Jeff Beck -"Love is Blue" (L'amour Est Bleu) b/w "I've Been Drinking" 45rpm 7" single, Blue Vinyl, 1968/2015 (Sundazed)

For a few months after leaving The Yardbirds, Jeff Beck was unpredictable. He could go heavy, Psych, blues, but I wouldn't suspect him doing Middle-of-the-Road music.  "Love is Blue" is a MOR standard, and to me, it's a crazy concept between him and the producer Mickie Most. Still, at its best, there is a trace of a Shadows influence, regarding how Beck handles his guitar duty on this French pop song.  The first 20 seconds must have people look at the record label to see it wasn't a mistake.  Once the guitar kicks in, it's Beck, but a weird Jeff.   On a kitsch level, it's masterful. But Beck and kitsch really doesn't really mix well. Especially when the backup chorus kicks in. Did Mickie Most really see Jeff Beck as the guitar hero for the granddad set in the middle of the swinging 1960s?

The B-side (thank god for B-Sides) is "I've Been Drinking" a co-write between Beck and his vocalist at the time, Rod Stewart. I have to imagine that this is the classic Jeff Beck Group lineup with Ron Wood on bass, Mickey Weller on drums, and Nicky Hopkins on piano.  I like the echo effect on Rod's voice and the underhanded backup vocals.  Sturdy, workman-like, but not on a genius level. Still, there is something always cool about Jeff Beck. It's in his DNA. 

Jeff Beck - "Tallyman" b/w "Rock My Plimsoul" 45prm single, yellow vinyl, 1967/2015 (Epic/Sundazed)

Jeff Beck always appealed to me due to his clothes sense, physical looks, and of course, his guitar playing.  There is something no-nonsense concerning his approach to music-making.  I admire that and being a fan of The Yardbirds, I feel a devotion to his time in that band.  Still, in 1968, when I purchased his album "Truth" I was disappointed in its conservative approach to rock.  I loved the craziness and wildness of The Yardbirds singles and their manic quality.  Beck, on his own, was a tad tasteful.   He had a great band, with such talent as Rod Stewart, Ron Wood as the bassist, and Mick Weller as a drummer - plus the presence of the great Nicky Hopkins.  Still, there was something missing in the mix, and I think that was due that Beck is not a songwriter.  Also, he's not a great arranger like Jimmy Page, who by the way, I don't think he's a songwriter as well.  But he knows a great tune if you get my drift. 

"Tally Man" is an interesting record/song by Beck. Written by the great Graham Gouldman, who wrote hits for The Yardbirds as well as Herman's Hermits, and produced by Mickie Most.  I believe it's Beck on lead vocals, and it's a wonderful pop song done in that Beck manner to make it heavy.  A one-off single before the album, or before he got the band together.  

Donovan - "Barabajagal" Vinyl, LP, Album, 1969 (Epic)

A very good, but not classic Donovan album.  "Barabajagal" is Donovan at his most hippie twee, with songs like "Happiness Runs" and "I Love My Shirt."  And even "Atlantis," still, there is really no such thing as a bad Donovan song or performance.  There is the image of Donovan as the universal folkie turned flower child, which is true.  On the flip of the other side of the coin is that Donovan is a brilliant stylist/singer who brings jazzy overtures to his melodies and arrangements.  Mickie Most produced the classic Donovan sides (like this album), but I'm never sure what Most brings to the sonic table to a Donovan session.  Most is/was comfortable working with the Jeff Beck Group (who back Donovan on two songs on this album) and Terry Reid at the time who had a "heavy" sound.  

One of my favorite Donovan songs is on this album, and it's "To Susan Waiting on the West Coast."   A tune about a soldier in Vietnam writing to his girl back home.   Simple narrative but Donovan can bring out the pathos with his overly British twee-Jazz, that works brilliantly with this song.  I'm also a fan of "Superlungs My Supergirl."  Terry Reid also did a fantastic cover of this song around the same time this album was released - again, the Mickie Most connection.   Beck and gang back Donovan on the title cut, and clearly the Beck aesthetic on guitar is very prominent on "Barabajagal."  He's riffing like crazy under the mix of rhythm and the backup singers.   Although not individually credited, I imagine Nicky Hopkins is on the album.  The piano playing is superb throughout the disc, and the only song besides the Beck group (none of the musicians besides Beck is clearly credited) is the song "Where Is She," with session great Alan Hawkshaw on piano.  The rest I think is Hopkins.  

In real time, I bought the Donovan albums when they originally released. This was the last Donovan album for me.  Perhaps due to the marketing of that time, or me moving on to my teenage years, I gave up on Donovan.  It wasn't until recently that I started to pick up on Donovan's great Epic albums to provide them with that serious re-listen.  I'm now a bigger fan of his work, looking back on material that is of course, charming, but also has elements and textures that was very much present in the late 1960s - the acceptance of music from other cultures.  In that sense, Donovan was or is a great traveler. 

The Yardbirds - "I'm a Man"/"Still I'm Sad" 45 rpm Single (Epic Records) 1965

I distinctly remember that my first 45 rpm single that I purchased was The Yardbirds' double sided A-side hit "Still I'm Sad" and on the other side "I'm a Man."   I must have been around nine-years-old, and since I didn't have a job at the time, I'm going to presume that one of my grandmothers gave me the money to purchase the record.   "I'm a Man" (written by Bo Diddley) to this day gives me goosebumps in my lower back.  The way it starts off with the ugly sound of the guitars, and then slowly building up to this intense rave-up where it becomes noise.  Without a doubt, one of the first recordings that had a strong effect on my sensibilities at the time, and still, today. 

Then when I turned to the other side, the music is not only sad (of course) but also scary.  I heard this song on the radio as well as "I'm a Man," and it's the ying-yang or either/or of the pop music world of 1965.  Usually, for me, the album gives me the full narrative picture, but this 45 rpm single had a full narration for me.   One is very sexual, and the other is pensive.  

There are a lot of guitar bands that I like, but none sounds like The Yardbirds -except Television.  The Yardbirds went through three legendary guitarists in that group's history.  Eric Clapton.  Jeff Beck.  Jimmy Page.   By far my favorite is Jeff Beck.  Flashy yet detached.  I'm presuming that it's him playing on "I'm a Man," and not Clapton - but I'm not super sure about that. But I like to think it's Beck, because of the noise, in the end, seems so much up his alley.  Violent, sexual, and cool at the same series of seconds.  

The forgotten hero of The Yardbirds are not any of the three guitarists or even the singer Keith, but their bass player Paul Samwell-Smith.  He arranged the songs and did some of the engineering/production as well.  He worked with Mickie Most and Simon Napier-Bell. Eventually, he produced the classic hits of Cat Stevens in the 1970s.   I recently bought this single again for $1, and it sounds like a $1,000 to me.  Excellent record.