YARDBIRDS IN FLIGHT

It is 1966.

A month before the Yardbirds released the album known as Roger The Engineer, The Beatles unleashed their groundbreaking single "Paperback Writer" b/w "Rain", breaking the pop mould yet again and, with "Rain", presaging an adventurous and transporting new style: psychedelia. Three weeks after the Yardbirds album hit the record counters, Revolver emerged to (almost) universal acclaim.

Of course blues based pop-rock was still alive and kicking—The Animals and Georgie Fame both had hits during 1966—but things were changing, and changing fast. Roger The Engineer provides a thoroughly entertaining glimpse into this time of ferment and burgeoning experimentation, straddling the worlds of eight-bar blues and freak-out psychedelia in one energetic twelve song package.

The Yardbirds formed in 1963. Young Eric Clapton replaced the original guitarist later that year. Five Live Yardbirds cemented their reputation as one of the UK’s premier rhythm and blues combos, while the March 1965 single "For Your Love" gave them a well deserved #1 single. Not everyone was thrilled by this 'pop' success, however, and Clapton moved on to John Mayall’s blues band. Highly respected session guitarist Jimmy Page (yes, the Led Zeppelin magician-in-waiting) was approached but decided not to join. He did, however, suggest Jeff Beck. This was an inspired choice, with the Beck version of the band releasing a number of successful singles and the album we are featuring today, Roger The Engineer, aka Yardbirds, aka Over Under Sideways Down. (It all depended on which country you lived in.)

The album kicks off with the bouncing bass-line of "Lost Woman", sounding just like a stomping R&B number of the kind Manfred Mann specialised in. But in the middle section, things get weird as everyone contributes to an under-stated freakout. That adventurous spirit fires up the next track, hit single "Over Under Sideways Down". From the attention-grabbing "Hey!" that kicks things off, this bouncy tune with its insistent, infectious riff, is a Sixties classic. The brief slow-paced refrain and some neat Beck guitar add to the exotic feel. After this thrilling opening, the album reverts to straight electric blues with "The Nazz Are Blue", borrowing the Elmore James "Dust My Broom" theme but ratcheting things up a notch. "Rack My Mind" reprises this style while "Jeff’s Boogie" (an instrumental on side two) adds some cheeky rockabilly.

With its loping rhythm and pretty melody "I Can’t Make Your Way" sounds almost country. The layered vocals—paired with Beck’s guitar line—are a highlight of the middle section. Another brief highlight is Keith Relf’s performance on "Farewell". There’s a children’s nursery feel to this folky song, a sweet example of an infatuation with seeing the world through innocent eyes that was common at the time.

Side two kicks of with the serious oddness of "Hot House Of Omagarishid"; chanting voices, wobble board plus some Beck flourishes bring a charming of-its-time-ness to the LP. A particular favourite of your correspondent is "Turn Into Earth", an often-overlooked slice of proto-psychedelia making fine use of wordless vocals over an eastern-flavoured melody. Its melancholic feel contrasts markedly with the fizz and bounce of much of the record. "Ever Since The World Began" provides a powerful ending for the set, with Relf’s solemn vocal warning of the evils of money before breaking into an incongruously jaunty sermon that wraps up with a solid "No!". Personally, I’m voting "Yes!".

BONUS FACTOID

Chris Dreja (rhythm guitar/bass) drew the illustration that adorns the cover. "I drew Roger Cameron as the long-suffering engineer in the studio, decked out with tape and headphones and with his name written along the wire. The title of the album should actually be 'Yardbirds'!"

© Bruce Jenkins—October 2023