All language subtitles for JEFF BECK - Still On The Run Part 2 (2018)

STUDiO VERSION OF TRACK PLAYS.

When I suggested to him
that we use an orchestra with it,

he was a little bit
taken aback, I think.

And, for me, it was
a fairly risky thing,

because Jeff had never
done this before,

and I wondered whether the audience
would accept the fact that

Jeff Beck was working
with a string sound.

George was open to anything

and the most encouraging
and most kindest person.

And, boy, did he get a great sound.

Cause We've Ended As Lovers is the
standout track of ali time, for me.

I mean I just think that is jeff
at his most beautiful, lyrical.

It's a Stevie Wonder song, of
course, which must be pointed out.

When I heard that album,
I just thought, "Oh, wow."

Her voice was like
a Crystal stream flowing.

And I staeted playing
Cause We Ended As Lovers,

playing the melody
that Syreeta sang.

Max Middleton said,
"That's beautiful. What is it?"

And I played him
the Syreeta version.

He went, "Why don't we do that
as an instrumental?"

GEORGE MARTIN:
Jeff's an amazing person,

because he Can get
the most incredible sounds

out of an electric guitar.

Even after he's flung it
across the studio,

he will still pick it up, wiggle it
a bit and make great sounds.

And he uses the guitar as his voice.
He sings with his guitar.

And I don't know any other
guitar player like him.

Blow By Blow was an instantaneous
success upon release.

I mean it really took off like
a rocket. It shot up the Charts.

It turns out that lots of jeff Beck
fans out there were just

waiting for an album in which they
Could hear him play maximum guitar.

Max and George the two of them
just were like two peas in a pod

because of their musicianship,
the keyboard.

Max would come up
with these twisted Chords.

Pork Pie Hat, you know,
with the Charlie Mingus stuff.

Goodbye Pork Pie Hat, written
by Charles Mingus, is an ode,

really, to the great
sax player Lester Young.

It really stands out as being
something very special

and different,
something unexpected from jeff.

And after we finished, there was
dead silence. I went, "Oh."

And George went...
You could hear the button go.

He said, "jeff, that was
very tasteful."

ALBUM VERSiON.

To this day, I tell people,
"Boy, if you want to learn guitar,

"there's all the scales
and arpeggios and all this,

"but you need to learn two solos,

"and they're both relatively easy
to learn, beCause they"re slow...

"Goodbye Pork Pie Hat on Wired
and Cause We Ended As Lovers."

Cos that's...
that's where the feel is!

TRACK CONTIN U ES

I got a letter from
Charlie Mingus, and it said,

"Dear Jeff, I was so knocked out
with your version of Pork Pie Hat."

And that's when we had
the world at our feet you know?

We could do anything we wanted.

Jeff is like a roCk and roll
musician who understands jazz.

So, that's a very rare animal.

We went to see Mahavishnu OrChestra
in Zurich.

And we were playing
in the same week,

so we ended up being at a paety
in the same hotel.

We had the greatest time, you know?

I got to know the Mahavishnu
Orchestra - McLaughlin,

Jan Hammer, Billy Cobham, Jerry
Goodman - and it was just amazing.

And I ended up, you know, really,
really getting a great contaCt

and talking, because we really
had very much in common.

And Jan knew me. He said, "Course
I know you! Out of the Yardbirds.

"I know all the stuff."

So this was the great
bonding session that took place.

This was before Wired. He was
pretty much finished, I think.

He had some rough mixes. The album
was virtually done but not finished.

George Martin had to leave. He was
committed to do an album by America.

George left without

the finishing touches
being applied to the album.

There were still some overdubs,
Certainly some mixing.

So I had to say goodbye to George.

Jan was interested,
in that I would fly over there

and watch this magician
do his stuff on this record.

And I just did quick mixes of this,

and basically all those mixes ended
up being the masters for the album!

So more than half of the album
was mixed here.

And then also we did one tune from
scratch, which was called Blue Wind.

And he said, "Play this riff."

The two notes.
HE HUMS THE MELODY

I said, "Oh, come on, Jan. This
kiddie stuff." He went, "'Trust me."

And I didn't like it at all.

It was a very simple riff
and a combination of things,

and by the time I added drums to it
and my keyboard synthesisers...

And he got these Auratones
and stuck them on his mantelpiece

and cranked it,
and the speakers were shaking!

I went, "OK. I get it now!"

It gave a great platform for solos.

And it was all about,
you know, embellishing

and showing off
and taking flight with your solos.

It just turned out to be
a great, great tune that soet of

has been living on decades now!

It was incredible to play
with Jan Hammer

with jeff Beck
at the Hollywood Bowl.

Jeff had always talked
about Jan before.

Jeff loves Jan. And vice versa.
They have a great relationship.

I'm sitting there
and I'm looking at both of them

and watching them interaCting.

You can see the years of
friendship and mutual respect

and adoration that they have
for one another.

Star Cycle was interesting,
because, again,

what I did was I recorded
the whole track here...

..in the old studio, again with
the sequencer, and I played drums.

And then I took the tape to Ramport,
the Who's studio, in London,

and we added all the lead parts
on top of it.

That song has
a very paeticular melody.

And, again, the whole thing is about
the trade-off between Jan and Jeff.

How their minds work together
is incredible.

They can really
bounce off of each other,

and it's just...
It"s like fireworks.

He"s just inspired, you know,
by whatever the dynamic is

that's on the stage.
That's what he"s looking for.

He's looking for
inspiration, you know,

a reason to strike that string
and pull, make that next sound.

That's the reason
I love playing with him,

because it's going to be so fresh
and he's going to pull

something out of his sleeve
that you say, ""How did you do that?"

You think that guitar
is so limited,

and people sometimes even
demonstrate how limited guitar

is by playing basiCally a couple of
riffs and that"s the whole career.

Jeff is opening it up to so many,

many areas that it's
really hard to keep up.

I came back to Epic in 1 980, after
the There And Back album during

which time I failed to convince jeff
to do even one album for EpiC.

Years had gone by, and I didn't
want to go along with that,

the "80s push-button music
and all that.

I certainly visited
jeff at his home.

He was a most gracious host,
showed me his cars in the garage,

which he was spending a signifiCant

amount of his time working on,
very happily.

There was no place for me, so I just
buried myseif in my workshop.

And it got to the point

where I think they forgot
I was even on the Epic label!

And I ended up driving
to different sessions.

Any aetist would be thrilled to have
Jeff contribute to their work,

so the fact that over the years
he"s guested on albums from suCh

a diverse array of acts, from
Stevie Wonder to Stanley Clarke to

Diana Ross to Mick Jagger to
Tina Turner, on and on and on...

And I loved guesting with them.
I loved every minute of that.

He has kinda guided his career
the way he wanted,

and there's something to be said
for taking time off

and regrouping rather than
having a record company

breathing down your neck
for a new record every year.

Epic Records thought it would be
a great idea to get an aetist

to drop me a broad hint by
painting this surreai garage with

a guitar up on the ramp
instead of a car.

I loved it. I love that cover.

It was me. I mean, that was it. They
Couldn't have hit it... Bull's-eye.

You know? That was me!

Without a doubt, Guitar Shop,
I think was a real return to form.

And that was their job, you know?

I put my back into the album
with Tony Hymas and Terry Bozzio.

The results were really
ground-breaking, in a way,

for a three-piece
to put out so much power.

You know, it was a power trio
with keyboards instead of bass.

His approach is super, super
rhythmic, so in order for that

to work you have to have
a back line that gets it.

I think Terry Bozzio
had a lot to do with that.

He"s worked with amazingly
great drummers, you know?

So, I mean, I've stood in
some tall company.

When you hear the song, it lives up
to its name of Big Block,

which obviously refers to a
large-size engine in an automobile.

His playing is amazing. That
Big Block riff is fucking awesome!

The heavy kind of sexy riff in
the middle, that was all my stuff.

Big Block, it's great.
What a classic. What a classiC.

Powerhouse tune.

That"s a pure example,
I think of a lot of power

and energy that's in Jeff's show.

It"s full of aggression and spirit.

It"s got a nasty,
nasty oveetone to it.

There's this underlying
reoccurring riff that"s happening

the whole time the main riff
on the bass that"s low enough to

give space for the guitar
to do absolutely anything.

So he just goes mental!

The sounds he gets out of
that instrument still shocks me.

It"s so definite,

and he so definitely sounds like
he knows where he's going

and exactly what he wants to do, and
he's going to execute it perfeCtly.

It's always got melody,

but it's also got great attaCk
and sort of aggressive fire to it.

Brilliant.

TRACK CONTIN U ES

Jeff not using a piCk,
I learned a lot from that.

So I actually alternate between
using a pick and not using a pick,

because you're just
that much more connected

and there's an emotional thing
that happens when you do it that way

that sings and soars above
and beyond using a guitar pick.

The early days in the Yardbirds,
he was still playing with a pick,

but then he developed
playing without a pick.

And then he soet of concentrated
more on the Stratocaster,

and he had the guitar

so fine-tuned to every nuance

and the tonality of it,
the tension of it, that he

developed a style
that was totally unique.

And that"s pretty magical.

Where Were You
basically is impossible.

It's just an impossible tune!

That song, where he plays the melody
with harmonics, he's got such

a sensitive ear to know exactly
when things are in pitch.

The way he has his Strat set up

for whammy-bar stuff
is quite extraordinary.

He"s playing whole melodies
on harmoniCs

which are pulled through
two or three tones

in perfect pitch all the time.

And believe me, I've tried it.
It's... He makes it sound easy.

He was invited to come along
and play it at a memorial

service for Richard Wright after he
died. I mean, Rick loved that track.

Rick often said that he was
his favourite guitar player,

much to my chagrin.
He came and played it live,

and it was just like the record
and perfect.

Just to know that that piece,
which I wrote reached people,

that was very satisfying.

And Elton told me that he

and Freddie Mercury used to
sit and listen to it.

I went, "Oh, right!"
HE LAUGHS.

It"s amazing, isn't it,
that some idea ends up on a record

and then people's lives
are affeCted in some way?

Jeff's always tried to,
you know, challenge what

the stereotype of guitar playing is
or the stereotype of music or just

find new ways of, you know,

expressing his take on what's
happening on music right now,

whether it's collaborating
with different people or finding

new sounds.

He's always got something in his
mind that he wants to do and change.

He will listen to EVERYTHiNG!

I mean he will intake anything from
Ornette Coleman to the Spice Girls

and anything in-between and is able
to filter it into something usable.

Me and Jennifer got on quite well
doing this crazy stuff.

I"ve always got a big sound system
in the car, and Nadia started up.

# Nadia, bair bhai

# Nadia... #.

This is the most amazing thing
I"ve ever heard.

And I played it again and again
on the way to the studio.

And I said, ""Listen to this.
I'm going to mimiC that singer.""

And, man, it was the most
difficult thing I"ve ever done.

Those indian singers,
they twist and turn,

and it's almost like
beyond belief what they can do,

leaping from note to note
and the scales that they sing.

The Indian vocals
are very hard to emulate.

There are such subtle nuances
and little tiny bends.

I actually made him loops
of eaCh little Chunk of melody

and looped it maybe ten
or fifteen times so he could

focus on just that, which
I don't think he ever did before,

to break it down
so sCientifically like that.

But, of course, he's going to
make it his own.

It's a perfect example of expanding
the instrument beyond anybody's

imagination, you know,
that it took his hands

and his brain to be able
to take it that far.

When I talk to other guitar players
about him, there's no question.

I mean there's everybody else
and then there's Jeff BeCk.

I don't even know
how he's doing it half the time.

He's combining the tremolo arm
with bending and with volume.

There's so much going on between
his left hand and his right hand

and what the right hand is doing,
all the independence that it has.

It's all about making that voice.

Playing five nights
at Ronnie SCott's, I think

jeff always wanted to play
at Ronnie's, you know?

The faCt that we pulled that off
was pretty amazing,

because it's just
a little jazz club.

Everybody's been there -
you know, Rollins...

I saw Art Blakey there, I saw Elvin
Jones. These people belong in there.

And there's Jeff Beck up there.
No, no, no.

How wrong was I? Amazing.

CHEERiNG AND APPLAUSE
I can't believe this.

You know, you people.

But on top of this, I'd like
to welcome to the stage somebody

who knows their way
around a Stratocaster.

It was an honour, you know, I mean,
to get up with him in that venue.

And the fact that he asked me
to play, I mean, tremendously

touching that he would want me to
get up and play with him, you know?

Mr Eric Clapton is here tonight.

LOUD CHEERING

I may as well fuck off home, then!

They were trying to figure out
what to play, and Clapton said,

"Well, why don't we play
You Need Love?""

# Baby, you look so sweet and kind

# Baby, way down inside

# Baby, you need love

# Oh, you need love... #.

We had basically
all of Led Zeppelin there,

all the surviving members, and
it was funny playing You Need Love,

because it was where
they got Whole Lotta Love from.

That was their influence
for writing that song.

Jeff and I, we go back
to really early teens.

And let me tell you,
that was a long while ago.

HE LAUGHS

But we must have been
about 1 3, 1 4, when we first met,

and we stayed friends
all the way through...

That was a surprise,
the Rock & Roll Hall of Fame,

to have jimmy go up there and call
me up to present me with the award.

I was really flattered. And what
he said really brought me to tears.

You'd soet of listen to Jeff
along the way, and you'd go,

"Wow, it's getting really,
really good, jeff."

And you'd hear him
a few years later,

and he'd just keep getting
better and better and better,

and he still has,
all the way through.

And he leaves us mere moetals,
believe me, you know,

just wondering and having
so much respect for him.

And I tell you, I'm really honoured
to be here to induct

Jeff into the Rock & Roll
Hall of Fame,

because he's done so much for
rock and roll and he always will.

The plan was at sound check
that we play Beck's Bolero.

And I thought, "Oh, yeah, OK, I'll
bring over the original guitar that.

"I played it on," whiCh is a Fender
12-string, eleCtric 12-string.

And so I took it over there,
and we had a rehearsal.

Somehow, I think me and Tal
called up Jeff.

And I said, "Y'know,
it"s really a shame

"that we're not playing
a Zeppelin song.

"I mean, we're going to play
with Jimmy Page."

And I got a phone call just before
we were due to go, and he said,

"I've been having a chat
with the band,

"and they thought it might be
a good idea

"if we, instead of just doing
Bolero, if we did immigrant Song."

And I said, "Oh, yeah? Well, this is
really going to be interesting,

"because we haven't
had a rehearsal."

Right here, Jimmy Page!

The tech behind the stage
apparently were freaking out.

The sound guys, the light...
Nobody knows what"s going on.

But the audience went berserk!

I mean he was just soloing over it,

and he'd throw the vocal lead in
just to show, you know,

just to show everybody
just how on top of it he was.

I still get goose bumps
when I think about that right now.

The band are having great fun
doing this riff,

and then we segue through into
Bolero, and it"s absolutely amazing!

These people that came out of
that same year with the same

influences, and look at
the voices that emerged.

Jimmy Page and Jeff Beck.

And then there was
Clapton and Hendrix.

I mean these guys
all took that same raw material

and did that - just distinct,
different branches.

Every time I think of it,
it's mind-numbing,

and Jeff really is just
totally a voiCe like no other.

I love his big, vast swing,
you know? He'll go from something

so rocking and so aggressive

down to something so tender and
so sweet and everything in-between,

and it really is a perfect mirror
on all the emotions

of being a human being
and being alive.

It just kinda covers
the gamut of human emotion.

You can recognise Gilmour
and Hendrix the same way you.

Could recognise jeff
within a phrase, a note.

They wouldn't be icons
of guitar playing

if they didn"t have their stamp.

And that's what I think,
every aspiring guitarist,

including myself,
wants to achieve one day.

So I think they're all unique,

but jeff's is
a little bit more out there.

He was doing his set, and then
I had to go on after Nessun Dorma!

It was like, "You must be kidding,
man! This is it.

"This is a show stopper.
I can't follow that."

There's not too many musicians
who can do that.

That's a vocal tune for a reason.

It's really about just his soet of
two hands and a piece of wood

and with the things
that he"s able to do with it,

but he does it with a lot of emotion
and a lot of soul and expression.

All those years ago,
you had a band that featured.

Rod Stewaet as your voCalist.

It"s always seemed
somewhat self-defeating to me

to attempt to replace Rod
with another male vocalist.

Jeff has a really cool knaCk
for piCking female singers

with his Choices like imelda May,
Joss Stone and Beth Hart.

There's a perfect example of
three absolutely amazing females

that go with his style

and the type of energy
that he wants to portray and

the type of energy that he wants
his band to poetray at that

paeticular time, the type
of fire that he wants to have.

# Something told me

# That it was over

# Baby, yeah... #

I had an opportunity
to go write with Jeff.

We wrote a couple of
beautiful songs together.

And I thought that was it.

And then he called me and asked me
if I would be his singer.

That was incredible. I didn't
get to sing a lot of songs,

but I did get to sit on the side
of the stage and watCh him play

and understand why he's the most
innovative guitarist of ali time.

# ..in my soul said, ""Gone"... #

Jeff really appreciates singers.

You know, he's always
listening to singers

and the way that they articulate.

Beth Hart is somebody
I"ve actually worked with before,

and she's great,
and she's very soulful.

As a singer, he knows what is
the kind of song that wili best

be for you. And he turned me on
to that song, and I loved it.

# I'd rather, baby

# Be blind

# Yeah

# Than to see you

# Walk away, walk away from me

# Baby, don't leave me... #.

Here he is, 50 years later,
after his girlfriend takes him

out on that stage and he looks out
and he says, ""God, I want

"to play here so bad," and 50 years
later, he plays there, sold out.

Gorgeous. Kills it.
It's just wonderful.

MUSIC: The Revolution
Will Be Televised.

One of my favourite records
that he's done is Loud Hailer,

and that"s...

I mean it"s incredibly modern,

and having a singer like that
to work off of, he"s chosen well.

# The revolution will be televised

# You can watch it in HD

# You can talk
like a weekend warrior

# From the safety
of your settee... #.

There's a lot of pressure
opening jeff's show.

This is, like,
The 50 Years Of Jeff Beck.

Rosie stomping
around the Hollywood Bowl,

and all these top-of-the-heap
kind of rich guys down the front...

..not knowing what's going on.

He always decides to do something
which no-one would expect him

to do - working with us,
this unknown band from Camden.

Jeff's always suppoeted
young aetists and especially women.

He"s had a history of having really
great female musicians with him...

Female singers,
guitar players, bass players.

And not only the point of
just the criteria of someone being

a female, but somebody being
female and very talented

and that get along great with him -
and his wife.

What time do you call this?
SHE LAUGHS

I met Jeff at Roger Taylor's
birthday party.

It was a friendly encounter,
because it was like Roger said,

"Here, come and meet Jeff."

And then I turned around and
realised who I was talking to, and I

think the first thing I said to him
was, "Oh, fuck, you're jeff Beck."

I've installed the engine in your
absence, so that bit"s now done.

"Who do you like?" She said,
"Oh, Albeet Collins." Ding!

Light went on, and I thought,
"That's unusual,

"to have a female young guitarist
that likes Albert Collins.""

So then she said, "Well, if you want
to see me play, my band,

"I'm playing in this pub." So we
go up there. Totally blown away.

He's always trying something new.
The most recent album Loud Hailer,

is not like any album
he"s done before.

He's collaborating with people
who are, like himself,

venturing forward
into new musical territory.

That'li keep you young.
The whole point is that Jeff's

still, at his age, trying to pioneer
things and do things differently,

not just playing the same stuff
that he always plays.

He"s pushing it a bit,
getting excited about new people

and making new music.

Looking back on it,
it feels like fairy land.

"How the hell did that happen?"
Just sitting around a fireplace,

drinking Prosecco
and writing music with a legend.

There was a lot of chatting about
things that were interesting him

in the world, and then after that

everything kind of
Came quite easily.

It was done under this roof,
and it was a beautiful,

very natural experience.

# Billy skipped school again
Looking like a fool again

# What a little waste
For a taste of a big boy's life

# I'm scared for the children... #.

That was Carmen"s
Chord sequence, I think,

and then I came up with
the little fills and stuff.

I wasn't expecting that,
the depth of that song.

I love the sentiment
behind Scared For The Children.

It's something that we all
felt quite close to.

# This is the end of the age
of the innocent

# One more game before they go... #

I play the least amount
of notes that actually mean

something, I suppose.

If there was any game plan,
that would be it, really.

I mean the chords are so niCe.

Just to sit on the chord
and do it, that"s what I do.

Jeff's solo on
Scared For The Children,

suave at first and then
explodes in the second half,

that hint of Jimi Hendrix
kind of, like, quote.

The best time is on a really
nice-sounding stage, live.

You can really pour it on.

Jeff is probably one of the most

influential guitar players
alive today.

And whenever I get to play with him,
it"s an experience that affects

my drumming and my musicianship.
He makes me play better.

Every time I see him,
his averages are so high,

but every performance is one place
where he just transcends it

and I go, "Oh. OK. You know?

"Better go home
and pick that guitar up again."

He's just naturally interested
in making music,

and he has enough faith
in his music to know that all that

stuff about the business
just doesn't matter.

To have the attitude that he has
where he's always

ready for something new
and he doesn't know it all...

Even though he does! -
I think that's magical.

There's a differenCe between
playing music and being music,

and that's how he is set apart,
Cos he IS music.

Jeff seems to embody the sound that
he produces, and I've watChed him

take someone else's guitar who was
just playing a moment before,

pick it up with no effects,
no nothing, and staet playing,

and the sound of
that same instrument

is just Completely different.

This unique talent,
this unique musical sensibility,

vocabulary, inspiration
and willingness to take risks,

jumping off cliffs, y'know,
and that all shows up in his music.

People do need to...

..up their awareness about him.
I mean where have they been?

There is no-one else that has been
as consistently good

exciting, out there, Looking for
new things, adventurous, maveriCk,

since he staeted in the "605.

He just loves music. I think...

..if you stop wanting to play,
if you're not inspired by what

you hear, then you might as well sit
at home by the fire and watch TV.

But obviously he's still got
something left to say.

I haven't given up hope, Jeff,
y'know. THE voiCe, THE guitar.

The good thing about guitarists

is that everyone's got
their own character playing.

That"s something
which we all do understand.

But we could all be talking
for hours and hours

and years and years,
decades and decades,

but the most impoetant thing,
the thing that you can't actually

put into words, is what you
actually hear in that music.

And that is the key to
all of this, of Jeff's playing

and why Jeff is so brilliant,

because it's what he manages
to convey with his guitar.

And that has to be heard
to be believed.

I always keep a guitar in nearly
every place in the house to

remind me that I should
be doing that.

HE LAUGHS

And the guitar is always
a Constant challenge.

Every time I pick it up, I pretend
that I've just started playing.

And it seems to work.