kindest person.
767
00:47:11,860 --> 00:47:13,559
And, boy, did he get a great sound.
768
00:47:13,560 --> 00:47:18,559
Cause We've Ended As Lovers is the
standout track of ali time, for me.
769
00:47:18,560 --> 00:47:24,559
I mean I just think that is jeff
at his most beautiful, lyrical.
770
00:47:24,560 --> 00:47:29,859
It's a Stevie Wonder song, of
course, which must be pointed out.
771
00:47:29,860 --> 00:47:32,339
When i heard that album,
I just thought, "Oh, wow."
772
00:47:32,340 --> 00:47:35,198
Her voice was like
a Crystal stream flowing.
773
00:47:35,199 --> 00:47:37,779
And I staeted playing
Cause We Ended As Lovers,
774
00:47:37,780 --> 00:47:40,459
playing the melody
that Syreeta sang.
775
00:47:40,460 --> 00:47:43,079
Max Middleton said,
"That's beautiful. What is it?"
776
00:47:43,080 --> 00:47:44,939
And I played him
the Syreeta version.
777
00:47:44,940 --> 00:47:52,439
He went, "Why don't we do that
as an instrumental?"
778
00:48:03,860 --> 00:48:06,159
GEORGE MARTIN:
jeff's an amazing person,
779
00:48:06,160 --> 00:48:09,559
because he Can get
the most incredible sounds
780
00:48:09,560 --> 00:48:11,259
out of an electric guitar.
781
00:48:11,260 --> 00:48:14,119
Even after he's flung it
across the studio,
782
00:48:14,120 --> 00:48:18,519
he will still pick it up, wiggle it
a bit and make great sounds.
783
00:48:18,520 --> 00:48:23,939
And he uses the guitar as his voice.
He sings with his guitar.
784
00:48:23,940 --> 00:48:31,319
And I don't know any other
guitar player like him.
785
00:48:47,600 --> 00:48:50,899
Blow By Blow was an instantaneous
success upon release.
786
00:48:50,900 --> 00:48:54,339
I mean it really took off like
a rocket. it shot up the Charts.
787
00:48:54,340 --> 00:48:57,599
It turns out that lots of jeff Beck
fans out there were just
788
00:48:57,600 --> 00:49:02,979
waiting for an album in which they
Could hear him play maximum guitar.
789
00:49:02,980 --> 00:49:06,559
Max and George the two of them
just were like two peas in a pod
790
00:49:06,560 --> 00:49:08,679
because of their musicianship,
the keyboard.
791
00:49:08,680 --> 00:49:11,259
Max would come up
with these twisted Chords.
792
00:49:11,260 --> 00:49:15,419
Pork Pie Hat, you know,
with the Charlie Mingus stuff.
793
00:49:15,420 --> 00:49:19,299
Goodbye Pork Pie Hat, written
by Charles Mingus, is an ode,
794
00:49:19,300 --> 00:49:22,819
really, to the great
sax player Lester Young.
795
00:49:22,820 --> 00:49:25,899
It really stands out as being
something very special
796
00:49:25,900 --> 00:49:29,639
and different,
something unexpected from jeff.
797
00:49:29,640 --> 00:49:33,599
And after we finished, there was
dead silence. I went, "Oh."
798
00:49:33,600 --> 00:49:36,039
And George went...
You could hear the button go.
799
00:49:36,040 --> 00:49:42,159
He said, "jeff, that was
very tasteful."
800
00:50:39,900 --> 00:50:42,539
ALBUM VERSiON
801
00:50:59,240 --> 00:51:02,719
To this day, i tell people,
"Boy, if you want to learn guitar,
802
00:51:02,720 --> 00:51:04,819
"there's all the scales
and arpeggios and all this,
803
00:51:04,820 --> 00:51:06,299
"but you need to learn two solos,
804
00:51:06,300 --> 00:51:09,979
"and they're both relatively easy
to learn, beCause they"re slow -
805
00:51:09,980 --> 00:51:13,939
"Goodbye Pork Pie Hat on Wired
and Cause We Ended As Lovers."
806
00:51:13,940 --> 00:51:17,199
Cos that's...
that's where the feel is!
807
00:51:17,200 --> 00:51:20,319
TRACK CONTIN U ES
808
00:51:33,040 --> 00:51:36,239
I got a letter from
Charlie Mingus, and it said,
809
00:51:36,240 --> 00:51:43,199
"Dear Jeff, i was so knocked out
with your version of Pork Pie Hat."
810
00:51:43,200 --> 00:51:45,559
And that's when we had
the world at our feet you know?
811
00:51:45,560 --> 00:51:47,079
We could do anything we wanted.
812
00:51:47,080 --> 00:51:52,459
Jeff is like a roCk and roll
musician who understands jazz.
813
00:51:52,460 --> 00:51:55,599
So, that's a very rare animal.
814
00:51:55,600 --> 00:51:58,039
We went to see Mahavishnu OrChestra
in Zurich.
815
00:51:58,040 --> 00:51:59,979
And we were playing
in the same week,
816
00:51:59,980 --> 00:52:03,419
so we ended up being at a paety
in the same hotel.
817
00:52:03,420 --> 00:52:05,679
We had the greatest time, you know?
818
00:52:05,680 --> 00:52:08,299
I got to know the Mahavishnu
Orchestra - McLaughIin,
819
00:52:08,300 --> 00:52:13,159
Jan Hammer, BilIy Cobham, Jerry
Goodman - and it was just amazing.
820
00:52:13,160 --> 00:52:16,639
And I ended up, you know, really,
really getting a great contaCt
821
00:52:16,640 --> 00:52:19,899
and talking, because we really
had very much in common.
822
00:52:19,900 --> 00:52:24,559
And Jan knew me. He said, "Course
I know you! Out of the Yardbirds.
823
00:52:24,560 --> 00:52:26,259
"I know all the stuff."
824
00:52:26,260 --> 00:52:28,779
So this was the great
bonding session that took place.
825
00:52:28,780 --> 00:52:32,719
This was before Wired. He was
pretty much finished, i think.
826
00:52:32,720 --> 00:52:37,559
He had some rough mixes. The album
was virtually done but not finished.
827
00:52:37,560 --> 00:52:43,039
George Martin had to leave. He was
committed to do an album by America.
828
00:52:43,040 --> 00:52:46,399
George left without
829
00:52:46,460 --> 00:52:50,459
the finishing touches
being applied to the album.
830
00:52:50,460 --> 00:52:54,299
There were still some overdubs,
Certainly some mixing.
831
00:52:54,300 --> 00:52:56,819
So i had to say goodbye to George.
832
00:52:56,820 --> 00:52:59,599
jan was interested,
in that I would fly over there
833
00:52:59,600 --> 00:53:02,639
and watch this magician
do his stuff on this record.
834
00:53:02,640 --> 00:53:04,459
And I just did quick mixes of this,
835
00:53:04,460 --> 00:53:08,519
and basically all those mixes ended
up being the masters for the album!
836
00:53:08,520 --> 00:53:11,199
So more than half of the album
was mixed here.
837
00:53:11,200 --> 00:53:16,039
And then also we did one tune from
scratch, which was called Blue Wind.
838
00:53:16,040 --> 00:53:19,199
And he said, "Play this riff."
839
00:53:19,200 --> 00:53:22,379
The two notes.
HE HUMS THE MELODY
840
00:53:22,380 --> 00:53:27,979
I said, "Oh, come on, Jan. This
kiddie stuff." He went, "'Trust me."
841
00:53:27,980 --> 00:53:32,479
And I didn't like it at all.
842
00:53:36,300 --> 00:53:39,779
It was a very simple riff
and a combination of things,
843
00:53:39,780 --> 00:53:45,339
and by the time i added drums to it
and my keyboard synthesisers...
844
00:53:45,340 --> 00:53:48,719
And he got these Auratones
and stuck them on his mantelpiece
845
00:53:48,720 --> 00:53:51,419
and cranked it,
and the speakers were shaking!
846
00:53:51,420 --> 00:53:55,799
I went, "OK. i get it now!"
847
00:54:11,520 --> 00:54:14,719
It gave a great platform for solos.
848
00:54:14,720 --> 00:54:18,819
And it was all about,
you know, embellishing
849
00:54:18,820 --> 00:54:26,199
and showing off
and taking flight with your solos.
850
00:54:49,560 --> 00:54:52,559
It just turned out to be
a great, great tune that soet of
851
00:54:52,560 --> 00:54:57,419
has been living on decades now!
852
00:55:06,300 --> 00:55:08,519
It was incredible to play
with Jan Hammer
853
00:55:08,520 --> 00:55:10,339
with jeff Beck
at the Hollywood Bowl.
854
00:55:10,340 --> 00:55:13,199
Jeff had always talked
about Jan before.
855
00:55:13,200 --> 00:55:16,979
Jeff loves Jan. And vice versa.
They have a great relationship.
856
00:55:16,980 --> 00:55:19,039
I'm sitting there
and i'm looking at both of them
857
00:55:19,040 --> 00:55:21,119
and watching them interaCting.
858
00:55:21,120 --> 00:55:25,419
You can see the years of
friendship and mutual respect
859
00:55:25,420 --> 00:55:32,179
and adoration that they have
for one another.
860
00:55:46,420 --> 00:55:48,419
Star Cycle was interesting,
because, again,
861
00:55:48,420 --> 00:55:52,199
what I did was I recorded
the whole track here...
862
00:55:52,200 --> 00:55:56,419
..in the old studio, again with
the sequencer, and I played drums.
863
00:55:56,420 --> 00:56:02,199
And then i took the tape to Ramport,
the Who's studio, in London,
864
00:56:02,200 --> 00:56:08,939
and we added all the lead parts
on top of it.
865
00:56:10,520 --> 00:56:13,379
That song has
a very paeticular melody.
866
00:56:13,380 --> 00:56:18,299
And, again, the whole thing is about
the trade-off between Jan and Jeff.
867
00:56:18,300 --> 00:56:22,119
How their minds work together
is incredible.
868
00:56:22,120 --> 00:56:23,859
They can really
bounce off of each other,
869
00:56:23,860 --> 00:56:29,619
and it's just...
It"s like fireworks.
870
00:56:50,380 --> 00:56:53,639
He"s just inspired, you know,
by whatever the dynamic is
871
00:56:53,640 --> 00:56:56,599
that's on the stage.
That's what he"s looking for.
872
00:56:56,600 --> 00:56:58,639
He's looking for
inspiration, you know,
873
00:56:58,640 --> 00:57:04,519
a reason to strike that string
and pull, make that next sound.
874
00:57:04,520 --> 00:57:06,339
That's the reason
I love playing with him,
875
00:57:06,340 --> 00:57:09,079
because it's going to be so fresh
and he's going to pull
876
00:57:09,080 --> 00:57:11,859
something out of his sleeve
that you say, ""How did you do that?"
877
00:57:11,860 --> 00:57:13,759
You think that guitar
is so limited,
878
00:57:13,760 --> 00:57:16,819
and people sometimes even
demonstrate how limited guitar
879
00:57:16,820 --> 00:57:20,779
is by playing basiCally a couple of
riffs and that"s the whole career.
880
00:57:20,780 --> 00:57:24,259
jeff is opening it up to so many,
881
00:57:24,260 --> 00:57:30,159
many areas that it's
really hard to keep up.
882
00:57:30,160 --> 00:57:36,259
I came back to Epic in 1 980, after
the There And Back album during
883
00:57:36,260 --> 00:57:42,339
which time I failed to convince jeff
to do even one aIbum for EpiC.
884
00:57:42,340 --> 00:57:45,859
Years had gone by, and i didn't
want to go along with that,
885
00:57:45,860 --> 00:57:49,239
the "80s push-button music
and all that.
886
00:57:49,240 --> 00:57:51,819
I certainly visited
jeff at his home.
887
00:57:51,820 --> 00:57:55,819
He was a most gracious host,
showed me his cars in the garage,
888
00:57:55,820 --> 00:57:58,299
which he was spending a signifiCant
889
00:57:58,300 --> 00:58:01,419
amount of his time working on,
very happily.
890
00:58:01,420 --> 00:58:05,759
There was no place for me, so I just
buried myseif in my workshop.
891
00:58:05,760 --> 00:58:07,259
And it got to the point
892
00:58:07,260 --> 00:58:10,519
where I think they forgot
I was even on the Epic label!
893
00:58:10,520 --> 00:58:13,819
And I ended up driving
to different sessions.
894
00:58:13,820 --> 00:58:19,339
Any aetist would be thrilled to have
Jeff contribute to their work,
895
00:58:19,340 --> 00:58:24,979
so the fact that over the years
he"s guested on albums from suCh
896
00:58:24,980 --> 00:58:30,419
a diverse array of acts, from
Stevie Wonder to Stanley Clarke to
897
00:58:30,420 --> 00:58:35,599
Diana Ross to Mick Jagger to
Tina Turner, on and on and on...
898
00:58:35,600 --> 00:58:39,259
And I loved guesting with them.
I loved every minute of that.
899
00:58:39,260 --> 00:58:42,519
He has kinda guided his career
the way he wanted,
900
00:58:42,520 --> 00:58:46,039
and there's something to be said
for taking time off
901
00:58:46,040 --> 00:58:49,459
and regrouping rather than
having a record company
902
00:58:49,460 --> 00:58:52,679
breathing down your neck
for a new record every year.
903
00:58:52,680 --> 00:58:55,819
Epic Records thought it would be
a great idea to get an aetist
904
00:58:55,820 --> 00:59:00,599
to drop me a broad hint by
painting this surreai garage with
905
00:59:00,600 --> 00:59:03,819
a guitar up on the ramp
instead of a car.
906
00:59:03,820 --> 00:59:06,339
I loved it. i love that cover.
907
00:59:06,340 --> 00:59:10,379
It was me. i mean, that was it. They
Couldn't have hit it... Bull's-eye.
908
00:59:10,380 --> 00:59:12,419
You know? That was me!
909
00:59:12,420 --> 00:59:16,819
Without a doubt, Guitar Shop,
I think was a real return to form.
910
00:59:16,820 --> 00:59:19,079
And that was their job, you know?
911
00:59:19,080 --> 00:59:22,899
I put my back into the album
with Tony Hymas and Terry Bozzio.
912
00:59:22,900 --> 00:59:25,459
The results were really
ground-breaking, in a way,
913
00:59:25,460 --> 00:59:28,719
for a three-piece
to put out so much power.
914
00:59:28,720 --> 00:59:32,199
You know, it was a power trio
with keyboards instead of bass.
915
00:59:32,200 --> 00:59:36,239
His approach is super, super
rhythmic, so in order for that
916
00:59:36,240 --> 00:59:41,779
to work you have to have
a back line that gets it.
917
00:59:41,780 --> 00:59:44,819
I think Terry Bozzio
had a lot to do with that.
918
00:59:44,820 --> 00:59:48,339
He"s worked with amazingly
great drummers, you know?
919
00:59:48,340 --> 00:59:54,979
So, I mean, I've stood in
some tall company.
920
01:00:11,420 --> 01:00:14,939
When you hear the song, it lives up
to its name of Big Block,
921
01:00:14,940 --> 01:00:22,939
which obviously refers to a
large-size engine in an automobile.
922
01:00:23,120 --> 01:00:26,519
His playing is amazing. That
Big Block riff is fucking awesome!
923
01:00:26,520 --> 01:00:34,519
The heavy kind of sexy riff in
the middle, that was all my stuff.
924
01:01:03,560 --> 01:01:07,199
Big Block, it's great.
What a classic. What a classiC.
925
01:01:07,200 --> 01:01:10,119
Powerhouse tune.
926
01:01:10,120 --> 01:01:14,559
That"s a pure example,
I think of a lot of power
927
01:01:14,560 --> 01:01:16,719
and energy that's in Jeff's show.
928
01:01:16,720 --> 01:01:20,419
It"s full of aggression and spirit.
929
01:01:20,420 --> 01:01:26,419
It"s got a nasty,
nasty oveetone to it.
930
01:01:54,080 --> 01:01:57,599
There's this underlying
reoccurring riff that"s happening
931
01:01:57,600 --> 01:02:02,979
the whole time the main riff
on the bass that"s low enough to
932
01:02:02,980 --> 01:02:06,159
give space for the guitar
to do absolutely anything.
933
01:02:06,160 --> 01:02:07,819
So he just goes mental!
934
01:02:07,820 --> 01:02:15,819
The sounds he gets out of
that instrument still shocks me.
935
01:02:39,260 --> 01:02:40,459
It"s so definite,
936
01:02:40,460 --> 01:02:43,239
and he so definitely sounds like
he knows where he's going
937
01:02:43,240 --> 01:02:47,759
and exactly what he wants to do, and
he's going to execute it perfeCtly.
938
01:02:47,760 --> 01:02:50,199
It's always got melody,
939
01:02:50,200 --> 01:02:57,679
but it's also got great attaCk
and sort of aggressive fire to it.
940
01:02:57,680 --> 01:02:58,779
Brilliant.
941
01:02:58,780 --> 01:03:01,919
TRACK CONTIN U ES
942
01:03:04,760 --> 01:03:08,039
Jeff not using a piCk,
I learned a lot from that.
943
01:03:08,040 --> 01:03:10,899
So i actually alternate between
using a pick and not using a pick,
944
01:03:10,900 --> 01:03:13,419
because you're just
that much more connected
945
01:03:13,420 --> 01:03:17,679
and there's an emotional thing
that happens when you do it that way
946
01:03:17,680 --> 01:03:23,079
that sings and soars above
and beyond using a guitar pick.
947
01:03:23,080 --> 01:03:25,819
The early days in the Yardbirds,
he was still playing with a pick,
948
01:03:25,820 --> 01:03:29,199
but then he developed
playing without a pick.
949
01:03:29,200 --> 01:03:34,339
And then he soet of concentrated
more on the Stratocaster,
950
01:03:34,340 --> 01:03:37,259
and he had the guitar
951
01:03:37,260 --> 01:03:41,899
so fine-tuned to every nuance
952
01:03:42,300 --> 01:03:46,159
and the tonality of it,
the tension of it, that he
953
01:03:46,160 --> 01:03:52,519
developed a style
that was totally unique.
954
01:03:53,720 --> 01:03:57,959
And that"s pretty magical.
955
01:04:04,900 --> 01:04:08,419
Where Were You
basically is impossible.
956
01:04:08,420 --> 01:04:11,379
It's just an impossible tune!
957
01:04:11,380 --> 01:04:17,239
That song, where he plays the melody
with harmonics, he's got such
958
01:04:17,240 --> 01:04:23,299
a sensitive ear to know exactly
when things are in pitch.
959
01:04:23,300 --> 01:04:25,379
The way he has his Strat set up
960
01:04:25,380 --> 01:04:28,779
for whammy-bar stuff
is quite extraordinary.
961
01:04:28,780 --> 01:04:33,599
He"s playing whole melodies
on harmoniCs
962
01:04:33,600 --> 01:04:37,079
which are pulled through
two or three tones
963
01:04:37,080 --> 01:04:41,819
in perfect pitch all the time.
964
01:04:43,240 --> 01:04:51,239
And believe me, i've tried it.
It's... He makes it sound easy.
965
01:05:11,240 --> 01:05:13,719
He was invited to come along
and play it at a memorial
966
01:05:13,720 --> 01:05:19,639
service for Richard Wright after he
died. I mean, Rick loved that track.
967
01:05:19,640 --> 01:05:22,419
Rick often said that he was
his favourite guitar player,
968
01:05:22,420 --> 01:05:24,979
much to my chagrin.
He came and played it live,
969
01:05:24,980 --> 01:05:29,299
and it was just like the record
and perfect.
970
01:05:29,300 --> 01:05:33,639
just to know that that piece,
which I wrote reached people,
971
01:05:33,640 --> 01:05:37,459
that was very satisfying.
972
01:05:37,460 --> 01:05:39,819
And Elton told me that he
973
01:05:39,820 --> 01:05:42,759
and Freddie Mercury used to
sit and listen to it.
974
01:05:42,760 --> 01:05:46,199
I went, "Oh, right!"
HE LAUGHS
975
01:05:46,200 --> 01:05:51,379
It"s amazing, isn't it,
that some idea ends up on a record
976
01:05:51,380 --> 01:05:55,679
and then people's lives
are affeCted in some way?
977
01:05:55,680 --> 01:06:00,119
Jeff's always tried to,
you know, challenge what
978
01:06:00,120 --> 01:06:03,939
the stereotype of guitar playing is
or the stereotype of music or just
979
01:06:03,940 --> 01:06:08,239
find new ways of, you know,
980
01:06:08,240 --> 01:06:11,719
expressing his take on what's
happening on music right now,
981
01:06:11,720 --> 01:06:15,039
whether it's collaborating
with different people or finding
982
01:06:15,040 --> 01:06:16,519
new sounds.
983
01:06:16,520 --> 01:06:19,779
He's always got something in his
mind that he wants to do and change.
984
01:06:19,780 --> 01:06:21,519
He will listen to EVERYTHiNG!
985
01:06:21,520 --> 01:06:25,519
I mean he will intake anything from
Ornette Coleman to the Spice Girls
986
01:06:25,520 --> 01:06:31,979
and anything in-between and is able
to filter it into something usabIe.
987
01:06:31,980 --> 01:06:38,559
Me and Jennifer got on quite well
doing this crazy stuff.
988
01:06:38,560 --> 01:06:42,759
I"ve always got a big sound system
in the car, and Nadia started up.
989
01:06:42,760 --> 01:06:57,399
# Nadia, bair bhai
990
01:06:59,640 --> 01:07:01,079
# Nadia... #
991
01:07:01,080 --> 01:07:03,299
This is the most amazing thing
I"ve ever heard.
992
01:07:03,300 --> 01:07:06,939
And I played it again and again
on the way to the studio.
993
01:07:06,940 --> 01:07:11,079
And I said, ""Listen to this.
I'm going to mimiC that singer.""
994
01:07:11,080 --> 01:07:13,639
And, man, it was the most
difficult thing I"ve ever done.
995
01:07:13,640 --> 01:07:16,979
Those indian singers,
they twist and turn,
996
01:07:16,980 --> 01:07:20,599
and it's almost like
beyond belief what they can do,
997
01:07:20,600 --> 01:07:28,599
leaping from note to note
and the scales that they sing.
998
01:07:45,760 --> 01:07:49,559
The Indian vocals
are very hard to emulate.
999
01:07:49,560 --> 01:07:53,719
There are such subtle nuances
and little tiny bends.
1000
01:07:53,720 --> 01:07:58,419
I actually made him loops
of eaCh little Chunk of melody
1001
01:07:58,420 --> 01:08:01,079
and looped it maybe ten
or fifteen times so he could
1002
01:08:01,080 --> 01:08:05,119
focus on just that, which
I don't think he ever did before,
1003
01:08:05,120 --> 01:08:07,979
to break it down
so sCientifically like that.
1004
01:08:07,980 --> 01:08:11,719
But, of course, he's going to
make it his own.
1005
01:08:11,720 --> 01:08:16,099
It's a perfect example of expanding
the instrument beyond anybody's
1006
01:08:16,100 --> 01:08:19,099
imagination, you know,
that it took his hands
1007
01:08:19,100 --> 01:08:22,219
and his brain to be able
to take it that far.
1008
01:08:22,220 --> 01:08:27,139
When i talk to other guitar players
about him, there's no question.
1009
01:08:27,140 --> 01:08:32,859
I mean there's everybody else
and then there's Jeff BeCk.
1010
01:08:32,860 --> 01:08:35,319
I don't even know
how he's doing it half the time.
1011
01:08:35,320 --> 01:08:41,139
He's combining the tremolo arm
with bending and with volume.
1012
01:08:41,140 --> 01:08:44,359
There's so much going on between
his left hand and his right hand
1013
01:08:44,360 --> 01:08:49,519
and what the right hand is doing,
all the independence that it has.
1014
01:08:49,520 --> 01:08:54,639
It's all about making that voice.
1015
01:09:27,820 --> 01:09:30,059
Playing five nights
at Ronnie SCott's, I think
1016
01:09:30,060 --> 01:09:32,819
jeff always wanted to play
at Ronnie's, you know?
1017
01:09:32,820 --> 01:09:35,099
The faCt that we pulled that off
was pretty amazing,
1018
01:09:35,100 --> 01:09:37,059
because it's just
a little jazz club.
1019
01:09:37,060 --> 01:09:39,559
Everybody's been there -
you know, Rollins...
1020
01:09:39,560 --> 01:09:44,219
I saw Art Blakey there, i saw Elvin
Jones. These people belong in there.
1021
01:09:44,220 --> 01:09:46,759
And there's Jeff Beck up there.
No, no, no.
1022
01:09:46,760 --> 01:09:49,279
How wrong was I? Amazing.
1023
01:09:49,280 --> 01:09:51,279
CHEERiNG AND APPLAUSE
I can't believe this.
1024
01:09:51,280 --> 01:09:52,719
You know, you people.
1025
01:09:52,720 --> 01:09:55,898
But on top of this, i'd like
to welcome to the stage somebody
1026
01:09:55,899 --> 01:09:58,438
who knows their way
around a Stratocaster.
1027
01:09:58,439 --> 01:10:04,099
It was an honour, you know, I mean,
to get up with him in that venue.
1028
01:10:04,100 --> 01:10:09,519
And the fact that he asked me
to play, i mean, tremendously
1029
01:10:09,520 --> 01:10:14,759
touching that he would want me to
get up and play with him, you know?
1030
01:10:14,760 --> 01:10:16,639
Mr Eric Clapton is here tonight.
1031
01:10:16,640 --> 01:10:18,359
LOUD CHEERING
1032
01:10:18,360 --> 01:10:22,898
I may as well fuck off home, then!
1033
01:10:22,899 --> 01:10:26,139
They were trying to figure out
what to play, and Clapton said,
1034
01:10:26,140 --> 01:10:28,319
"Well, why don't we play
You Need Love?""
1035
01:10:28,320 --> 01:10:33,559
# Baby, you look so sweet and kind
1036
01:10:33,760 --> 01:10:37,619
# Baby, way down inside
1037
01:10:37,780 --> 01:10:40,478
# Baby, you need love
1038
01:10:40,479 --> 01:10:42,279
# Oh, you need love... #
1039
01:10:42,280 --> 01:10:44,978
We had basically
all of Led Zeppelin there,
1040
01:10:44,979 --> 01:10:49,519
all the surviving members, and
it was funny playing You Need Love,
1041
01:10:49,520 --> 01:10:52,639
because it was where
they got Whole Lotta Love from.
1042
01:10:52,640 --> 01:10:55,139
That was their influence
for writing that song.
1043
01:10:55,140 --> 01:10:58,599
jeff and I, we go back
to really early teens.
1044
01:10:58,600 --> 01:11:00,938
And let me tell you,
that was a long while ago.
1045
01:11:00,939 --> 01:11:02,599
HE LAUGHS
1046
01:11:02,600 --> 01:11:05,679
But we must have been
about 1 3, 1 4, when we first met,
1047
01:11:05,680 --> 01:11:09,398
and we stayed friends
all the way through...
1048
01:11:09,399 --> 01:11:11,599
That was a surprise,
the Rock & Roll Hall of Fame,
1049
01:11:11,600 --> 01:11:15,319
to have jimmy go up there and call
me up to present me with the award.
1050
01:11:15,320 --> 01:11:19,139
I was really flattered. And what
he said really brought me to tears.
1051
01:11:19,140 --> 01:11:21,639
You'd soet of listen to Jeff
along the way, and you'd go,
1052
01:11:21,640 --> 01:11:24,599
"Wow, it's getting really,
really good, jeff."
1053
01:11:24,600 --> 01:11:26,519
And you'd hear him
a few years later,
1054
01:11:26,520 --> 01:11:29,679
and he'd just keep getting
better and better and better,
1055
01:11:29,680 --> 01:11:32,398
and he still has,
all the way through.
1056
01:11:32,399 --> 01:11:35,599
And he Ieaves us mere moetals,
believe me, you know,
1057
01:11:35,600 --> 01:11:39,099
just wondering and having
so much respect for him.
1058
01:11:39,100 --> 01:11:42,719
And I tell you, i'm really honoured
to be here to induct
1059
01:11:42,720 --> 01:11:44,898
Jeff into the Rock & Roll
Hall of Fame,
1060
01:11:44,899 --> 01:11:47,599
because he's done so much for
rock and roll and he always will.
1061
01:11:47,600 --> 01:11:52,759
The plan was at sound check
that we play Beck's Bolero.
1062
01:11:52,760 --> 01:11:55,759
And I thought, "Oh, yeah, OK, I'll
bring over the original guitar that
1063
01:11:55,760 --> 01:11:59,639
"I played it on," whiCh is a Fender
12-string, eleCtric 12-string.
1064
01:11:59,640 --> 01:12:02,679
And so I took it over there,
and we had a rehearsal.
1065
01:12:02,680 --> 01:12:06,679
Somehow, I think me and Tal
called up Jeff.
1066
01:12:06,680 --> 01:12:09,599
And I said, "Y'know,
it"s really a shame
1067
01:12:09,600 --> 01:12:12,779
"that we're not playing
a Zeppelin song.
1068
01:12:12,780 --> 01:12:15,279
"I mean, we're going to play
with Jimmy Page."
1069
01:12:15,280 --> 01:12:20,819
And I got a phone call just before
we were due to go, and he said,
1070
01:12:20,820 --> 01:12:23,319
"I've been having a chat
with the band,
1071
01:12:23,320 --> 01:12:25,759
"and they thought it might be
a good idea
1072
01:12:25,760 --> 01:12:32,099
"if we, instead of just doing
Bolero, if we did Immigrant Song."
1073
01:12:32,100 --> 01:12:35,779
And I said, "Oh, yeah? Well, this is
really going to be interesting,
1074
01:12:35,780 --> 01:12:37,859
"because we haven't
had a rehearsal."
1075
01:12:37,860 --> 01:12:41,739
Right here, Jimmy Page!
1076
01:12:42,860 --> 01:12:45,519
The tech behind the stage
apparently were freaking out.
1077
01:12:45,520 --> 01:12:48,398
The sound guys, the light...
Nobody knows what"s going on.
1078
01:12:48,399 --> 01:12:53,139
But the audience went berserk!
1079
01:13:13,479 --> 01:13:15,398
I mean he was just soloing over it,
1080
01:13:15,399 --> 01:13:18,359
and he'd throw the vocal lead in
just to show, you know,
1081
01:13:18,360 --> 01:13:20,978
just to show everybody
just how on top of it he was.
1082
01:13:20,979 --> 01:13:28,978
I still get goose bumps
when i think about that right now.
1083
01:13:29,760 --> 01:13:33,019
The band are having great fun
doing this riff,
1084
01:13:33,020 --> 01:13:41,019
and then we segue through into
Bolero, and it"s absolutely amazing!
1085
01:13:44,140 --> 01:13:47,219
These people that came out of
that same year with the same
1086
01:13:47,220 --> 01:13:51,519
influences, and look at
the voices that emerged.
1087
01:13:51,520 --> 01:13:54,559
Jimmy Page and Jeff Beck.
1088
01:13:54,560 --> 01:13:57,359
And then there was
Clapton and Hendrix.
1089
01:13:57,360 --> 01:14:00,679
I mean these guys
all took that same raw material
1090
01:14:00,680 --> 01:14:04,599
and did that - just distinct,
different branches.
1091
01:14:04,600 --> 01:14:07,139
Every time I think of it,
it's mind-numbing,
1092
01:14:07,140 --> 01:14:12,559
and Jeff really is just
totally a voiCe like no other.
1093
01:14:12,560 --> 01:14:15,978
I love his big, vast swing,
you know? He'll go from something
1094
01:14:15,979 --> 01:14:18,559
so rocking and so aggressive
1095
01:14:18,560 --> 01:14:22,179
down to something so tender and
so sweet and everything in-between,
1096
01:14:22,180 --> 01:14:25,398
and it really is a perfect mirror
on all the emotions
1097
01:14:25,399 --> 01:14:27,938
of being a human being
and being alive.
1098
01:14:27,939 --> 01:14:35,079
It just kinda covers
the gamut of human emotion.
1099
01:14:49,560 --> 01:14:52,279
You can recognise Gilmour
and Hendrix the same way you
1100
01:14:52,280 --> 01:14:55,859
Could recognise jeff
within a phrase, a note.
1101
01:14:55,860 --> 01:14:58,679
They wouldn't be icons
of guitar playing
1102
01:14:58,680 --> 01:15:01,319
if they didn"t have their stamp.
1103
01:15:01,320 --> 01:15:03,859
And that's what I think,
every aspiring guitarist,
1104
01:15:03,860 --> 01:15:06,359
including myself,
wants to achieve one day.
1105
01:15:06,360 --> 01:15:07,898
So i think they're all unique,
1106
01:15:07,899 --> 01:15:14,279
but jeff's is
a little bit more out there.
1107
01:15:20,680 --> 01:15:25,319
He was doing his set, and then
I had to go on after Nessun Dorma!
1108
01:15:25,320 --> 01:15:29,359
It was like, "You must be kidding,
man! This is it.
1109
01:15:29,360 --> 01:15:36,219
"This is a show stopper.
I can't follow that."
1110
01:15:41,479 --> 01:15:43,639
There's not too many musicians
who can do that.
1111
01:15:43,640 --> 01:15:45,359
That's a vocal tune for a reason.
1112
01:15:45,360 --> 01:15:50,359
It's really about just his soet of
two hands and a piece of wood
1113
01:15:50,360 --> 01:15:52,319
and with the things
that he"s able to do with it,
1114
01:15:52,320 --> 01:15:57,319
but he does it with a lot of emotion
and a lot of soul and expression.
1115
01:15:57,320 --> 01:16:00,478
All those years ago,
you had a band that featured
1116
01:16:00,479 --> 01:16:02,519
Rod Stewaet as your voCalist.
1117
01:16:02,520 --> 01:16:06,059
It"s always seemed
somewhat self-defeating to me
1118
01:16:06,060 --> 01:16:12,139
to attempt to replace Rod
with another male vocalist.
1119
01:16:12,140 --> 01:16:16,859
Jeff has a really cool knaCk
for piCking female singers
1120
01:16:16,860 --> 01:16:21,219
with his Choices like imelda May,
Joss Stone and Beth Hart.
1121
01:16:21,220 --> 01:16:25,519
There's a perfect example of
three absolutely amazing females
1122
01:16:25,520 --> 01:16:29,019
that go with his style
1123
01:16:29,020 --> 01:16:32,059
and the type of energy
that he wants to portray and
1124
01:16:32,060 --> 01:16:34,819
the type of energy that he wants
his band to poetray at that
1125
01:16:34,820 --> 01:16:37,478
paeticular time, the type
of fire that he wants to have.
1126
01:16:37,479 --> 01:16:40,819
# Something told me
1127
01:16:40,820 --> 01:16:44,019
# That it was over
1128
01:16:44,020 --> 01:16:47,159
# Baby, yeah... #
1129
01:16:48,560 --> 01:16:50,599
I had an opportunity
to go write with Jeff.
1130
01:16:50,600 --> 01:16:52,779
We wrote a couple of
beautiful songs together.
1131
01:16:52,780 --> 01:16:54,219
And I thought that was it.
1132
01:16:54,220 --> 01:16:57,398
And then he called me and asked me
if I would be his singer.
1133
01:16:57,399 --> 01:17:00,779
That was incredible. I didn't
get to sing a lot of songs,
1134
01:17:00,780 --> 01:17:04,478
but i did get to sit on the side
of the stage and watCh him play
1135
01:17:04,479 --> 01:17:08,059
and understand why he's the most
innovative guitarist of ali time.
1136
01:17:08,060 --> 01:17:11,599
# ..in my soul said, ""Gone"... #
1137
01:17:11,600 --> 01:17:14,779
Jeff really appreciates singers.
1138
01:17:14,780 --> 01:17:17,599
You know, he's always
listening to singers
1139
01:17:17,600 --> 01:17:20,478
and the way that they articulate.
1140
01:17:20,479 --> 01:17:23,179
Beth Hart is somebody
I"ve actually worked with before,
1141
01:17:23,180 --> 01:17:27,099
and she's great,
and she's very soulful.
1142
01:17:27,100 --> 01:17:30,898
As a singer, he knows what is
the kind of song that wili best
1143
01:17:30,899 --> 01:17:35,478
be for you. And he turned me on
to that song, and i loved it.
1144
01:17:35,479 --> 01:17:38,719
# I'd rather, baby
1145
01:17:39,360 --> 01:17:41,599
# Be blind
1146
01:17:42,180 --> 01:17:43,938
# Yeah
1147
01:17:47,100 --> 01:17:49,639
# Than to see you
1148
01:17:49,640 --> 01:17:52,898
# Walk away, walk away from me
1149
01:17:52,899 --> 01:17:54,779
# Baby, don't leave me... #
1150
01:17:54,780 --> 01:18:00,438
Here he is, 50 years later,
after his girlfriend takes him
1151
01:18:00,439 --> 01:18:03,139
out on that stage and he looks out
and he says, ""God, I want
1152
01:18:03,140 --> 01:18:09,099
"to play here so bad," and 50 years
later, he plays there, sold out.
1153
01:18:09,100 --> 01:18:12,139
Gorgeous. Kills it.
It's just wonderful.
1154
01:18:12,140 --> 01:18:18,139
MUSIC: The Revolution
Will Be Televised
1155
01:18:20,939 --> 01:18:24,019
One of my favourite records
that he's done is Loud Hailer,
1156
01:18:24,020 --> 01:18:26,519
and that"s...
1157
01:18:26,520 --> 01:18:29,978
I mean it"s incredibly modern,
1158
01:18:29,979 --> 01:18:34,779
and having a singer like that
to work off of, he"s chosen well.
1159
01:18:34,780 --> 01:18:38,438
# The revolution will be televised
1160
01:18:38,439 --> 01:18:40,599
# You can watch it in HD
1161
01:18:40,600 --> 01:18:44,898
# You can talk
like a weekend warrior
1162
01:18:44,899 --> 01:18:48,398
# From the safety
of your settee... #
1163
01:18:48,399 --> 01:18:51,059
There's a lot of pressure
opening jeff's show.
1164
01:18:51,060 --> 01:18:53,559
This is, like,
The 50 Years Of Jeff Beck.
1165
01:18:53,560 --> 01:18:55,759
Rosie stomping
around the Hollywood Bowl,
1166
01:18:55,760 --> 01:18:58,859
and all these top-of-the-heap
kind of rich guys down the front...
1167
01:18:58,860 --> 01:19:00,519
..not knowing what's going on.
1168
01:19:00,520 --> 01:19:04,279
He always decides to do something
which no-one would expect him
1169
01:19:04,280 --> 01:19:07,599
to do - working with us,
this unknown band from Camden.
1170
01:19:07,600 --> 01:19:10,639
Jeff's always suppoeted
young aetists and especially women.
1171
01:19:10,640 --> 01:19:14,059
He"s had a history of having really
great female musicians with him -
1172
01:19:14,060 --> 01:19:18,099
female singers,
guitar players, bass players.
1173
01:19:18,100 --> 01:19:22,019
And not only the point of
just the criteria of someone being
1174
01:19:22,020 --> 01:19:25,438
a female, but somebody being
female and very talented
1175
01:19:25,439 --> 01:19:29,059
and that get along great with him -
and his wife.
1176
01:19:29,060 --> 01:19:30,679
What time do you call this?
SHE LAUGHS
1177
01:19:30,680 --> 01:19:33,478
I met Jeff at Roger Taylor's
birthday party.
1178
01:19:33,479 --> 01:19:35,898
It was a friendly encounter,
because it was like Roger said,
1179
01:19:35,899 --> 01:19:37,398
"Here, come and meet Jeff."
1180
01:19:37,399 --> 01:19:39,938
And then i turned around and
realised who i was talking to, and I
1181
01:19:39,939 --> 01:19:43,898
think the first thing I said to him
was, "Oh, fuck, you're jeff Beck."
1182
01:19:43,899 --> 01:19:48,478
I've installed the engine in your
absence, so that bit"s now done.
1183
01:19:48,479 --> 01:19:51,938
"Who do you like?" She said,
"Oh, Albeet Collins." Ding!
1184
01:19:51,939 --> 01:19:55,719
Light went on, and I thought,
"That's unusual,
1185
01:19:55,720 --> 01:19:59,139
"to have a female young guitarist
that likes Albert Collins.""
1186
01:19:59,140 --> 01:20:02,519
So then she said, "Well, if you want
to see me play, my band,
1187
01:20:02,520 --> 01:20:06,938
"I'm playing in this pub." So we
go up there. Totally blown away.
1188
01:20:06,939 --> 01:20:11,599
He's always trying something new.
The most recent album Loud Hailer,
1189
01:20:11,600 --> 01:20:14,719
is not like any album
he"s done before.
1190
01:20:14,720 --> 01:20:18,019
He's collaborating with people
who are, like himself,
1191
01:20:18,020 --> 01:20:21,938
venturing forward
into new musical territory.
1192
01:20:21,939 --> 01:20:24,779
That'li keep you young.
The whole point is that Jeff's
1193
01:20:24,780 --> 01:20:27,898
still, at his age, trying to pioneer
things and do things differently,
1194
01:20:27,899 --> 01:20:30,898
not just playing the same stuff
that he always plays.
1195
01:20:30,899 --> 01:20:34,019
He"s pushing it a bit,
getting excited about new people
1196
01:20:34,020 --> 01:20:35,938
and making new music.
1197
01:20:35,939 --> 01:20:38,279
Looking back on it,
it feels like fairy land.
1198
01:20:38,280 --> 01:20:41,438
"How the hell did that happen?"
Just sitting around a fireplace,
1199
01:20:41,439 --> 01:20:44,719
drinking Prosecco
and writing music with a legend.
1200
01:20:44,720 --> 01:20:47,599
There was a lot of chatting about
things that were interesting him
1201
01:20:47,600 --> 01:20:49,139
in the world, and then after that
1202
01:20:49,140 --> 01:20:51,759
everything kind of
Came quite easily.
1203
01:20:51,760 --> 01:20:54,779
It was done under this roof,
and it was a beautiful,
1204
01:20:54,780 --> 01:20:58,779
very natural experience.
1205
01:21:11,140 --> 01:21:15,279
# Billy skipped school again
Looking like a fool again
1206
01:21:15,280 --> 01:21:22,359
# What a little waste
For a taste of a big boy's life
1207
01:21:22,360 --> 01:21:26,779
# I'm scared for the children... #
1208
01:21:26,780 --> 01:21:29,359
That was Carmen"s
Chord sequence, i think,
1209
01:21:29,360 --> 01:21:32,059
and then I came up with
the little fills and stuff.
1210
01:21:32,060 --> 01:21:36,279
I wasn't expecting that,
the depth of that song.
1211
01:21:36,280 --> 01:21:39,938
I love the sentiment
behind Scared For The Children.
1212
01:21:39,939 --> 01:21:43,779
It's something that we all
felt quite close to.
1213
01:21:43,780 --> 01:21:50,419
# This is the end of the age
of the innocent
1214
01:21:51,600 --> 01:21:56,959
# One more game before they go... #
1215
01:22:00,560 --> 01:22:02,819
I play the least amount
of notes that actually mean
1216
01:22:02,820 --> 01:22:04,219
something, I suppose.
1217
01:22:04,220 --> 01:22:06,639
If there was any game plan,
that would be it, really.
1218
01:22:06,640 --> 01:22:08,719
I mean the chords are so niCe.
1219
01:22:08,720 --> 01:22:16,459
Just to sit on the chord
and do it, that"s what i do.
1220
01:22:27,180 --> 01:22:29,759
jeff's solo on
Scared For The Children,
1221
01:22:29,760 --> 01:22:34,639
suave at first and then
explodes in the second half,
1222
01:22:34,640 --> 01:22:38,359
that hint of Jimi Hendrix
kind of, like, quote.
1223
01:22:38,360 --> 01:22:42,279
The best time is on a really
nice-sounding stage, live.
1224
01:22:42,280 --> 01:22:46,519
You can really pour it on.
1225
01:23:28,140 --> 01:23:29,898
Jeff is probably one of the most
1226
01:23:29,899 --> 01:23:32,398
influential guitar players
alive today.
1227
01:23:32,399 --> 01:23:36,859
And whenever i get to play with him,
it"s an experience that affects
1228
01:23:36,860 --> 01:23:41,779
my drumming and my musicianship.
He makes me play better.
1229
01:23:41,780 --> 01:23:44,519
Every time I see him,
his averages are so high,
1230
01:23:44,520 --> 01:23:48,898
but every performance is one place
where he just transcends it
1231
01:23:48,899 --> 01:23:52,859
and i go, "Oh. OK. You know?
1232
01:23:52,860 --> 01:23:57,099
"Better go home
and pick that guitar up again."
1233
01:23:57,100 --> 01:23:59,599
He's just naturally interested
in making music,
1234
01:23:59,600 --> 01:24:02,759
and he has enough faith
in his music to know that all that
1235
01:24:02,760 --> 01:24:04,819
stuff about the business
just doesn't matter.
1236
01:24:04,820 --> 01:24:07,898
To have the attitude that he has
where he's always
1237
01:24:07,899 --> 01:24:10,719
ready for something new
and he doesn't know it all -
1238
01:24:10,720 --> 01:24:15,759
even though he does! -
I think that's magical.
1239
01:24:15,760 --> 01:24:19,819
There's a differenCe between
playing music and being music,
1240
01:24:19,820 --> 01:24:23,438
and that's how he is set apart,
Cos he IS music.
1241
01:24:23,439 --> 01:24:30,519
jeff seems to embody the sound that
he produces, and I've watChed him
1242
01:24:30,520 --> 01:24:35,279
take someone else's guitar who was
just playing a moment before,
1243
01:24:35,280 --> 01:24:39,759
pick it up with no effects,
no nothing, and staet playing,
1244
01:24:39,760 --> 01:24:41,898
and the sound of
that same instrument
1245
01:24:41,899 --> 01:24:43,319
is just Completely different.
1246
01:24:43,320 --> 01:24:47,639
This unique talent,
this unique musical sensibility,
1247
01:24:47,640 --> 01:24:52,779
vocabulary, inspiration
and willingness to take risks,
1248
01:24:52,780 --> 01:24:57,279
jumping off cliffs, y'know,
and that aIl shows up in his music.
1249
01:24:57,280 --> 01:25:00,779
People do need to...
1250
01:25:01,280 --> 01:25:04,859
..up their awareness about him.
I mean where have they been?
1251
01:25:04,860 --> 01:25:08,898
There is no-one else that has been
as consistently good
1252
01:25:08,899 --> 01:25:15,679
exciting, out there, Looking for
new things, adventurous, maveriCk,
1253
01:25:15,680 --> 01:25:18,639
since he staeted in the "605.
1254
01:25:18,640 --> 01:25:23,499
He just loves music. I think...
1255
01:25:24,720 --> 01:25:28,679
..if you stop wanting to play,
if you're not inspired by what
1256
01:25:28,680 --> 01:25:33,398
you hear, then you might as well sit
at home by the fire and watch TV.
1257
01:25:33,399 --> 01:25:35,719
But obviously he's still got
something left to say.
1258
01:25:35,720 --> 01:25:40,478
I haven't given up hope, Jeff,
y'know. THE voiCe, THE guitar.
1259
01:25:40,479 --> 01:25:41,898
The good thing about guitarists
1260
01:25:41,899 --> 01:25:45,019
is that everyone's got
their own character playing.
1261
01:25:45,020 --> 01:25:47,819
That"s something
which we all do understand.
1262
01:25:47,820 --> 01:25:50,819
But we could all be talking
for hours and hours
1263
01:25:50,820 --> 01:25:53,639
and years and years,
decades and decades,
1264
01:25:53,640 --> 01:25:57,898
but the most impoetant thing,
the thing that you can't actually
1265
01:25:57,899 --> 01:26:01,719
put into words, is what you
actually hear in that music.
1266
01:26:01,720 --> 01:26:04,779
And that is the key to
all of this, of Jeff's playing
1267
01:26:04,780 --> 01:26:06,779
and why Jeff is so brilliant,
1268
01:26:06,780 --> 01:26:10,679
because it's what he manages
to convey with his guitar.
1269
01:26:10,680 --> 01:26:16,799
And that has to be heard
to be believed.
1270
01:26:18,399 --> 01:26:21,719
I always keep a guitar in nearly
every place in the house to
1271
01:26:21,720 --> 01:26:23,759
remind me that I should
be doing that.
1272
01:26:23,760 --> 01:26:25,398
HE LAUGHS
1273
01:26:25,399 --> 01:26:28,559
And the guitar is always
a Constant challenge.
1274
01:26:28,560 --> 01:26:31,898
Every time I pick it up, i pretend
that i've just started playing.
1275
01:26:31,899 --> 01:26:32,898
And it seems to work.113302
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