Entravista da banda logo após a entrada de Jimmy Page,
quando o Beck ainda estava na banda:
Originally published in NME, 9 July 1965
The Yardbirds were in no mood for pulling punches when
I called on them in their dressing room at the Ready,
Steady, Go! studios in Wembley Park. Keith Relf
expressed the desire that they should be "the first
group to tell the truth" and that he was tired of
"watered down interviews which said nothing."
Ready, Steady, Go! itself has been the subject of a
great deal of controversy recently. What do you think
of the show?
Chris Dreja: The show is cutting its own throat. It's
nowhere near as good as it used to be.
Keith Relf: Let's be honest—the whole show is in
shambles. You've got one guy running around the studio
flapping his arms and shouting and no control.
The best of the pop shows is Top of the Pops, where
everyone is very friendly and they make it a happy
show. The best sound is produced by Discs-A-Go-Go.
Their sound engineer is the finest in the country in
my opinion.
Sam Smith: The greatest criticism would be that they
are unable to produce as good a sound as on the record
itself. It has too many difficulties.
Jeff Beck: I don't see the show can do anything more
than it is. I think a great deal of the appeal lies in
the fact the people will watch just to see if you make
mistakes "live."
What I would like to see is a show that would
spotlight one group for half an hour and vary the
numbers. Let us show what we really can do, not just
give us time to play our latest disc.
Jim Page: It's sick.
Do you feel that the criticism of Cathy McGowan and
Patrick Kerr is justified?
Keith: They ask for it and they've got to take the
knocks. The kids will follow anyone for a while, but
once they are successful they often want a change.
Sam: It's not for us to say. I don't like to see the
girls rushing around trying to copy Cathy, because I
prefer originality, but it is part of Cathy's job to
set trends and fashions. That's why she is there. She
does it well.
A number of pop stars, including Jagger, Dave Berry,
and Paul Jones, have opted for short hair, and the
groups seem to be taking on new images. Are you doing
the same?
Sam: As you can see I have just had my hair cut quite
short! Mainly because I became tired of people
pointing me out in bars and on buses as a member of a
group. I don't want to stand out as a group member. I
never grew my hair long intentionally. I just didn't
have it cut, if you see what I mean.
Keith: My hair is long simply because it doesn't suit
me short. I've always worn it this length, even before
I joined the group.
Chris: We don't want a contrived image. If there is
one it will appear naturally.
When you played with the Beatles in Paris recently,
were you able to talk to them personally?
Keith: Not really. They're so well protected it isn't
true. Ten minutes before they were due on stage they
were nowhere around and suddenly they were there. Five
minutes after their act they had disappeared just as
quickly.
My father, who is our road manager, was knocked out
when Paul remembered his name and said, "Hello."
That's the nice thing about him, he remembers
everyone.
Lennon approached me and asked for a harmonica so they
could play “Baby's In Black”, but I didn't have one.
He also wanted some maracas and I didn't have those
either.
How far do you think we can go before the machine
takes over from the musician. For example, haven't the
Who gone too far with electronic sounds rather than
music?
Keith: The Who are creating with sounds just as surely
as an artist with brush strokes. What is more
important they are original.
I've just been listening to a symphony on the third
programme where they used effects from steel sheets,
slabs of marble, and 15 speakers. It was wonderful.
I also believe that the Who have been inspired by us.
We were always seeing them in our audience at one time
either at the Marquee or the Crawdaddy.
Jim: The Who and ourselves are the only groups doing
anything new. I think that's far better than reviving
these old numbers like Peter and Gordon have. We all
dislike that type of song.
Sam: I would say that Bacharach's experiments with
melody have been more successful than the Who's with
sound.
Jeff: I was experimenting with echo effects and
feedback years ago. Now it's become the thing. The
Who's effects are drawing the crowds. I think they
incorporate their own sound with some of the Beach
Boys' style, and they are very good.
How important is it to have a No. 1 record these days?
Chris: A reputation is far more important.
Keith: So many unknowns make it, does it matter?
Jim: It no longer takes the vast number of sales to
make the top so it is not so important. I think the
fact that an artist like Dusty, who has never had a
No. 1 disc and could top any show, speaks for itself.
Sinceramente:
João Lennon
http://br.geocities .com/beachboysbr azil
http://earlybeatles .cjb.net
quando o Beck ainda estava na banda:
Originally published in NME, 9 July 1965
The Yardbirds were in no mood for pulling punches when
I called on them in their dressing room at the Ready,
Steady, Go! studios in Wembley Park. Keith Relf
expressed the desire that they should be "the first
group to tell the truth" and that he was tired of
"watered down interviews which said nothing."
Ready, Steady, Go! itself has been the subject of a
great deal of controversy recently. What do you think
of the show?
Chris Dreja: The show is cutting its own throat. It's
nowhere near as good as it used to be.
Keith Relf: Let's be honest—the whole show is in
shambles. You've got one guy running around the studio
flapping his arms and shouting and no control.
The best of the pop shows is Top of the Pops, where
everyone is very friendly and they make it a happy
show. The best sound is produced by Discs-A-Go-Go.
Their sound engineer is the finest in the country in
my opinion.
Sam Smith: The greatest criticism would be that they
are unable to produce as good a sound as on the record
itself. It has too many difficulties.
Jeff Beck: I don't see the show can do anything more
than it is. I think a great deal of the appeal lies in
the fact the people will watch just to see if you make
mistakes "live."
What I would like to see is a show that would
spotlight one group for half an hour and vary the
numbers. Let us show what we really can do, not just
give us time to play our latest disc.
Jim Page: It's sick.
Do you feel that the criticism of Cathy McGowan and
Patrick Kerr is justified?
Keith: They ask for it and they've got to take the
knocks. The kids will follow anyone for a while, but
once they are successful they often want a change.
Sam: It's not for us to say. I don't like to see the
girls rushing around trying to copy Cathy, because I
prefer originality, but it is part of Cathy's job to
set trends and fashions. That's why she is there. She
does it well.
A number of pop stars, including Jagger, Dave Berry,
and Paul Jones, have opted for short hair, and the
groups seem to be taking on new images. Are you doing
the same?
Sam: As you can see I have just had my hair cut quite
short! Mainly because I became tired of people
pointing me out in bars and on buses as a member of a
group. I don't want to stand out as a group member. I
never grew my hair long intentionally. I just didn't
have it cut, if you see what I mean.
Keith: My hair is long simply because it doesn't suit
me short. I've always worn it this length, even before
I joined the group.
Chris: We don't want a contrived image. If there is
one it will appear naturally.
When you played with the Beatles in Paris recently,
were you able to talk to them personally?
Keith: Not really. They're so well protected it isn't
true. Ten minutes before they were due on stage they
were nowhere around and suddenly they were there. Five
minutes after their act they had disappeared just as
quickly.
My father, who is our road manager, was knocked out
when Paul remembered his name and said, "Hello."
That's the nice thing about him, he remembers
everyone.
Lennon approached me and asked for a harmonica so they
could play “Baby's In Black”, but I didn't have one.
He also wanted some maracas and I didn't have those
either.
How far do you think we can go before the machine
takes over from the musician. For example, haven't the
Who gone too far with electronic sounds rather than
music?
Keith: The Who are creating with sounds just as surely
as an artist with brush strokes. What is more
important they are original.
I've just been listening to a symphony on the third
programme where they used effects from steel sheets,
slabs of marble, and 15 speakers. It was wonderful.
I also believe that the Who have been inspired by us.
We were always seeing them in our audience at one time
either at the Marquee or the Crawdaddy.
Jim: The Who and ourselves are the only groups doing
anything new. I think that's far better than reviving
these old numbers like Peter and Gordon have. We all
dislike that type of song.
Sam: I would say that Bacharach's experiments with
melody have been more successful than the Who's with
sound.
Jeff: I was experimenting with echo effects and
feedback years ago. Now it's become the thing. The
Who's effects are drawing the crowds. I think they
incorporate their own sound with some of the Beach
Boys' style, and they are very good.
How important is it to have a No. 1 record these days?
Chris: A reputation is far more important.
Keith: So many unknowns make it, does it matter?
Jim: It no longer takes the vast number of sales to
make the top so it is not so important. I think the
fact that an artist like Dusty, who has never had a
No. 1 disc and could top any show, speaks for itself.
Sinceramente:
João Lennon
http://br.geocities .com/beachboysbr azil
http://earlybeatles .cjb.net
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