Song 180: “Dazed and Confused” by Led Zeppelin, Part One, The Song Remains the Same

the same.

“Before we begin, this episode contains some mild mentions of mental health problems, alcohol”

abuse and violence. If those things are likely to upset you, you may want to check the transcript instead of listening. One of the biggest changes to the way popular music was marketed from the mid-60s onward, is the new emphasis that was put on performers who also wrote their own material.

The head of course always been performers who wrote, particularly in the blues and country

genres where the smaller labels that put out records by new artists wanted the copyrighted new songs as much as they wanted the rights of recording, but in F reshumber to at least some extent. And we've looked at plenty of artists and recent episodes who didn't write all of our material. Bands like the turtles, the monkeys are the birds, and most of the motel artists. But at least as known for interpretation of other people's songs as

providing their own. But it was still the case that, in large part because of the promotion of Lenin McCartney

as songwriters as well as performers, and of Bob Dylan as a performer of his own material,

“as the '60s drew one, a key signifier of authenticity in popular music.”

Therefore, concept of the best of times was whether the performer wrote the songs that were performing. And so the grooves would be a change in the type of material that charted. Before the mid-60s, it was expected that songs would be performed by many different artists who would each do their own version in their own style. Tony Bennett's version of Cole Cold Heart bore little or no relationship to Hank Williams'

song Nobody expected it to. But as the idea of people performing their own material as

a selling point, rather than as just something that happened, started to become prominent

in the industry. It also linked with another idea, one that was sold less to the public, but was nonetheless true.

“Increasingly, the unit of popular music was the record, not the song.”

As production was becoming more and more sophisticated, people were constructing sounds in the studio, rather than writing songs that would stand apart from their arrangements of performances. A record like, say, strawberry fields forever by the Beatles, is not a record that could easily be covered, though of course people have tried. The song is allusive, deeply personal, and really only makes sense when sung by John Lennon, while much for the power of the record

comes not from the song, greater than it is, but from the melodram and the orchestral arrangements and so forth. If you replace them, you lose half of what makes strawberry fields worth listening to, and this posed a problem for a whole generation of singers, because the pop singers who had come to prominence in the 30s, 40s and 50s, many of whom were still only in early middle age, had until very recently been having regular hits, and were far

from willing to settle back into retirement. They had built their careers on recording their own interpretations of current pop hit, and suddenly, most of the biggest hits were not songs you could easily reinterpret. Yet almost all of them, whether from their own desire to keep up with the times or under record company pressure, felt like they had to record material by the new generation of writers. Sometimes they would manage to pull off something

really by the special. All of its Gerald, for example, recorded her Ella Album, produced by Richard Perry, in which she recorded songs by Smokey Robinson, Mandy Newman, and the Beatles. And turned in what may be the definitive version of Harry Nelson's "Open Your Window." [Music]

Others were more mixed. Peggy Lee, for example, put out some great versions of songs by Randy Newman and Leave Run Stoller, and did a very credible take on "You Make Me Feel Like In That Tool" woman. "Before the day I met you, life was so unkind. You're the key to my piece of mind,

And when my soul was in the last and found." But sounds frankly lost when attempting every day people. "There is a long hair who doesn't like the short hair of the inserter rich one that will not

“help the poor, your past house, for your brand, for all, and so on and so on and so on. It's too big and you need to be.”

Where I'm living, and I'm home. "There is a yellow one that won't exist." But sometimes the mismatch between singer and song could be so painful that it would continue to be a joke more than 50 years later, as with Frank Sinatra, a man who hated Rock 'n' Roll and the younger generation with every five-in-is-body, and his different interpretation of Simon and Garfunkel's Mrs Robinson. Whoa, whoa, whoa, whoa. Oh, bless you please, Mrs Robinson. Heaven holds a place for those who pray.

Hey, hey, hey. The jelly mentioned in Sinatra's altered lyrics is not, as one would expect, a woman. Rather, it's a tip of the hat to a man named Hermione Gildo Viso, known to everyone as Gilly.

“Gilly Viso was a former bouncer and small-time criminal turned Barbona, and the bar he owned,”

Gilly's in Manhattan, became the place where Sinatra spent most of his time when he was in New York, and it was there that the two most successful singers named Frank from New Jersey met, sometimes was the end of the '60s. While Sinatra was born in Hoboken, Franky Valley was from Newark about 12 miles away, and was, like Sinatra, an Italian-American, his birth name was Francesco Castaluchio, and he had been inspired to become a singer in large

part thanks to being taken by his mother to see a Sinatra show when he was seven years old.

Successored cum relatively late for Valley, who had started performing in 1951 and made his first

“solo record in 1953, and had then struggled for years with a vocal group called The Four Lovers,”

who had various line-up changes but didn't really come together as a group until they met the royal teens who have been more hipwonders with short shots. Bob Gordio, the royal teens' keeper player, had co-written that song, and he joined the four lovers who soon after changed their name to The Four Seasons. Very early on, Valley and Gordio agreed between themselves that the two of them, as lead singer and songwriters respectively,

would actually be The Four Seasons legally. Other members came and went over the years, and Gordio stopped touring with the group in 1972, though he remained with them for a recordings. But to this day, The Four Seasons partnership is Frankie Valley, who still tours in

his 90s, and Bob Gordio, who was 82 years old. Indeed, that partnership has always been on the

honor system. According to Gordio, there has never been a formal contract made up for their partnership, because it encompasses so many different aspects. Performance, only if there must have recordings, their publishing company, The Four Seasons name and much more besides. Instead, they sealed the agreement with the handshake in 1962. And as Valley puts it, it has lasted longer than any of our managers, so what can I tell you? Everybody should start a relationship

with the handshake and live a couple of states away from each other. And they split everything. Gordio gets an equal royalty for every performance that Valley does, whether as the Four Seasons are the solo artist, and whether he's performing Gordio's material or someone else's. And similarly, Valley gets 50% of Gordio's songwriting money, whether for songs he wrote for The Four Seasons, or for the other artists.

After a false start with the single-ungone records, one of several labels started by George

Gordio and bought up by Maurice Levy. The Four Seasons had the first hit in 1962 with Sherry,

That record was produced by Bob Kru, who would often co-vide with Gordio.

“And soon there was a whole hit-making team based around the Four Seasons with everyone having a”

part to play. Valley is lead singer. Bob Kru is producer and some time low assist. Bob Gordio is principal songwriter and uncrited co-producer, and Charles Colello, a former member of the Four Lovers who value kept in touch with, and who have briefly joined the Four Seasons himself and base player Nick Massey left before a permanent replacement was found. As a wanger, later joined by the additional songwriting team of Sandilinsa and Denny Randell,

“who would write both as a team on their own and with Gordio.”

The group had a very distinctive style. Led by Valley's piercing false set-o, they combined harmonies influenced by the Four Freshman,

High Loans and Modern Airs, though never as complex as any of those groups.

With a stomping four on the floor beat, very much in the style of the records, Holland does you and Holland were producing for Mozart around the same time.

“Not everything was a hit, but after Sherry they had three more number one hits in the next two years.”

Big girls don't cry. . We'll click a man. And Vacto.

In the years from 1962 to 1964, there were the second biggest

American band in terms of record sales after the Beach Boys. And while the Beach Boys had more hits overall in that time, they didn't get their first number one until the Four Seasons had had four. There was a friendly rivalry between the two as a result. With the Beach Boys stepping in a dig at the East Coast group in their album track, "Seph is Rule."

The Four Seasons suffered more than the Beach Boys from the British Invasion. It didn't help their record label VJ,

had picked up the license to the Beatles first album before capital had released

I want to hold your hand. And VJ, understandably, decided to concentrate on making as much money from the Beatles as they could in 1964. VJ also ended up going bankrupt as a result of a combination of legal action by capital to try to reclaim the rights of that album, and trying to deliver vastly more stocks than they had capacity to produce. Luckily for Valley, Krue and Gordio, they got the rights they recorded back in a settlement when VJ collapsed, but the group wouldn't

have a number one again until 1975. They did, though, have a one of top 20 and top 10 hits in the mid sixties, records like Big Man in town.

They also put out a version of Bob Dylan's "Don't Think Twice It's All Right" as the

“Wonder Who. It didn't take much to figure out who they were, though, thanks to Valley's distinctive”

vocal, and that made them 12. Not only that, but they tread the same trick that's been done with Buddy Holly and the Cricket, releasing some singles and Diwali's name as a solo artist. Go the tracks were recorded

at four season sessions with the other seasons on backing vocals. Some of these were hits as well,

like the Krue and Gordio song "Consec my Eyes" off you, which rented number two. [Music]

“And even when songs weren't a huge hit for Valley All the Group, they would still often be a success”

for someone else. The tremolo's had a big hit in both the US and the UK with the version of

Krue and Gordio's "Sounds Is Golden", which had been the best side of Ragdoll.

[Music] While Krue and Gordio was the sun ain't gonna shine anymore, which had been a flop solo single for Valley, not even reaching the Hot 100. Made the US Top 20 and UK number one in a cover version by the welcome for this. [Music]

“Valley and Sanatra met when the four seasons agreed at the last minute to replace the”

headline at a benefit show Sanatra's motherhood put on, when the headline became unavailable. Sanatra got chili to invite Valley to the bar to meet him and thank Valley for doing a favor for his mother. The two became friends and became closer in 1968 when they did some shows together for hubotom free zone successful presidential campaign. The last time Sanatra would endorse a Democrat. He endorsed Ronald Reagan for Governor of California in 1970 and Humphrey's

Victoria's Opponent Richard Nixon in his 1972 reelection campaign. According to Kallalo, Valley and Sanatra got talking and Sanatra asked Valley how he'd managed to have so many hits. Sanatra himself was in something of a career slump and was worried about how he could continue to be relevant in a market he didn't understand. Kallalo later said, "Frankie had a lot of confidence in my ability and he also had a lot of confidence in Gordio's ability. So he told Sanatra he had

all those hit records because Bob Gordio wrote some produced all their songs." Sanatra said, "Well, could he invite some songs for me?" He did, but they weren't the kind of songs that the four seasons have become famous with.

of Sergeant Papas Lonehart's club band in 1967. While to moderniers, Papin O'Longa sounds

“like that much of a departure from the music around it. We can hear more clearly how it was”

in actual response to the music that other artists were making at the time. It seemed like a total break from everything the pop music had been in 1967. And as a result, over the next year, over two, all the pop acts were having hit in 1964 through '66, found themselves in the same position

as those singers from an earlier age, trying desperately to adapt to the new style.

And so just as the crew members were making my Vokamol record,

“every beat group and vocal group that didn't just decide to give up and accept”

obsolescence decided to make our Sergeant Papas. An orchestral psychedelic album that showed how ambitious they could be. We've heard about these in episodes on the Rolling Stones, whose Sergeant Papas was of course their satanic magic is request. And the small faces who did octins not gone flake. But there were many, many more. The best and best known of these is the Zombies Odyssey in Oracle, which now regularly makes list of the greatest albums ever made.

Emily, can't you see this link you can do is show this loving every web of love for you. But they're all so albums like the BG's Addessa.

“, she knows that life is a running race. Her face shouldn't show when it's sunny,”

if I want you come here. You can be beautiful too. Tadden Germany's of Capitalism King's over crowded world. What happens now? Better pray to your guts and hope that somehow far from the shack you've come home. They aren't burning the grain that is right and unknown, because the prices have fallen again. And, Jan and Dean's of Malice, Carnival of Sound.

And when Godio had decided to make the 4 seasons on Sergeant Papas, he had decided to use a new collaborator he hadn't worked with before. A folkie here had seen playing at a graduate village club. Godio had seen Jake Holmes singing a song titled "Genuine Imitation Life". And decided that he would be the perfect novices to work on the 4 seasons, new socially conscious psychedelic material. "Comedy and changing colours, while a cracker down cries,

rubbing elbows, but never touching eyes, taking off their masks, revealing."

Holmes was a fabulous odd character, who had had a bizarre career that intersected with many of the stars long before connecting with Godio. He had actually started out in comedy. He and his wife had formed a comedy duo that satirized the clean cup folk singers of the time. Calling themselves Alan and Creeer, they released one album, it's better to be rich than ethnic. Coincidentally on VJ Records, the same label at the 4 seasons for one at the time.

According to Holmes, Pete Seeger called Alan and Creeer, the most tasteless folk group ever,

“and a lot of them material is dated rather badly. The ballad of the camping woodcoaters, for example,”

as a parody 17th century ballad, the uses of variety of words that have two meanings, but in all cases one of them is a homophobic slur. However, Holmes' wife split up some time in the early '60s, and obviously the Alan and Creeer act ended when the two part had ways. For a while, Holmes performed with Tim Rose, the folk singer we've heard about in several episodes, including the ones on San Francisco and Hay Joe. Playing bass with Rose and rhythm guitarist

Richardson, in a trio very synone as the Feldmans and Tim Rose and the Thorns. While that trio does not appear to have made any recordings that I can find, according to Holmes it was with that group that Rose first started performing his slow down arrangements of Hay Joe.

“But Holmes quit that act as well, and formed a comedy folk trio.”

Jim Jake and Joan was put together by Holmes's manager Fred Wein-Troub and was meant to be a satirical comedy answer to Peter Paul and Mary, who had been put together by Wein-Troub's rival Albert Grossman. The group did a mixture of Alan and Creeer material and newer comedy songs,

but there were never very successful. As far as I've been able to tell, the only surviving

recording of the group is from an ultra-low budget feature film, various he called Houtin-Annie-Ago-Go, or once upon a coffee shop. That film apparently only got a single screening at the time, but featured a bunch of similarly unknown artists, including the gold buyers, who's lead a curb batcha has also turned up in several episodes, and this performance by the trio. This is Bob Floyd speaking to you from Flint, Michigan. I'm talking with young Betty Johnson here.

Betty's class was divided into two groups, one rushed with crest, the other used another

“leading dentist. Betty, would you mind telling us the results of these tests?”

My group had 79 percent more cavities.

Now, tell me this, what did you learn from these extensive texts? Had a sufferer. That group also split up soon, because when they turned up to perform at a rally for Robert F. Kennedy's Sanatorium campaign in 1964, Joan insisted on waving a badge for his Republic of Marvel, and Jim decided that the group didn't need him anymore. Jim Connell became a minor bit

part active with a handful of credits and shows like Get Smart in the Wild Wild West, usually for named rules. Joan Rivers, though, had slightly more success.

And the reason the film is available today is because it's her first credited film appearance.

After this, Holmes briefly joined a rock group, but decided that wasn't working, he wanted to be a singer songwriter in the Moldo Jack Drell. He got together, just guitarist Ted Erwin, and bass player Rick Randall, and started playing the coffee houses. In 1967, he released his debut album, the above-ground sound of J. Holmes, including the single "Genuine Imitation Life."

Still, another guy's. "Genuine Imitation Life." "People, buying happiness." The album did little, although that song was picked up by Jackie Lowmacks, a singer in front of the Beatles, who was managed by Ryan Epstein, who released his own

solo version as a single. "Taking off the masks, if you're feeling still, I'm not the guy. Can you ride?"

again featuring the Erwin, but no longer featuring Mendel,

“who had had mental health problems and eventually refused to get on a plane.”

That one, elected a Catherine DeSemba, a collection of songs mostly about the breakdown of Holmes' marriage. His generally considered his greatest, and is very much in the same mold as albums like Astral Weeks, Forever Changes, and the early work of Tim Buckley. Combining light orchestration, eccentric folk style melodies, and jazz guitar. Inside tunes, gold spins to straw on magic as loneses,

“but I still chase your eyes, climbing up a waterfall.”

Neither of these albums did anything much in terms of sales, but Holmes was getting noticed by other musicians. He, Erwin and Mendel, played on the bottom of the belt of the Unblots and the Erbirds in

late 1967. And two of the Erbirds immediately went out and bought his first album after the show.

And Bob Gordio was similarly impressed. Holmes and Gordio wrote an entire album of songs for the Four Seasons, titled "Genuine Imitation Life Gazette." And featuring the Four Seasons'

“version of Holmes' first solo single as his title track.”

. That track included a section where they just copied the ending of "Hade Jude," hoping and expecting to get sued for it, and maybe get some free publicity. [Music] But of course, at that time, with one or two exceptions, mock musicians were generally of the opinion that it was okay to steal a little bit of each other's songs.

I know action was ever taken. The material Holmes and Gordio came up with was very, very far from anything the Four Seasons were known for before. Given songs like Big Girls Don't Cry and Cherry, you can understand why people were not expecting a seven-minute opening song titled American Crucifixion Resurrection. [Music]

And by the first single Saturday's father, a slow ballad about a divorced father taking his

kids out on the one day a week he has custody was not a massive commercial success. Dreams them home by supper time to where he used to stay. And so they kissed him on the cheek. She sees him off but they don't speak. Today was father's day. [Music] The album was a masterpiece, and it was given an exceptionally imaginative complex package,

one that befitted an album of its status. The gatefold cover was designed as a newspaper, with a mixture of joking articles about the band, one member marrying the talent film star Theta Barber, for example, and articles that were just the lyrics to some of the songs.

sometime in New York City album. Lennon apparently said the album was a favorite of his,

“and Jetro told for Thick as a brick. The album also featured an insert in the style of a”

colour supplement, including pages of joke adverts, and a comics page with parodies of then-con and newspaper comic strips, done in the style of the underground comics that were popular at the time. And, sadly, reproducing some of the racist caricatures were popular in that style. The whole thing was one of the most incredibly imaginative records of the late '60s, but sold pitifully compared to other four seasons albums, because their teen pop-ordians didn't want psychedelic

typical records with orchestrations of a something like a bandite park's album, while the audience for that kind of material didn't want it from the four seasons. But it was the teen behind their album, Holmes, Gordio, and a range of Charles Kallolo, that Sinatra took on in the hope of revitalizing his own career. After the introduction by Valley, who gets a special

“thanks in the line of notes to the record, and who seems to regard the eventual album as”

as much a part of his legacy as his own recordings, Gordio became the one who dealt with Sinatra in his team, and he was rather desperate to please him. At one point during the discussions, Gordio mentioned that he'd just bought a holiday estate, and suggested that Sinatra should come and visit as a pleasantry. Sinatra agreed, and said, "I'll bring my trunks, causing Gordio to panic." He didn't actually have a swimming pool there. He wished to get one put in in the couple of days

before Sinatra arrived, and then, depending on which version of the story you believe, either Sinatra cancelled at the last minute just as the pool had been completed. Others remained stormed just as it was completed, which washed tons of soil into the pool and rendered it unusable. There seems to have been a little miscommunication between

“Sinatra's camp and terms in Gordio. They went off and wrote an entire concept album,”

and only later realized that he'd only been expecting to get a song or two. But as it happened, Sinatra chose to record the entire album, and it became the most remarkable record of Sinatra's career. The album, titled Watertown, was conceived with the expectation that it would go along with the TV special, which seems to have been planned at one point. And the opening title track works to set the scene. One can imagine the visuals as a

camera tracks him from a distant shot of the town itself to Sinatra, alone, singing on a railway station platform. And no one's going anywhere. Living much much.

The bass pick of it the start of the album seems to be, though I've never seen anyone

stayed this definitively. I'm not back to Sinatra's earlier hit, Love and Mammage. But it's so, it's a bit like I'm on it one, and the album turns the theme of that track on its head. Watertown is an earlier example of the subjama of records that became popular in the early 70s, records about divorce. Sinatra is in character throughout the record, as an old man whose younger, vibrant wife has left him in their children and taken off to the big city.

After the album's opening were introduced to the real premise, as Sinatra sings about the breakup in the present tense. It's happening now as if the protagonist is trapped in that moment forever. [Music] The rest of the album consists of songs addressed to the protagonist's wife Elizabeth. Seems to be letters he's writing, either talking about this comment life,

and telling you about their children and how they're growing up, or reminiscing about their past life together. As the album goes on, we start to realize that the protagonist is an unreliable narrator.

In his descriptions of his wife, it becomes clear that he never understood her even though he loved her.

She was brighter, younger, and more ambitious than him, and seems to have run off with the man who shares more of those qualities. The album is one of the bleakest, most adult records I've ever heard, and is a genuinely difficult listen, which is often reduced to literal tears. The most devastating song in the context of the story is what's now is now. Where our protagonist is so deeply in denial, but also deeply in love.

Did he think the only thing stopping his ex-wife from returning to him,

But she'll come back if only she knows she's forgiven.

And we can still begin.

“And the album ends with two songs that between them leave you wondering just how”

unreliable an narrator, the unnamed protagonist is. In "She Says," we get the news that he tells us about his returning. The price is high, high as the sky, and she says, "She says,

she's coming home." And then in the final song, "The Train," we've returned to

that train platform, as the protagonist waits, and waits, and waits, and she doesn't come. But the real punchline. The part that makes you one day if you've been understanding what's going on at all. It's hidden in the middle of the song when he's still happy and singing about how. We'll talk about the part of you and everyone understood, and I will take good care of

you and never let you cry.

The letters he's been writing to have just been put in a drawer. He never actually sent

“them, so what was she replying to? Did he ever receive a reply from her at all?”

He's been stood on the platform all day. At the start of the album, there's someone standing in the rain waiting for the morning train. But by the last track, the sun has broken through, and the kids are coming home from school, so he's not been waiting for a particular train. He's just been stood there. In the rain, all day, waiting for Elizabeth to turn up. Watertown is a devastating astonishing album, and must a piece on a different level from almost

“any record of its type, and one of the few albums of this year that have truly little of it”

and literary lyrics. Words which take on more meaning and significance than more of attention to your pay to them, rather than dissolving into meaninglessness. And it became synaptres worse selling album ever. It's now regarded as one of the best things in his discography, but it took decades to reach that state. It's also one of the very few synaptro albums to have inspired almost no cover versions. The only notable one is Nina Simone's rather lovely version of for a while.

With so many other lives, to listen to, I'm some music, that I'm got to, I forget, "I'm not all you." The songwriting partnership between Gordio and Holmes soon peaked it out, given that the collaboration seemed to have the opposite of the Maida's touch. There were a handful more credits on four seasons records and one for synaptra, mostly left overs from their earlier collaborations, but the four seasons continued without homes.

After a few years ploundering, they released several more hits in the mid 70s,

a Water Night. [Music]

“Valley continues performing as the four seasons to this day.”

Holmes went back to solo recording, but never had much more success as a performer.

He did have some success as a songwriter though. His next solo album, so close so very far to go, was the closest he came to having a hit record, the album making number 135 on the album chart, while the lead off single, so close, reached number 49 on the charts. [Music]

“That somehow became something of a standard though, being recorded by a bizarre variety of performers,”

including the British comedian Ferry Star.

[Music] Mary Travers, formerly of Peter Paul and Mary. [Music] [Music] And Harry Bellafontek.

[Music]

“Remember it was even raining, when I'd said goodbye, I didn't wanna leave.”

Just one look, you could see my eyes were asking, like the failures rolling at my sleep. Bellafontek in fact became a big advocate of Holmes' work, and over the years he recorded many of Holmes' songs.

People rubbing elbows, never touching eyes, taking off their masks, revealing still another guy.

[Music] Most of Bellafonte's records after the mid 70s, contained at least one Holmes song, often several of them. Bellafonte's last studio album, in fact, 1988's Paradise in Gaza and Kulu, is entirely made up of songs covered by Holmes, who Bellafonte got to collaborate with Black South African musicians,

to write an album of songs about the evils of their apartheid regime. [Music] For Wild Bellafonte it was the most prominent promoter of Holmes' songwriting.

because while Holmes' recording career was never success, he wrote many songs that you have

“definitely heard, especially if you're an American of a certain age.”

Like this collaboration with Vanden Human. Drink Dr. Pepper and I'm proud of an original crowd, and you'll look around these days. It seems to be a Dr. Pepper Grace. And I'm a Pepper, he's a Pepper, he's a Pepper, we're a Pepper, we'd like to be a Pepper, too. And I'm a Pepper, he's a Pepper, he's a Pepper, he's a Pepper, he's a Pepper, he's a Pepper.

Give you Dr. Pepper, you're a Pepper, to be a Pepper,

treat Dr. Pepper, all of this.

“Your reach and deep inside you go, the things you've never known.”

It's been tough, rough going, what you haven't gone alone. We do more before 9 a.m. than most people do all day. Hey, for a sergeant, you're morning. Oh, thanks. To that, the best of them, again, our so many faces, it's plain to see.

We give you all, we're happy to give, for all of that can be, where the race is wrong. And of course, there was the song with impressed the artbed so much, so they had to guard

“and buy homes as first album after seeing him support them.”

As song was almost everyone who has heard a late '60s rock record as heard, but almost none of them, yeah it was by homes. Days didn't keep used, it stays at home. I'll be in shoes, but just like to know, whoa, you may accrue us to where I am at. Feel like a mouse and you're act like a cat.

Jimmy Page, the man who was credited as the sole writer of the most famous version of that song, started this musical career as a choir boy, something that seems not to fit with pages later image as the biggest proponent of the occult and black magic in rock and roll music. But it was paradoxically, his love of the devil's music that got him involved with the church, as he told the Sunday Times in 2010. In those days it was difficult to access rock and roll music,

because after all the riots happened in the cinemas, when people had rock around the clock in the film Blackboard jungle, the authorities tried to lock it all down. See, needed to tune into the radio or go to places where you could hear it. It just so happened that in youth clubs there were play records and you'd get to hear Elvis Jerry Lewis and Mickey Nelson. But you had to either go to church or be a member of the quiet

go to the youth club. When he was 12 in 1956, Page decided to pick up an acoustic guitar that had been left in his family home by a previous occupier and had gone untouched for a long time. He was inspired by hearing Scotty Moore's playing and Elvis's baby let's play house in particular.

Moore would be Page's first guitar hero and he decided that he needed to learn to play like that.

He found a friend at school, Rod Wyatt, who showed him a few chords, and then he got hold of Bert Weedon's classic instruction manual playing in a day. He started playing guitar for up to seven hours a day, practicing intently, an only child who was somewhat spoiled by his parents. He was soon able to get a semi-acoustic guitar and an amp and a small tape recorder. Whilst Scotty Moore was his first musical influence, he soon found others. Most notably Chuck

to get to a cinema which was showing the classic documentary about the new pod Jazz Festival, Jazz on a Somers Day, because there was a performance by Bevy of a single song in it. Like every teenager in possession of a guitar in 1957, Page from his own Skiffle group, the James Page Skiffle group. Unlike most of them though, Page even at 13 was ambitious and focused on

success. He made his first TV appearance that year on a children's show presented by Hugh Weldon,

playing guitar and also singing on Mommodontal out the old folk song, and on Hudelette Best

“As Cauton Fields. Okay, now you're going to go into what?”

Cauton song. Cauton song. Cauton aware. When I was a little baby, my money used to rock me. In Mommod, Cauton Fields back home. It was down in Louisiana, not a mile from sexy counter. In Mommod, Cauton Fields back home. Now when the cars are busted, run me into, stay fresh, watch cars in the home. Cauton Fields back home. Cauton Fields back home. Cauton Fields back home.

Cauton Fields back home. Cauton Fields back home. Cauton Fields back home. Cauton Fields back home.

Cauton Fields back home. Cauton Fields back home. Cauton Fields back home. Cauton Fields back home. Interviewed by Weldon between the songs, Page said that he wanted to go into biological research and find a cure for cancer. But it was very obvious, even at that age, that he was going to become a musician. The next few years saw him become FMW focused on imulating his guitar heroes. Along with Barry and Moore, his biggest influences in these early years were Cliff Gallup,

the original guitarist for Gene Vincent's blue caps. [Music] And James Burton, who would go on to play with the wrecking crew in Elvis, but at this point

“was playing for Ricky Nelson. School friends remember Page spending a long time trying to replicate”

person solo on its late. [Music] It's late. It's late. We're about to run out of games. It's late. We gotta get home fast. Can't speak. It's we're in a snow mountain. I'll maybe look at that clock, why can't it be wrong? If we could have left home, Page left school at 15, but not to become a biological researcher as it intended two years earlier. Instead, he was going to get into the music business and not just as a musician. At the age of

17, he approached local singer Chris Farlow, the leader of an arm and big group, Chris Farlow and the Thunderbirds. Farlow was a few years older, and was starting to be regarded as the best blue

“singer in London at the time. Page offered to produce an album for Farlow and the Thunderbirds.”

He put up the money to record it himself, and he would supervise but not play on the session. The album didn't get released until 2017, but Page did find out some producer record, which was made up of cover versions of contemporary arm and beatfacts, by Bobby Parker's Watch Your Step, and Babbit Strong's Money. Farlow remembered that Page already seemed to have a good understanding of the studio,

and that he'd suggested recording the guitar by direct injection, rather than going through an amp. But while Page didn't play on that session, it was not because he had given up on playing the guitar. He was spending much of his time playing with a band called Ready Lewis and the Red Caps, named in honor of Gene Vincent's Blue Caps. And around the same time, we produced the Farlow album. He was also introduced to the poet Boister Nellis, who as we heard in the episode on a patchy,

had been performing poetry of a cytles backed by the shadows, but was looking for the musicians to back him in his "vocatory" performances. Because the shadows were now well on their

way to dominate in the British charts for the first chunk of the '60s. Nellis initially thought

within the north. But eventually just decided to use Jimmy Page on his own, including,

“as we again heard in the Apache episode, for what would be Page's second TV appearance.”

"The glimpse from the flickering screen of a boy and his bird in the stalls, not cuddling and kissing right at the back, but slumped in the front row, sharing a basket of fruit, sucking an orange with casual pleasure, then munching an apple and punching his bird with warm understanding, and attend a lack of any accepted traditions."

While the red caps as a group didn't do much, they did through their connection with Ellis.

“In doubt they have a big effect on music history, because at least according to one biography”

of Page I've used as a source for this episode. It was the red caps who taught tell us how you could get impediments from an inhaler. A tricky then showed to his northern band,

thus introducing the Beatles to drugs for the first time. The red caps changed their name to Neil

Christian and the Crusaders, and became a moderately successful turving band. They also got signed by Joe Meek who produced that first single recorded in October 1962. The month of the 60s started. A version of that without Meek's orchestral overdobers was released a couple of years ago,

“so you can hear pages guitar playing better.”

However, by the time the single was released in November 1962, Page had got tired of life on the road.

It was becoming ill on a regular basis, coming down with repeat about a glandular fever,

what Americans call Mono, which he put down to touring in a cramp tour bus with no heating, and the general unglamless lifestyle of the touring musician. Page 18 Jimmy Page decided he was going to give up on becoming a musician, and become an artist instead. He quit the band and started a tart school. Though giving up on the ambition to be in musician didn't stop him for being intensely interested in music. On October 22, he travelled all the

way to Manchester to see the American folk blues festival. A touring package featuring among others, Tibel Walker, John Lee Hooker, Sonny Terry and Varnie McGay, and a name that would require later in Page's life, Willie Dixon, who we can hear here on an earlier show from the same package story. She squeeze me real tight, she'll look me in her eyes and say, "If it, but the things all right, well I get nervous." Page travelled to Manchester alone on the train,

we got a lift back to London with his friend David Williams, and three friends of Williams. Mick Jagger, Keith Richards, and Brian Jones. Williams had met those three at Alexis Corners Club, and soon paid with find himself playing occasional gigs with carnival and civil Davis. Though only afterwards a fill in our art jam, he had no intention of ever going back on the road again. He had also found a new friend who went to our college. His classmates and at a back told

above the Jeff that she'd found another person as mad about electric guitars as he was, and the two of them would sit around in Page's family home playing guitar together for hours at the time. But then everything changed for Page. Glenn Jones, who was then starting his own career in the music business, is a tape-op, was from the same area as Page, and had seen in playing a handful of times. He told Mike Leander, just starting his own career as a producer, to check out Page's

Page's first session gig.

“Page would actually very briefly join that band, who had gone to become the Ivy League,”

and who had tried to produce or sing on a string of hits for various manufactured bands, including the new Vordville band, the Flower Popman, White Plains, and First Class. But what changed Page's light was the realization that you didn't have to be in a band to make money as a musician. He could become a session player and not have to tour all around the

country and a transit band. That first recording wasn't hugely successful, but Page had got

the studio bug, and his second session was very successful. As we heard in the episode on a patchy, the shadow's base player, Jeth Harris, and drummer Tony Mehan, had both quit what was the most

“successful group in written at the time, and they had started their own recording career.”

On diamonds, written by Jerry Lordan, who wrote a patchy. Harris plays the Dwayne Adley-style baritone guitar, but Page plays acoustic with him behind him. That went to number one, and Page now had a credit that would open a new Wuppledor's volume as a session player. As did the base player on that session, who has known then as John Baldwin, but would soon take on the stage name John Paul Jones. Page quickly became

the second call session guitarist in London. The guitarist and new generation of pop producers

called First was always Big Jim Sullivan, but a Big Jim couldn't do it. Or if you needed a

rhythm player as well as lead. You called Jimmy Page, who was little Jim. Partly in contrast to Big Jim, but also as a reference to the character from the Goonshow. Page was soon playing a multiple sessions a day every day. Though when most analysis interviewed him, for Channel TV, the tiny ITB franchise that only broadcasted to the Channel Islands in June 1963. He still seemed to think of the music as a distraction from my art school rather than a name in itself. What are the big names

that you have back on the dead house and turning me in? Eating cane, dusty power? What a bit

“like working with some of the really big names of show business. This is finding. Why is that?”

Well, they don't come up to how you expect them to be. Rather, this is finding on the whole other thing. See, it's probably bad news for some record fans. What's your personal, what your professional ambition is it to be a guitarist all the time? Do you want to make your own record? No, not necessarily. I'm very interested in art. I think about becoming a country star there. Do you have them at the guitar? Yes, possibly. Is it a means to an end for you?

Are you hoping to earn enough money through your guitar playing? Yes, yes. I hope it's fine it's fine. I'll buy the guitar. But as the British music business picked up in the wake of the beatle success. Paige soon found himself with more session work than he could handle. Especially from the American producers, Shell, Tommy and Bert Burns, and for Mickey most. Sometimes he would just be adding some extra rhythm guitar, thickening the riff on a record otherwise made by a pop band, as in The Who's

I can't explain. Which also featured his former bandmates from Castle Lewis in the Sylvanas. No, the Ivy League. I'm backing vocals. Can't follow the scenes together. Or baby please don't go by them. Who's guitarist Bobby Harrison has entered the way people later credited Paige for Harrison's lead part. When Paige was doubling the bass parts instead.

He played with them to Big Jim Sullivan's lead on the crying game by Dave Barry.

“He's on downtown by Petula Clarke. That's him doing the sharp stops in the second verse.”

His playing acoustic rhythm guitar on Goldfinger by Shelley Bassie.

, he also played on a lot of less successful records.

Like a cover of Bobby Blue Blams, I pity the fool. The cell-townry produced for a group called

“The Manish Boys, on which Paige did get to play lead for a change.”

Though while that wasn't the hit at the time, the singer would go on to much bigger things after changing his name from Davy Jones to David Bowie. Similarly, Paige played on a cover version for Creepy Blue Standard, Good Morning, full school girl.

“Suddenly for the singer on that track, whose first single it was, the art birds released a”

much poppy version of the song the same month. Neither made the top 40, but the art bird's version was more successful. Though we'll be hearing more from Rod Stewart later. Not long after that, whenever Clapton left the art birds, they asked Paige if he would be interested in draining the group. But Paige was making far more money as a session player than he could from playing with a pop band that had only one hit so far. And so he suggested his friend Jeff Beckford joined them.

Sometimes the more obscure records would give Paige the opportunity to shine in a way he couldn't on the more tightly arranged sessions for people like Shirley Bassie, like his solo on Leave My Kitten

alone by first gear. A cover version of a little woolly genre would be sung, at least as a

be-side by an obscure band who split up almost straight away afterwards.

After hearing the ventures track, the 2000 pound beat.

“However, he decided that the pedal didn't have enough sustain, and had worked with an”

electrician friend of his to create a more effective version, which he played on macros that both had a woman by the hood, produced by Shell Townway.

And Dracula's daughter by screaming loads such in the savages, produced by Joe Meek.

“Paige was becoming very wealthy as a session player. The average weekly wage in 1964”

when Paige was working regularly was 12 pounds. The paid for a single free hour recording session was nine pounds, and a session musician who was in demand would often play three sessions a day, five days a week, bringing in the equivalent of £2,000 a week in common terms. But he also knew

“that to make the real big money in the music industry you should become a songwriter.”

Paige's entry into professional songwriting came through someone with whom he was in both a romantic and creative partnership for a while. We've talked about Jackie DeShannon before a little, mostly in the episode on needles and pins by the searches. DeShannon was a singer and sungwriter based in California, who had. After meeting Eddie Cochran, started a songwriting partnership with Cochran's more successful girlfriend Sharon Sheely, which had led to the

mightingheadsite Bremdalli's heart in hand. The Shannon had, as a performer, recorded the original version of needles and pins,

her song she always claimed to have co-written, but which was officially credited to Sonny Bono

and Jack Mitchell. Two people I could very easily believe would steal a songwriting credit. And I knew I had to run away and get down on my knees and breathe that day on a way, but still they're beginning to love me. She had also because her own song, when you walk in the room. Both of those songs have been covered by the searchers and become massive hits in the UK. So like many of the people with whom pages were associated at this time, like Sheldown Me in

At her first session at Happy Road, DeShannon wanted the best acoustic guitar session player,

“and she was told that Paige was the one to go for. When she played in the song she'd written”

for the session, she was astonished at how well the song session player, a couple of years younger than her, handled her rudimentary riff.

Incidentally, the weird swimming sound on pages could turn out there is not some sort of encoding

issue with the file for this episode. It sounds like that on every copy of that track I've heard.

“After this session, DeShannon invited Paige back to her place to listen to a Bob Dylan album,”

and the two soon became lovers and also songwriting partners. Paige played on a lot of her down sessions around this time, which leads to him sometimes being a bonus to credited for having COVID and songs he didn't, like Dreamboy, which is credited to DeShannon alone, although features some very distinctive page playing on the demo.

“But the two wrote, "I've got my tears to remind me, release by the Gippins."”

"You don't need me, but I told you to see me cry. I said, I'm active, but I told you to go, but if you don't need me, then I may be falling in love." In my time of solo, an album track for Mariam Pethel. In my time of solo, in my time of feeling back, all I can, just to read all the good times. A lot of sources credit page for having COVID and Faithful's top 10 hit come and stay with me,

but that was written by DeShannon alone. There will leaves that come tumbling down for Judy Smith,

who appears never to have released another record.

They fall to remind me of all we had. Please come to the end of the show and stop that girl for Barbara Lewis. That once belonged to me since that girl said, "You know, it's not the guy you used." Page also started to get some songwriting credits on songs you played on around this time. Mostly these were studio gems put out as b-sides, but he did get one solo songwriting credits around this time.

A single was put out under the name Kenny and Deny, presumably a typo for Denny. A studio duo consisting of page and sessions in the Kenny Row of the surf pop group Tony Rivers and the castaways. The outside tried to forget me, was written by Page and Gay Schingleton, a present for the TV show where he studied go for whom Page produced the U.S. on the

Page seemed to be thinking about becoming an artist, not only did he release the Kenny and Deny

“single. Around that time he also released his only record as a lead vocalist, encouraged by the”

Shannon. She just satisfies was covered by Page and Barry Mann, and Page plays every instrument except the drums played by Bobby Graham, while the Shannon had some backing vocals.

Page also made his first trip to America with the Shannon, visiting both coasts and hop-nobbing

with people in the American music business. He stayed with his old friend, Bird Burns in New York, then travelled over to the Shannon's hometown of LA. According to many sources, while he was over there, he also played on the Shannon's big hit version of Backer Racken David's, while the world needs an hour's love.

“I say according to many sources, because some say he only played on the B-side, recorded in England,”

because he wasn't a member of the American Federation of Musicians. Without access to the

session documentation, there's no way to know for sure, and as with many things to do with Page, the credits are very murky. According to many people, including both Mario and Faithful and King Fowley, it was the relationship with the Shannon that made Page come out of his shell and stopped being an introvert, and started becoming much more experimental in his personal life. The relationship didn't last much longer though. According to the Shannon,

“he wanted to split from the music world because he was getting disillusioned.”

Jimmy wanted to go to Cornwall or the Channel Islands and sell pottery. He couldn't stand the

business that's stringing, and I couldn't stand his dream of quietness, so he split. As Page was not able to cope with Jackie the Shannon's wild rock and roll lifestyle, he returned to the UK and went back to his session work. In particular, he was working a lot with Andrew Aldham, who liked Mickey most would usually hire Page on guitar. Aldham was, at the time, looking for a new Mario and Faithful. And Page played on several sessions

for Aldham that were intended to replicate the success he'd had with Faithful. Like Vashty Bonny and Vashty and McJackman Keith Richards is some things just sticking your mind. Just as both of Aldham and most were trying to get Page whenever they could, there were also a fun book based player John Paul Jones. Jones had played on a lot of the same records as Page over the years, and indeed the two had had ugly parallel careers even before

they got to know each other. Jones had started out as a church organist and choir master was a teenager. And of course, they both had their big break playing for Jazz Harris and Tony Mean. The big difference was that Jones's parents had been in show business, with his dad being a professional pianist who played for Amazon as orchestra, while the most successful dance bands of the 20s through the 40s. And so Jones had far more formal musical training than Page,

and was able to write orchestral charts, which meant he was often booked as an arranger, as well as a performer. Jones wasn't his birth name. He had been jumbled when until Aldham had suggested changing his name, when he had released his only solo single, produced by Aldham.

As with so many of the credits in this episode, there's a dispute as to who played on what,

“but according to most of the sources, both Jones and Page play on and not saying by another”

of Aldham's attempts at a new Marianne Faithful. Nico. Certainly at least Page definitely plays on the B side, as the last mile is credited to

Page and Aldham's writers and to Page's producer. Most sources say it's Page and Bryan Jones

“playing the two guitars on the track, though Page himself claims he's playing both.”

That was one of the three singles released as the debut for Aldham's new label, started with Tony Calder, immediate records, and both Page and John Paul Jones would be regular players on immediate sessions, especially Page, who has made an in-house producer for the label.

“The first three releases on the label were I'm not saying,”

hang non-slopey by the McCoy's, licensed from the U.S. through a partnership with Page's old friend Bird Burns, and the bells are Vimney by the Fifth Avenue, a studio group that Page put together. The Fifth Avenue record is almost a sound like copy of the Bird's version of the song, a part from some beach boasts inspired harmonies at the end, and Page's guitar solo. After those three, only hang-on-slopey was a hit, but Page would spend much of the next year

producing and playing on sessions for immediate, almost always with Jones on pace.

Records that played on for immediate included a single that Jaguar enriches wrote for the comedian Jimmy Trabak. And a single by Glenn Jones, the man who had discovered Jimmy Page, who was in his brief period of trying to be a performer, rather than an engineer and producer. Glenn, the shadow world will seem like a new, the next time I see, Mary.

That track was something a very union for most of the people involved. Not only was Jones, the man who had discovered Page, but the track was produced by Tony Mean, and written by Jerry

immediately it also released many truly excellent and important records.

“One of Page's first productions for the label was John Mayall's Blue Breakers version of”

Amir Witch Doctor. The first recording of former Yard Bird Eric Clapton with his new band.

A palently Page had to have strong arguments with the engineer on that session. To convince him that it was okay to allow something that distorted to go on the tape. Page and Clapton were friendly at the time, but as we heard in the episode on cream, they fell out when Page's home tape recordings of the two jamming blues instrumentals together. We're overdupped with extra instruments by members of the Rolling Stones,

and stuck out by immediate on blues compilations. Page played on fitting much everything that came out of immediate in 1965 and '66.

“From records by the Manchester-based Beach Boys sound like act the fact totems.”

One of several Beach Boys sound like groups that all of them sound to cook covers and brand Wilson songs for which he owned the UK publishing rights. Two out of time. The number one single by Page's old friend Chris Farlow, written by Jaguar and Richard, and produced by Jaguar. All at least the production is credited to Jaguar.

After Green Slade, the arrangement of the session said that Jaguar had been unable to get a decent vocal takeout of Farlow, who, according to Green Slade, couldn't sing his way out of a paper bag. And that all of them had later gone in and got Farlow to re-record the lead, line by line, and pieced it together.

“But it was one session in particular in 1966, not for immediate,”

though it would point the way to Jimmy Page's future. His friend Jeff Beck had, after joining the art birds, played on a string of hits which for many people seemed to be to find what buckets are could be. While the word five people in the art birds and all made musical contributions, especially Paul Samuel Smith, the group's base player,

who was the de facto producer of a lot of their records. As far as the casual audience was concerned, there were really only two people who mattered.

One was Keith Ralph, the group's lead singer, who was never known as a particularly strong vocalist,

but who did have a stage presence. While the other was Beck. So a planet been hatched that each yard bird would release a solo single, so at the different members of the group show their individual personalities, and hopefully give them more of a profile with the public.

The plan was quickly abandoned with only Keith Ralph's Mr Zero getting released. But Jeff Beck's solo track, Beck's Balabo, was eventually released as a be-side. [music] Everything about that track is contentious. One of the few things everyone agrees about is that Mickey most,

the tracks credited for juicer, had nothing to do with the track. He got production credit as part of a deal later made by the art birds' manager Simon Napier Bell.

Napier Bell always claims he produced it,

but Paige is always said it was him. There has always been back blood between Napier Bell and Paige. Napier Bell would employ Paige sometimes as a session player when he was working as a music supervisor

Though Paige was always the second choice.

“Big Jim Sullivan was first choice, but he said later,”

"I knew he was a brilliant technician and had my head bailed as but I never really liked Jimmy Page." He had a sneer about him. At school the people who believed me had this terrible frightening sneer, and Jimmy Page reminded me of those people. Similarly, there were arguments between Paige and Beck as to who wrote the piece.

Paige has always claimed to have written it himself, but not gone into much detail. Beck, on the other hand, has described them acting as follows. "I don't care what he says, I invented that melody. He hit those images seven chords in the E-7 chords, and I just started playing over the top of it. He was playing the Bell over it, and when I played the melody on top of it,

but then I said, "Jim, you've got to break away from the Bell over a beat.

You can't go on like that forever." So he stopped it dead in the middle of the song,

“like the "R" birds would do them for your love.”

Then we stuck that riff into the middle, and I went home and worked out the other bit. While the track was intended, as far as Napier Bell was concerned, as a way to showcase Beck as a member of the "R" birds, Beck himself had other ideas.

There was word going round the topic, Clapton, Jack Vooce, and Ginger Baker were playing to form a supergroup, and Beck was thinking along the same lines. Uncomfortable with the "R" birds' musicianship, he wanted to form a band with the best players in London, and he wanted Jimmy Page to be the rhythm guitarist.

On vocals, the two of them wanted to get into the Steve Marriott of the Small Faces, or Steve Windwood, of the Spencer Davis group. They sounded out Marriott, but got the response from Don Arden, the Small Faces gangsterish manager.

“How would you like to have a group with no fingers?”

They decided the session where they tested these musicians out, but be an instrumental one. On keyboards, they brought in Nicky Hopkins, the top-session keyboard player in the UK, well known enough for this that the King's Wood,

a few months later, released a track titled "Session Man" as a tribute of sorts to Hopkins. ♪ The day you played in the other home ♪ ♪ The millions and shifts are going to sink ♪ ♪ These are "Session Man." ♪

♪ The clock refreshes him ♪ ♪ In the top-session. ♪ For the rhythm section, Beckard heard rumors that the Who's Bass player in drummer were thinking of quitting their band, and he invited the two of them to the session.

Keith Moon came, though he came in disguise to stop people realizing he was thinking of quitting the Who.

But John Ends was never showed up,

so they quickly called in John Paul Jones because he was used to playing with Paige, and Napier Ball also thought highly of him. Though a various versions of what happened next, for the general consensus version is that when one of them suggested

making this line up of musicians a permanent one, Keith Moon said, "That would go down like a Led Zeppelin." (upbeat music) But soon after that session, Beck at least got his wish to play more with his old friend Jimmy Page. The art birds by early 1966 were becoming more popular in the U.S. than they were in the U.K.

We heard last time how the were hugely influential on the MC5, but almost every garage rock band in the country in the mid-60s was more influenced by the art birds and in particular by Jeff Beck's guitar playing, than any other band. In the U.K., there was something of an arms race between Amit Clapton, Beck, Pete Townsend, Peter Green and Dave Davis, to see who could be the most impressive blues-based electric guitarist,

who could use feedback most creatively, and who could wow everyone else the most. That competition would die down in 1967 when Jimmy Hendrix hit London, and the rest of the pack realized they couldn't compete with him on his own terms. And most of the innovation in British guitar playing for the few years after that would come from the acoustic side, with people incorporating finger picking techniques learned from the guitarist at Las Cousins,

which Page would frequent, and which was the home of British folk guitar. But in 1966, Beck was the only one of these musicians who had a profile in the U.S. Clapton, after quitting the art birds, had restlessly decided to avoid making pop singles and was developing a reputation both as a great guitarist, and as someone who would stop out of bands straight away.

The kinks had been banned from playing the U.S. because of a musician's union disagreement,

“and the who wouldn't break through until Monterey.”

That left the art birds as the only British band with the guitar hero of that kind to have any presence in the U.S. In May of 1966, the same month as the Beck's Baleiro sessions, Bruce Johnston of the Beach Boys, who was in the UK to promote pet sounds, told the record member about an occasion when the art birds supporting them, had had to follow the Beach Boys equipment, and anecdote which shows just how different the art birds were from any other group to play America up to that point, saying, "Then his play is drummed so he doesn't understand amps,

and make just sing so he doesn't understand what's going on with amps either."

“Jeff Beck turns his guitar towards the amps to get feedback, and then listen Michael going to pull the plugs out,”

they thought the art birds were harming the equipment, I had to stop them and explain what was happening, they were getting really mad. That month also saw the release of two singles. Both cope with use by Sam and Napier Ball and Paul Samuel Smith, after Napier Ball had taken over the art birds' management from Georgio Gamelsky, who, as his settlement, got all the rights to the recordings up to that point,

meaning the group would never see any future royalties from their early recordings,

which had been repackaged added for an item by every budget label in existence. The first was Keith Welfth Solo single, part of the same posh for the band members to record solo that had led to Beck's Balabo. A version of the Boblin song, Mr Zero. , sadly for Ralftho, Gamelsky had been aware of his plans to record the song, and produced a version by another singer, Suzy Clay, which was released the same week. Neither made the top 40, part of the as a result of the competition.

The other art birds related single, the least in May 1966, was over under sideways down, which made the top 10. That would also turn out to be their last UK hit single. That record was also notable because Jeff Beck played everything but the drums on the session. Chris Dreyer, the groups with the guitarist, only did backing vocals, while Paul Samuel Smith was in the control room. By this point more interested in being a producer than in performing.

Over under sideways down was the single from the groups only UK studio album, title just yard birds, but usually known as Vulture the Engineer, after the caricature of engineer Vulture Cameron by Chris Dreyer on the cover. For half of that album, which Samuel Smith co-produced on which took only five days to record, Samuel Smith didn't play at all, being replaced by a bass player named Mick Fitzpatrick, who played with Simon's Triangle, a backing band that Napier Belled put together to back the duo of Diane Forass and Nicky Scott, who he had been managing before the art birds.

As the album was recorded so quickly, even though it was made up entirely of supposed originals, most of these were jams on blues and arv and bassstands like Dost my broom, given different lyrics. So for example, what do you want?

“This is very obviously derivative of both at least, who do you love?”

The album was tasted enough, but it was released in July 1966. Right in the middle of the eight-week period that saw pet sounds blonde and blonde freak out,

the first incredible string band album, the bird's fifth dimension, blues breakers with Eric Clapton,

and then along comes the association and revolver, or the least. Dost ended off was not really going to do it when up against competition like that, although the album did make the UK top 20.

it was unsurprising when, after a gig where Keith fell for it got increasingly drunk, insulted the audience, and fallen into the drum kit.

“Samuel Smith decided he'd had enough of this pop starlock and was going to quit the band and just become a record producer.”

Andily, Beck's friend Jimmy Page was also at that gig. And unlike the rest of the band, he had thought that Ralph's drum kinetics were great. He agreed to join the band on bass as a permanent replacement for Samuel Smith, who went on to a very successful career producing records, mostly in the sensitive singer's songwriter vein. Samuel Smith produced almost all Kat Stevens' big hits, and records for Carl Lee Simon, Christopher, Paul Simon, and Renee Sons, among many others.

Page joined on bass, even though that wasn't his instrument, but that wasn't the main problem with his join in the group.

That was, rather, the enmity between him and Simon Napier Bell.

Napier Bell later described the meeting that too hard after Page joined the group, saying, "What he ever had, he had an enormous swollen lip. Nobody knew who'd done it. He said some people had stopped him in the street and hit him.

“I remember thinking that if you had Jimmy Page, that could happen to you because of your sneering.”

Jimmy's supercelliousness was hard to take. When Jimmy Page looked as nice as he does, maybe he thought he'd get away with it. He came into the group, I said, "We don't really get on. You're my manager. I want to see the contract," he said. "I said to you, won't. I'll take my percentage of 45 to the money and I won't manage you.

Because I knew he would want to pull a stunt and say the contract was terrible. As I've said before about Napier Bell, he's someone who is more of a back-on-ter than a trust-worthy source. But it does seem likely, both that Page and Napier Bell didn't get on from the start. And the Page, who had vast amount of experience of the music business from the business side than the other yard birds, would have found entirely reasonable fault with whatever contract

Napier Bell had them under. Page seems largely to have given up on session work after joining the yard birds. Though it's difficult to know for sure because some tracks he recorded earlier were released afterwards. For example, Sunshine Superman by Donovan, on which Page played League guitar on an arrangement by John Paul Jones produced by Mickey Mouse. Was not released until December 1966, though it was recorded E.M. earlier.

There's also some question of exactly which sessions by which performers Page played on.

Page himself, for example, always claimed to have played on Donovan's

hoodie-goody man from 1968. And Donovan is sometimes backed him up on that. But apparently the session logs for that track don't have him there, and Jones, who was on that session as well, says it was Alan Parker. And he would occasionally turn up for the odd session just to keep his hand in. For example, it's definitely Page doing some relatively rare session lead work on Joe Cockers' hit version of "With A Little Out For My Friends" from 1968.

But in Jemble, Page was now putting session mode behind him, and going back out on the road with a band, just like in the old days with Neil Christian. Some have suggested that Page's shouldn't change in career might have been caused by trauma. However, on this time, his parents

“split when it turned up that his father had the years been keeping a second family in secret,”

and suddenly Page seems rather quickly to have turned from being a polite introvert, to being the kind of provocateur who were an iron cross-on stage, as did back around the same time. And here it's possibly worth noting that Chris Farlow, Page's long-time friend, ran a store that sold Nazi memorabilia, and only Nazi memorabilia. As a sideline from his day job as a pop star. It's likely though that even though he was no longer a session player,

Page was still keeping up with the records of a being released. He had been unusual among session players for doing that Wally was one. He would say that one of his selling points

on the records that teenagers were listening to, in a way that men in their 30s didn't.

“But even among other players of his generation, someone like John Paul Jones would say later”

that at the end of the '60s, he only owned two rock albums, pet sounds and revolver, but the best of his listening being to soul and jazz. Page almost certainly, for example, listened to making time by the creation, produced by his old friend Shel Tommy, which featured Eddie Phillips playing his guitar with a violin bow. [Music]

Page soon started doing the same himself. Though he always claimed that he had got the idea,

not from the creation, but from David McCollum Sr., the violinist father of the man from Uncle Star. Apart from a handful of gigs, Page's first major work with the arborgs was on their

“next single. There's some confusion about exactly when the basic track for happenings 10 years”

time ago was recorded. But the most likely date is some time between the 26th of July 1966 and the 3rd of August, when the group went on their first U.S. tour with Page on base. But Page wasn't on base for the session. Chris Dreyer had largely stopped playing guitar in the studio by this point, used to having backplay both parts, and he is not on the track at all. The initial sessions consisted of Keith Welph and Jim McCarty, who, according to most accounts wrote the song,

though it's credited to all five band members and backlit to sometimes said it was mostly his work. On lead vocals and drums and harmonies respectively, with Page on guitar and Page's session player friend John Paul Jones on base. Back wasn't at this initial session because he was ill

“with tonsilitis, an illness that also led the group to pull out of a festival appearance.”

The same festival by Kreme, with the arborgs from a guitarist captain made their debut. And this was why they seen as the arborgs being scared of the competition. Some whilst met the Napier belt for juice. And back at a guitar and spoken word much rings under his solo after the group returned from their tour. And the result is often considered the group's greatest single, and one of the classics of British psychedelia.

One possible influence the track may have had that have not seen anyone else suggest. Is the start of Jeff Beck's guitar solo, where he imitates a police siren? A year later John Lennon would base the melody of "I am the wall of us" around a similar siren imitation. And while it's entirely plausible that he was independently inspired, I can't help wondering if he had this track in the back of his mind.

(Music)

Happening's 10 years time ago doesn't sound revolutionary now.

But that's because we're hearing it out of the context of the time. It sounds exactly like a lot of singles released in 1967, but it was released in late 1966, several months ahead of its time. Possibly too much ahead of its time. It didn't make the top 40 in the UK, and it was only a moderate hit in the US, though as influence has been cited by hundreds of bands since.

In between recording the basic track in the guitar overdubts, the group toured the US. Beck's health problems kept recurring, supposedly he had his tonsils out at one point on the tour, though in later years he admitted that along with the actual physical illness he was also dealing with mental health problems, and a general way ofiness with being in the band. With Dre, I clearly not able to fill in for the band's resident guitar guard,

and with audiences primed to expect feedback-based musical paratectniks. The only solution when Beck was too ill to play many dates, he ended up playing home with 12 shows still to go on the tour, was for page to switch to lead guitar and play Beck's lead part,

and on the dates when Beck could play, rather than page playing rhythm guitar,

“the two played the lead lines in stereo and then played jooling soloes.”

Very few recordings of this dual lead version of the band exist, but one that does is one of the group's most famous, and it exists because of a trick Simon Napier Bell played on a friend. Michael Ancholo Antonio Ney wanted to include footage of the who performing live in his film set in Swinging London, blow up, and particularly wanted Pete Towns and smashing his guitar to be included in the film. But Napier Bell was friends with the

whose co-manager Kit Lambert, and told Lambert to ask for a ridiculously large fee, and for the band's management have control over the editing of their section of the film. Antonio Ney of course refused, and then Napier Bell offered his own band as a cock price rate to get them this valuable exposure. Beck objected to having to smash a guitar,

“partly because that was Townsend's stick, and partly because he was someone who cared a great”

deal about his instruments, but he eventually did it for the film, and once he did, it became a regular part of the act for a while. The song recorded for the film was titled "Strawl On", and the songwriting was credited to the adbirds, but it's just their cover of the Johnny Burnett Rock and Moldfiel's version of "Train Captain Rollin", with the lyrics altered so they could claim the credit for themselves.

To promote the release of the Appling's 10 years' time ago single, the group went on a brief tour of the UK. Unfortunately for them, the bill though a rum put them between the Rolling Stones, as headliners, and the Icon Tina Turner review, possibly the most exciting act

then performing. There were never going to go down while in that position, and according to

“an oldum that was deliberate, as we heard in the sympathy for the devil episodes,”

Hold 'em said, "Make Keet' and I had decided there were cocky little upstarts, had had one more hit than they deserved, and this sandwiching between the headliners should put paint to their career. It didn't help that the group's performance in London, at the Albert Hall, which had legendavally bad acoustic for certain types of music. There's an old joke that hits the only venue where a composer could be guaranteed to hear

their word twice. It was both the one that got reviewed, and the one that was by all accounts their worst of the tour. The Albert were by the consensus of the British press, yesterday's news. Happening's 10 years time ago was then trying to hop on this new psychedelic bandwagon that was so fashionable, but was clearly just a novelty record. After that, they went on another American tour. This time mostly is part of a dick-clark package tour, with a bunch of ill-matched

acts, including Bryan Hailand and Sam Lacham and the Ferros. They did though also play some shows outside of the package tour, including one notable one in Illinois November, when they were supported by the velvet on the ground with pages older quints and sneaker. The group were particularly fascinated by the song I'm waiting for the man, and depending on which version of the story you read, they had a gut hold of the band's debut album

as soon as it came out, or actually asked the new read for the chords and lyrics. And we're soon incorporating it into their live sets, often as part of extended versions of "I'm a man" or "smoke-stack-langin". Before the tour had been going long, Beck's illness returned, and on top of that, he was sick of touring for little money, and he was increasingly resenting Jimmy Page's playing.

At first, Beck had wanted to play with another guitar as to be "skill", but now he was

finding it was impossible to be the sole star of the group. He once again pulled out of the tour and went off to vest. And this time, the rest of the group decided that had an off and sacked him. This meant also losing their management. Napier Bell decided that Jeff Beck was the only one of the band he actually got along with, and also the real talent. He kept Beck on as a client, and handed the vest to the group over to Mickey Mouse's organization to manage. At first, it seemed like Napier Bell

had made the correct decision. Most became Beck's producer, too. Most was the proven hitmaker, having reduced hits for Donovan, Herman's Hermits, the animals, and many others. Beck had some

but as far as most was concerned, if you made a record, you just took the star and put him in

“front of a bunch of session musicians, and gave them a song by a hit songwriter. So the first”

single by the Jeff Beck group, which used Beck's Balero as its B-side, had Beck with jump hold Jones on bass and string arrangements, and Climcatini, the former drummer with the tornadoes turned top session drummer. Beck wasn't a singer. His new band had a lead singer in fact. But most didn't care. If the single said Jeff Beck on the label, Jeff Beck was going to be the singer, no matter how badly he sang. And his lead singer could just add backing vocals.

♪ Everything is worthy ♪ ♪ When your ties are faded ♪ ♪ I hold silver lining ♪ ♪ And when you go ♪ ♪ Now baby ♪ ♪ I'll see your sun is shining ♪ ♪ But I will make a fight ♪ ♪ No it'll be us ♪ Most commercial instincts worked. High-host silver lining made the top 20. The Jeff Beck group would go on to have three more hit singles. One more with Beck on lead vocals, an instrumental, and goo goo per average I go love his heart credited to Donovan and the Jeff Beck group,

“with Donovan on lead vocals. Much to it would get to sing lead on album tracks. But he'd never”

get to sing lead on a Jeff Beck group single. By that point though, Napier Balard stopped magic back

too. He said later, what they hadn't allowed for was that Jeff didn't really rehearse his first

group properly. He formed a group with what Stuart and Money would, and I thought they couldn't go wrong. They opened up for the small faces on tour with the Astoria and Finnsview Park, and it all went wrong. What came on stage with his flies on Don, and the curtain fell on top of the guitarist, and then somebody from the small faces pulled the plugs out to the power went off. It was a dismal concert, and I couldn't snap my fingers and come up with a solution. The wheeled

up and was they hadn't rehearsed. The trouble was, I was the same age as them, and felt too intimidated by them to tell them what to do. Napier Balard decided to get out of the management business altogether.

“Most organisation therefore ended up with both the art birds and the Jeff Beck group,”

but while he produced their recordings, for management he put someone else in charge, his colleague Peter Grant. Grant had known most since the two of them had worked with the two eyes back in the 1950s. The two eyes had been the hotbed of the early British rock emoll scene, and most of the first wave of British rock stars had been discovered there, most have been working as a waiter, and Grant has a bouncer, before most moved to South Africa, and became a pop star

there before returning to Britain as a producer. In the meantime, Grant, a very large, physically imposing man, has had a brief career as a professional wrestler, including some televised

bout, and had tried to get into acting but had never got much beyond bit parts, a couple of lines

in the same Tordix and have docked green, a tiny role in clear patre, a job working as well on Molly's stand-in, but he used the earnings from these jobs and his show-based connections to get a lot of old in the industry. He bought him any bus, and started driving people at the shadows while the comedians make him burn his winters to their gigs. From this, he got a job as a tour manager with Don Arden, the gangster who was one of Vincent's biggest managers and promoters.

Grant's job was to drive American stars touring the UK to their gigs, keep them sober enough to go on stage, and get the money from the venues with violence of necessary. Sometimes this required a certain amount of imagination. Gene Vincent's in particular was by this time totally out of control, Grant later said he used to drive cars at me, and he was well known for threatening people with knives and guns. He would dob racist

graffiti on the dressing room doors of black acts on the same bill, and he was bad the alcoholic. One show he also heard his one good leg in couldn't stand up, but Grant knew that the contract said that he had to go on stage and sing. So at show time the curtain drew back, and there was Gene Vincent, singing his opening song "Be Bopper Lula". Except the only got that far, then swarve and collapsed, falling onto his face and being carried off unconscious by roadies.

Grant had fucked him up by sticking their mags stand up his jacket. They got their money. But while Grant sometimes resorted to these measures, less difficult acts in turn found him a pleasure to work with. The overly Brothers, for example, said in the 90s that he was the best road manager we ever had, and he would be fiercely loyal to his act. Soon he branched out, he started working with mag Jeffries and Mickey Mouse on the animals career,

Hermit, another of most acts. He also became sole manager of a handful of acts,

“by the sheet frenety. While the first all female block groups to play their own instruments.”

And rather more successfully, the new portable band, who started out as a studio creation of Jeff Stevens, with John Carter of Carter Lewis and the Solidarnas singing lead. But then had a touring band with a different lead singer assembled by Grant, after their single Winchester Cathedral, became a massive worldwide hit. "You started to watch that, my baby left out, you could have done something,

you didn't do nothing, you were let alone." The new Vardable Band were briefly an international phenomenon. Famously Winchester Cathedral won the best contemporary rock and roll recording

“Grammy, beating out the other shortlisted entrance, last-trained to Clarksville,”

Eleanor Rigby, good vibrations, Monday, Monday and Cherish. For a while, the band were touring America enough that Grant had to take on an assistant, Richard Cole, specifically to manage U.S. touring operations. Eventually, most in Grant had decided to pull their resources and form a management and production company, R.A.K., which wasn't really much of a company.

It was a shared office space which the two men both used to work on different acts, on the top floor of her building in Oxford Street in London.

On the bottom floor were shops, then on the first floor was Christmas records,

whose publicist John Lennon's old friend Bill Harry, would also become R.A.K.'s publicist simply because he was working at the same building and there were in and out of each other's offices so often, and on the second floor was Alan Records. As Grant made a described it, R.A.K. music management was the name of the company, but names are not important in this business. People don't say, "Let's get in touch with R.A.K.,

they say, "Let's go see Peter Grant." It's the personal bit that matters. At one point, just Mickey most of myself and three girls worked in those offices, and yet we had four LPs in the top 20. As most was far more interested in the production side of things than in management, Peter Grant now became the De facto Manager of the R-Birds,

“as well as of Jeff Beck. Where page had been Napier Bell's least favourite member of the group?”

For Grant, he was the one who really muttered. The obvious lead of this lineup of the band.

Most first priority was for the group to record a new single to get them back on the charts,

or at least for Jimmy Page and Keith Melff too. Most technique was to get the records made as quickly as possible, with the stars performing material at most had picked for them. They could choose the B-sides themselves if they behaved. And so the first single he produced for them, little games, was a song written by two sungwriters for higher at the start of their career. Havel Tspiro went on to co-write hits such as Long Live Love and Nice One Civil,

while Phil Wayne remembered later go on to produce hits for the base hit he rollers among others. But their most prominent credit in 1967 was two songs for children's album by Mike and Bernie Winters. Only Ralph has the lead vocalist, and Page with his session experience which rusted to play on the single. Well, then Dreya and McCarty, the rhythm section was ducky might, the former drummer from the John Barry 7, and on bass the man who was at the time working as

most musical director, session player John Paul Jones, who also wrote the arrangement for the Chalose of the track. Most hopes for a new chart success were in very low. It didn't hit the top 40 in the UK or US.

This, and the lack of success of their subsequent singles, would shape Peter Grant's thoughts

about how to run a band. According to Napier Bell, who remained in touch with Grant and asked him occasionally how his old charges were doing, the funny thing was, would Mickey most chart success

“with singles was at all important. Yet, Peter thought that if you put a single out, you were”

competing to get into the chart. And if you don't get into the chart, you are then a failure. If you don't put a single out, you can't be a failure. Maybe working with Mickey had made him think about this because charts ruled Mickey most life, or perhaps Jimmy Page had given him the idea. Either way, he and Jimmy worked very well together.

Peter always thanked me for giving him Jimmy Page and earning him £200m.

After the little game single was released, but before it became obvious that it was not going

“to be a commercial success. Most took the group into the studio to record their second and final”

studio album. Little games the album was recorded in three days, and this time the group were allowed to play on their own record as most didn't care at all about albums. As far as he was concerned, albums didn't matter, and singles were the only things pop bands were good for. Almost all the tracks on the album have the songwriting credit to some of all of the band members. Almost none of them are actually written by the band members.

Compare for example, multi-boards is version of the blues standard, well and intumbly. Well I roll it out, tummer. Cardi hold that song.

“Well I woke up this morning, you didn't know right?”

To drinking muddy water, credit to Macarty, Dreya, Page, and Ralph. [Music] Well compared, David Rames vertical rearrangements of the traditional song she moved through the fair. Tackled in his version, she moved through the bizarre Slash blue waga. [Music]

With the instrumental white summer, credits are solely to page, and featuring no of the yard beds on the track. Though it also features an own credit to Adobe player, the percussion is played not by Macarty, but by Dudley Maustroma Chris Carram. [Music] And so on. It's particularly fitting that one of the tracks credited to the

yard beds as songwriters, of according to an old Memphis drug band song, is titled Stealing Stealing. Little games is both the strongest of the yard beds small number of albums, and one of the

group themselves always dismissed. Page, who had always been happy working with most in his session

days, felt differently about him as a producer when Page was one of the credit to artists. Suddenly, Maust's habit of just cutting one take of a track and declaring it good enough was less enjoyable. Most of the tension to detail in album tracks led to things like the last track of the album, Little Soldierboy, featuring not the trumpet solo that was planned, but Keith Melff's scatting an idea for the part that the trumpet player was meant to overcome.

The record company decided not to even bother releasing the album in the UK,

“because as far as they were concerned, the yard birds, who a year earlier had been having regular”

top 10 hits, went out past it. It was released in the US when the band still had a reputation, but it went no higher than number 80 on the album charts. Jeff Beck, with his recent top 20 hit, was interviewed by Hit Parade, and said, "With all the good groups at the bar about now, you've got to make them move one step ahead rather than sticking your house and going down

with a sinking ship." And that for me is what the yard birds are. It's really amazing to think

that only a year ago, all the second-ing DJs and writers were raving about the fantastic yard bird sound. It was all Jeff Beck this and Keith Melff's great heart playing that, and then it

“just goes 'Zonk' right down the drain. On the third, the group went on top in the US again,”

and on one show, there were supports by Jake Holmes, who closed his set with his song 'Dazed and Confused.' As song about which he later said, I didn't think it was that special,

but it went over really well. It was our set closer. The kids loved it. As did the yard birds, I guess.

On days didn't keep used, it stays at home. I'd be in shoes, but I'd just like to know, you're me a clue as to where I am at, feel like a mouse and you're act like a cat. On days didn't confuse, hangin' on by a bread. Jim McCarty was impressed enough by the track, which Holmes had released as a single

“amount before the game in question, but he and Jimmy Page both went out and bought copies of Holmes'”

album. The song was soon added to the yard birds' live set, and became a highlights of it. Give me a clue, I just wanna know, give me a clue as to where I am at, feel like a mouse and you're act like a cat. But by now, there was a split between the yard birds on record, a Mickey most pop band, and the yard birds on stage, who were stretching out more inspired by west coast records I'd love to capo, and album Melfraved about him, which was itself very obvious influence by the

yard birds themselves. There was also, though, a growing split between Melfra McCarty, who were becoming increasingly influenced by soft music like salmon and dolphin call, and who were both big users of cannabis and LSD, especially Ralph, and Page and Dreja, who didn't use any drugs at this time, and were more interested in making louder, heavier music, adapting the yard birds old freak out style to the new world of poetry,

O's and Loud Womplification. The yard birds didn't record another album, though there were various attempted sessions over the next year or so. Melf said of this period. In the end, we were just a group being sent out from a Mickey most records, and there was sometimes not even Mickey most records. The group's next single was a cover of Manford Man's Hit, her has said the clown,

which had been a hit in the UK, so the yard birds version was only released in countries where that hadn't been released. Valve was the only member of the group to appear on the record. The backing factor, which was actually recorded by session musicians in New York at the end of a session for the circle. The group best known for Red Wobble Ball. The keyboard player on the track is supposedly Rick Nielsen, later with cheap trick, throughout the time Nielsen was

based in Chicago while a track was caught in New York. So it seems likely it's another musician of the same name.

Mickey most, who overdubbed Valve's voice on it and stuck it out as a yard bird single.

“The producer in question was Charles Colello. The group's third single of 1967 was a most”

production, and at least had two yard birds on it. Their version of Harry Nielsen's ten little Indians, a rewrite of the old nursery song would live expressed on the Ten Commandments. featured page on guitar, Ralph on vocals, Climcatini and drums, and John Paul Jones on bass and orchestral arrangements.

That was another one that didn't get a UK release, and once again didn't chart in the US.

The group returned to the US yet again to tour to promote the single, but McCarthy had

“a breakdown and couldn't take going on tour again. The group cancelled a gig,”

got in the substitute room after a few more, and then McCarthy flew over what was soon hospitalized. By that point the group had pretty much decided to give up. McCarthy and Mel wanted to make gentle music like Simon and Garth from Cole. Valve was increasingly in no good page, none of them wanted to continue working with Mickey most, but they were contractual obligations to fulfill. The group put out one final single,

good night sweet Josephine, a song about a sex worker by the same writers as Harha said

“the clown. With Ralph singing and page, John Paul Jones, Climcatini and piano player Nicky Hopkins”

providing the backing. [Music] That was once again a flop, but the group once again went on a US tour to promote it. Knowing that this was likely to be the group's last tour, the record label arranged for a recording of one of the final shows for a prospective live album. The group refused to allow

it to be released, but to eventually came out on page's own record label in 2017. [Music] After that tour, there were some distal tree attempts of recording something to replace the live album. They recorded a handful of tracks included on that 2017 release with page producing, but no more complete. Interestingly, there was one song,

knowing that I'm losing you, for which the 2017 release didn't contain any vocals, which is very hard because there definitely was a lead vocal recorder for that track with a full gimmick. One much drier, McCarthy, and Keith Ralph's sister Jane all say that Ralph and not anybody else definitely wrote. Luckily for us, the reversions of that track with the vocal uploaded on YouTube.

[Music] But while the odd birds were trying to figure out how, or, even if, they could make their live style work in the studio, their thunder had essentially been stolen by the little guitarist,

whose first album came out and made the top 20. Truth was produced by Mickey most,

and featured Beck's beloved, and a few nods to Beck's past with the odd birds, starting out with the remake of shapes of things. It also featured pages older players, Carter Lewis on one track, and several tracks featured John Paul Jones on Ogun,

[Music]

“Beck had proven the commercial viability of pages of vision of what the yard bird should be,”

but he'd also got their first. The groups split into two halves.

Ralph and McCarthy formed a duo, together, recording a couple of singles in their gentle music style produced by Sam Olsmif. He just telephone, thank he must have found it. He wants to live in the village where he's starting out,

“he knows what lives to them in the city.”

They then went on to form the progressive rock band Renaissance,

along with Ralph's sister Jane, with Sam Olsmif again producing their first album.

[Music] Both quit that band, drawing the recording with second album, though. They went on to various other projects, with McCarthy eventually joining a semi-reformed yard

“bird in the 80s, which he continues with to this day as the only remaining original member.”

Ralph suddenly died in 1976, getting electrocuted by an improperly-grounded guitar. But with Ralph and McCarthy gone, page and draer, and their major Peter Grant who saw pages the real talent of the group. We'll left with the yard bird's name, pages vision for a heavier rock band, and, crucially, a bunch of gigs that already been booked to play. There was only one thing for it. Page and draer were going to have to form a new yard bird.

A history of rock music in 500 songs is brought to you by the generosity of my backers on Patreon. Each week, Patreon backers will get a ten minute bonus podcast.

This week's is on "Boom Banger Bang" by Lulu. Visit patreon.com/andrewhikkey to sign up first

as little as the dollar a month. A book based on the first 50 episodes of the podcast, from Savoy Swingers to Clock Rockers, is now available. Surge Andrew Hikkey 500 songs on your favorite online bookstore or visit the links in the show notes. This podcast is written and narrated by me Andrew Hikkey and the juice by me and tells a riser. Visit 500 songs.com that's 5-0-0 the numbers songs.com to read transcripts and line notes and get links to

hear the full versions of songs accepted here. If you've enjoyed the show and feel it's worth reviewing, please do leave a review wherever you get your podcasts. But more importantly, tell just one person that you liked this podcast. Word of mouth, more than any other form of promotion, is how creative works get noticed and sustain themselves. Thank you very much for listening.