All language subtitles for CARLY SIMON - (Classic Albums)

MUSIC: Beck's

This programme Contains
some strong language.

I was taken there by a girlfriend
as a tourist about 1966.

She took me in and i wandered in
onto the stage, and it just

struck me, "This is the most famous
place in Hollywood, isn't it?"

And I just thought,
"We'll never play here."

And 50 years later,
I had my own show there.

He's a maverick,

a maverick guitar player who doesn't
like to repeat himself, who takes

big risks all the time, has done so
all the way through his Career.

The guitar player
who builds hot rods.

I mean the two
go very well together.

There's been a lot of wake-up calls
for me watching Jeff

and listening to Jeff play
and working with Jeff.

It's always intriguing, you know?
And he's a great musician.

He has so much to offer that...

..you know, he's been able
to carve his own path.

Music draws people together,
and somebody lights a touchpaper

and it goes bang and that's it.
He makes you feel, like, impoetant,

like what you have to offer's
a beautiful thing.

Most guitar fans just play guitar,
and Jeff can make it sing.

Jeff has got effects
up the ying-yang when he"s recorded,

but live he brings it
to a different level.

Part of Jeff's mystique
is that he likes being mysterious.

He's a bit of an unsung hero
to the masses.

Part of that is due to

many albums not having vocals.

I told him that he was the Pablo
Picasso of electric guitar and

he said back to me,

"I would think i was more
the Jackson Poliock."

And I was like, "Touche!"

It"s so instinctive
and it's so exciting to be around,

because you just don"t know
what's going to happen next.

This is not paint by numbers,
this is the muse,

and the muse is going to say
what it"s going to say.

And he lets it happen, and, "Next!"

He's such a forward thinker
and an innovator.

He's just always
reaching for a new thing.

Jeff is an incredible artist,
and i always have an affinity

for male artists
who can find fantastic

female artists to accompany them.

Jeff is the guy who took
the instrument of guitar to the

furthest reaches
of guitar universe.

And nobody even come close.

Everybody respects Jeff.
He's an extraordinary musician,

and he's developed a technique
which is so complex it's just

a beauty to behoId and to hear
and to feel his playing.

He's having a conversation
with you when he"s playing,

it's just he's not singing.

He gets sounds that
no other guitar player gets.

He bends notes like no other
guitar player. You know?

He was - and is still - the most
original guitar player ever.

My mum played the piano
so, being in close proximity to her,

music was always around.

She was either playing the piano
or sticking me in the living room

with the radio, so there'd be
whatever was on at the time.

She had very strict ideas and hopes
of what she wanted me to be.

I would love to play the piano,
but it"s already done.

And after i heard Art Tatum,
there was

a good enough reason never to
ever sit in front of a piano again!

I just thought, "There's
no place for another pianist."

I didn't feel that was my destiny,
whereas guitar,

I didn't have to think about it.

I wouldn't have cared if it had been
the worst waste of my life,

I still wanted to be alone with it

and just pour my feelings into it.
It responds so readily to touch.

The radio was never off. I think my
mum put it there just to shut me up.

# Somewhere there's music
How faint the tune

# Somewhere there's heaven
How high the moon

# There is no moon above
When love is far away, too

# Till it comes true... #

And the Les Paul influence was

because some programme or other had
How High The Moon, and every time it

Came onto the radio,
I would run to the kitchen

and say, "Mum, what's this?"

She said, 'i've read about that guy.
He's just a box of tricks.

""He's a phoney." i went...
"This is interesting!""

Electric guitar, phoney -
you know, to a kid, it"s intriguing.

She said, "Well, it was revealed
that he can't play that fast,

"it's all sped up."

And I said, "Well, I like
the sound he's making.

"It doesn't matter if it's sped up."

I was interested in the guitar solos

on the records
my sister was playing.

Hound Dog for example. Rock
Around The Clock. This was heaven!

And I staeted to analyse sound
in great detail.

Eddie Cochran had a slap echo.
Cliff Gallup had a slap echo.

It was just too good. Those records
still sound astonishingly good.

Once i got to know Jeff and talked
to him about his influences,

he liked that guy that was with
Gene Vincent a lot, you know,

Cliff Gallup.

My sister went to the Sutton Granada
and saw this film,

and she said "You have to see it.

"It"s just the most amazing
TechniColor film of everything

"you like, everything we like."

And I went with some friends to see
VinCent and the Blue Caps in colour.

It was life-changing. That is the
best rock and roll film ever made.

Everything that I loved
seemed to be coming from America -

the cars, the music. I couldn't see
any way of ever getting there.

I'm talking about no money at all.

My sister came in one day
from school

and threw this piece of paper
with a phone number on it.

"Here's the number of
a geek at school who"s got

"a weird-looking guitar like yours."

And she agreed to take this bus ride
over to Epsom where we

knocked on the door
and this fresh-faced little kid

answered the door,
and he invited us in.

Well, he came round to my house.

I was living at home,
of course, with my parents.

And Jeff came in
and he had a home-made guitar,

and i also had a home-made
guitar there as well.

And we just soet of
Clicked immediately.

It was like two brothers,
you know, almost.

It was just a joyous thing, to find

somebody else who had
this Common interest.

He'd come round
and we"d soet of hang out

and i'd play records to him.

He had equipment. He had
a tape recorder and all the goodies

and a great reCord collection,
mouthwatering collection.

I had such an electric mix
of recordsI even as a teenager.

It was a great adventure,

finding other people who might
know a different chord to you or

finding a record shop
where they were importing, say,

Vee-jay records - this is
a Chicago movement of the fifties,

a blues movement - as opposed to
all the Chess catalogue.

And there was lots of
pilgrimages involved.

And all of those guitarists
from that point,

we aIl learnt from records.

So we used to sit there listening
and go baCk over the solo.

Never mind the song,
never mind the singer!

"What the hell"s THAT going on?"
You know?

"How is this sounding like
a ricochet effect?

"And why does it sound so exciting?"

You wanted to see if you Could
play what was on them.

It was quite an acComplishment
to hear something that was really,

really amazing to you and
really moved you but then really,

actually, work towards
being able to play it.

You"ve got a paetner in crime,

you've got somebody
to hammer out ideas.

When you've learnt something
that sounds reasonably impressive,

you want somebody to see
what they think of it.

We were really, really keen
on exactly the same things,

with the Gene Vincent records
and Ricky Nelson records.

There were always fine
guitar solos by James Burton,

and one of the things that we would
ask of each other was,

"What's your version of My Babe?"

"OK, yeah. What's your version?"

That seemed to be a soet of communal
ground between most guitarists

around that time, to see how well
other guys could cut this solo.

MUSIC: My Babe
by Ricky Nelson

I used to Iove going over there.

To have something that was
so close to my heaet and to my ears,

as well it hit all the jackpots.

It seemed like everybody was Coming
out of aet school in the 'SOs,

when rock and roll first staeted
to reach out from America to here.

It was a great way of escaping
any form of work, I think

any form of day job!

I did love it. i did love the fact
that there was a place you could go

and draw and learn
the basics of art.

I had two years of great fun there.

But the music took over, because
midweek there was a gig in a town

not far from where I lived and that
kept me going, just that one gig.

And then two gigs a week
Came in, and so on.

And, unfoetunately, i had to bail
before the end of the course.

Music was our hobby, and then
we ended up being professionals.

When the Yardbirds came about, Eric
was the force to be reckoned with.

They had Eric, so why did they
want me? I don't understand that.

They were looking for hit records,

and we weren't making
any music of that nature.

His name was used as a replacement.
They were telling me,

in a way I wasn't that vital to the
organisation. So i went to see him -

he was with the Tridents -

because I wanted to see, was he
really as good as they made out?

And he had all these sound effects
going on, and i thought, "My God!

"I'm gone. i'm Iong gone."

I actually thought
about retiring then

because I thought, "i'm in
the wrong business."" You know?

But seeing jeff, i thought,
"Well, they're on to a good thing!"

SCREAMiNG

# Sick at heart and lonely... #

I liked the Yardbirds a lot. I liked
that Heart Full Of Soul and the...

..sitar-like playing of Jeff's.
He's such a distinctive player.

He didn't follow
anyone else, really,

just Completely out there
on his own.

They had a sitar player
in the studio,

and he was thinking in sort of
1 3-and-a-quarter time signature!

And they said, "No, it's 4/4."
HE iMITATES THE MELODY

And I said,
"It's soet of like this."

And I got the octave, the G octave,
and then played...

And I said, "Why the hell have
we got him here? I can play that!"

I think he was a hard-rock
pioneer from day one.

He was doing stuff that didn't exist
except for him.

When i first heard the Yardbirds,
when i heard jeff's playing,

it was noticeably different,
even then, to my young ears.

There was a sound to his guitar
that kind of stood out

and was different from the usual pop
stuff. There was something about it,

the notes he was playing, I mean,
that was more lyrical to me.

And within a month,
we were flying over to America!

Not only had i been to America,

but i'd recorded at the famous
Sun Studios AND Chess Records.

MUSIC: Shapes Of Things
by the Yardbirds

# Shapes of things before my eyes

# Just teach me to despise

# Will time make man more wise?... #

Shapes Of Things, amazing.
I remember that distinctly.

"How is it we've had to come
this far to get the sound we want?"

In England,
the studios didn't get it.

The engineers back in England
were all pure,

they didn't like anything
that rattled or squeaked.

I wentI "Bring on the squeaks!
We don"t care about that!"

Instantly, you hear the playback,

we were all looking at each other
going, "This is the stuff."

Jeff would come round
and he'd play me the sort of first

Cuts of the reCords, and I remember
him playing Shapes Of Things.

And when it came to
the solo, i thought,

"This is the most
extraordinary solo."

Ravi Shankar was playing quite a big
paet in the Beatles and stuff,

and i used to sit over
at Page's house iistening to ragas

and Vilayat Khan and Ravi Shankar
and just marvelling.

How could this be adopted
in the guitar, this bending of the

string to such an extent that you
Could play a melody with one bend?

The work that Jeff did
in the Yardbirds was of paramount

impoetance to guitar-based groups

because he had an incredible ear
and he set an amazing standard,

and also that his technique
was extraordinary, as well.

And I must say, when i heard that,

I really understood what Jeff
was really capabie of.

The Yardbirds had a crazy manager,
and i remember Giorgio freaking.

Steam was coming out of his ears
when i played that song.

"This is exactly why
you"re in this band.

"You are opening up surreal avenues,
like avant-garde avenues,

"for the guitar in this band."

Giorgio was great but i think

there was some skulduggery
going on with the money.

I don't know. All i know is
I never made any of it.

I think i must have threatened
to leave unless they got rid of him.

Then Simon Napier-Bell appeared
and agreed to take over.

Within five minutes,
jimmy Page is in the band

and we were on the set of Blow-Up.

And nobody knew what it was going to
be like, as most movies,

they don"t really tell you.

But I was just told that Antonioni
was a great director

and surreal, and itjust
seemed like a cool thing.

And the cheque for 3,000
was amazing.

And I don't think any of the band

had ever seen
that kind of money in one lump.

They all went out and invested
sensibly in fruit-and-veg shops.

Shops. Business.

And I invested in
a "63 split-window Corvette,

which was the only sensible thing
for a person like me to deal with!

ENGINES ROAR

I had a girlfriend in LA,
and it was a Comfoetable place,

the weather was amazing.

And I left all that to go
on this tour with the Yardbirds.

I'd never played in America before.

It was a shock,
it was really surreal

from everything that I thought
that it was going to be.

The Dick Clark Caravan of Stars
was a conglomeration of acts that

would all get on stage
and do two or three songs.

They would tour in buses.

You know, you had to be
a real trouper.

I mean they would go out on the
road and do 60 dates in 60 days.

And that was very, very odd,
because it was a colleCtion

of teenybop stars, teenyboppers
for a very young audience.

..in a bus that stank,

and it was crammed with people
that didn"t really like us.

We didn't get on
with the rest of the cast.

And there was a toilet that
got busted and that didn"t work,

and people had to sleep
in the luggage racks.

But Jeff missed all that,
because he left pretty early,

after just a few dates.

After two gigs, I thought,
""I"ve just nearly killed myself to

"do nearly 15 minutes on stage,"
the two hits plus one other song.

That's it.
It was a quick turnaround.

Jerry Lewis's son was on the tour
Gary Lewis and the Playboys,

and i thought,
"This is so Middle America.

"We're telling people that we're
paet of this. We're not."

The Yardbirds were completely
on the road to forging a unique

Career, you know?

And they threw it into
this ridiculous mixing box.

And I Called Jim to my room. I said,
"Jim, I've just had the horrors.

"Here's my guitar.
You take lead tomorrow.

"I'm not even going to take
the guitar." That was the end of me.

No girlfriend, no Yardbirds
no nothing.

But I had my Corvette
parked in my mothet's sideway,

so i was free to dream again.

MUSIC: Shapes Of Things
by the Jeff Beck Group

# Shapes of things before my eyes

# just help me to despise

# Will time make men more wise?... #

Jeff and I met up at the
Sheffield Mojo, when I was doing

the circuit up and down the motorway
in my first group, the Birds.

We got on really well,

and he was telling me about
this gig with the Yardbirds

and kind of spoke, well,
"If we ever are not in the set-up

"we're in now, one day
we"ll work together."

One of the good things about
the Yardbirds times was that we'd

Come back from a tour,
maybe up north, and even at two

o'clock in the morning, we'd
stop off at the Cromwellian Club.

And after the Yardbirds, i thought,

"There's nothing to stop me
from going back there on my own."

And the guy on the door went
"Jeff! Nice to see you back."

That night, there was
not much going on.

There were Motown records playing,
and i'm thinking, "This is sad.

"I'm sitting alone with a beer."

And there was one other guy in
the corner, and it was Rod Stewart!

We talked a little bit,
and he said he was forming a band,

he'd left the Yardbirds.

I was out of work, and I think
I may have mentioned Woody and said,

"He's out of work as well."

So it was like three out-of-work
musicians, and we formed a band.

His collaboration with Rod Stewaet
was kind of legendary,

I mean one of the best things
that Rod ever did as well as jeff

on that Truth album.

It was the huskiness that was

rare to have in a white singer.
I loved it.

# Let me love you, baby

# You're driving my poor heart crazy

# Let me love you, baby

# You're driving
my poor heaet crazy... #

The band, with Micky Waller,
myself on bass

and jeff on the guitar,

the holes and the spaces
that it left

for Rod's voice in its rawness...

jeff used to really treasure
Rod"s voice, you know,

and treasure all the things
that could happen in those spaces.

# Oh, yes, you do, darling
Every time I see you

# Oh, baby, when you walk,
you know what?

# You shake just like a willow tree

# No, i know, i know, I know... #

He believed in me, he really did.

He wanted a proper singer
in his band.

He had a voice that was so...

..the vital instrument
within the band

that you didn"t need
a rhythm guitar.

Jeff's virtuoso performances
tied up with Rod's blues-type

vocals on that album. That was
absolutely a seminal album.

Truth has Rock My Plimsoul on it,
it's got I Ain't Superstitious.

It's really my favourite Jeff Beck,
stylistically, you know?

It's more sort of
in-your-face rock and roll.

Jeff didn't just want to play

what Muddy Waters had played
and Howlin' Wolf.

He wanted to take it
more Chicago-ish and more electric

and just take it out of that basic
idiom that it's in, you know,

and electrify it,
make it more arrangements.

Even though the songs
are 1 2-bar biues,

we arranged the songs
to sound more interesting.

Right, let's go. I don"t want
to sing it in unison,

I want to sing it in harmony.

Well, however you want. I'll try
something on this first few chords.

If it sounds sus, stop me, right?

Make the voice
nearly in the baCkground.

Mickie Most, he didn't want
to know about Rod at all.

He said, "You"re the artist.
Your name is on the label."

I said, "No, no.
I'm not interested in that,

"I"m interested in being part of
a great rock band, or a blues band."

Mickie just believed in the old
dollar, make it as quiCk as you can,

and really wanted us to be a pop
band, you know, much to our dismay,

because that"s not
what we'd want to do.

He didn't see any point in having
me, really. He wanted Jeff to sing.

# You're everywhere
and nowhere, baby

# That's where you're at

# Going down a bumpy hillside

# In your hippie hat... #

Why was he
such a reluctant pop star?

I guess that just wasn't really
what he ever wanted to do.

I don't know how
that song came about.

Some soet of pressure,
if you like, from Mickie Most,

to try and come up with a hit.
But I think he very, very quickly

realised that wasn't ever
going to be what he wanted to do.

Absolutely his prerogative.

But it's given lots of other peopIe
an enormous amount of pleasure!

MuCh more pleasure
than it ever gave him.

It"s like being asked
to wear a pink frock

and walk on top of a bus
down Oxford Street!

HE LAUGHS

It was framing me with
this embarrassing pop song that

wasn't me. But over the years
I've become warmed to it,

because it makes people feel happy.

Jeff, I believe, asked Mickie
if I could sing Hi-Ho Silver Lining,

but Mickie said no.

But you can hear me yodelling
in the baCkground on the chorus.

# And it's hi-ho, silver lining

# Anywhere you go, now, baby

# I see your sun is shining

# But I won't make a fuss

# Though it's obvious... #

just when you think
you're getting there,

you realise you're
about six months away!

I kicked off in
Mickie Most"s office,

and on this paeticular argument,

Peter Grant was there, and he was
smiling at me. i was going...

It was as though the smile was
saying, "Give him some stick,

"he needs to be put in his place,"
meaning Mickie.

Shoetly after that, he must have
had a word with Mickie and said,

"Look, Jeff was in the Yardbirds,
he already opened

""the door in America for himself
to go baCk with the band.

"And there's an underground scene
over there."

Steppenwolf was happening,
FM radio was happening.

There were venues and there was
press and there was radio stations

and, you know, you could
build an act by coming and touring.

So, this was mind-boggling,
I remember, when Woody and i drove

across the Brooklyn Bridge in
the back of a limo with Peter Grant,

the manager. I mean, it was
just heaven. "Here we are!"

But it was a five-month tour. it was
hard work, but it was great fun.

When we went to America
we opened at Fillmore East.

Talk aboutjump in the deep end!

And that's the famous night when
Rod wouldn"t come on stage. He hid.

That was the night i hid behind
the amps - absolutely true story -

because I thought,
"I"m in America, New York,

"I'm trying to sound like
a black singer, and there's going to

"be loads of black people out there
and they"ll throw things at me."

"Phoney! Fake!"
But lo and behold,

I came out and there was
all loads of hippies, you know?

And it was the staet of
a wonderful, wonderful career.

We stormed the place.
We blew the Dead off the stage.

HE LAUGHS

Robert Shelton from the
New York Times gave us a write-up.

Peter Grant rang me
at seven in the morning and said

"Have you read the review?"
I went "i don't want to."

He said, "No, it's amazing."

He read it to me, about the Pinter
play, the interaction of...

H E CH UCKLES

And I soet of read it and i thought,
"Right, what do we do now?"

We had it reproduced and sent ahead,

we had it sent to all the places
on the way to the West Coast,

so by the time we got to the
Fillmore West, we'd already broken

the ground, broken into the American
scene, which was fantastic!

We all decided
to try and write songs,

and Ronnie and i sat around
his mum's CounCil flat for hours

and hours with
a blank piece of paper

until we got a bottle of wine out
and we finished that.

Then we were able to write
a song called Plynth.

# I've woken up
on mornings such as this

# And thought exactly the same
as i'm thinking now

# Every night for a year,
I've slept alone

# My cold, damp room
looks worse than me

# I got a fear of death
that creeps on every night

# I know I won't die soon,
but then again, i might

# Just like water down the drain,
I'm wasting away

# And, oh doctors Can't help
the ghost of a man that's me... #

Plynth i'm very proud of,

Cos that was one of my compositions
where I wrote the words.

"Moisture from the ocean
fills the sky

"Falls back down to the ground
as time goes by."

# Like moisture from the ocean
fills the sky

# Comes on down the ground
as time goes by... #

I was very proud of my bass sound
and the whole thing with the drums

and the guitar

and Rod's soulful singing
and Nicky"s piano playing.

It was a magic combination.

And it was an honour to be in the
band, to be quite honest with you,

along with Micky Waller
and Nicky Hopkins and Ronnie Wood.

It was a great band.

If you think about how long ago
that was and what an impact

they must have had at the time,
he's so unique and original.

Truth and Beck-Ola really stood out,

sort of benchmark
rock and roll records.

Definitely big statements
for the time.

The sounds of those records
are definitely...

I still use them as touchstones
for even what i do today,

because nothing sounds
like those records.

And I was lucky enough to
see them live two or three times,

and it was really exciting.

And you never knew
if he was going to show up or not.

I meanI some of the stories
about quitting in the middle

of a tourI that's, you know,
pretty heavy.

You know? But that's Jeff.

There was a rift between
me and Rod at that time.

I don't know how it came about.

It Cast a bit of doubt,
like I didn't want to bank too

much on the next tour
in case it didn't happen.

I saw this big festival
looming up on the Calendar.

And I was nervous about it. I
thought, ""We're not ready for that.

"We're not ready to go up against
Sly and the Family Stone."

The Woodstock festival
was two weeks away

when the Beck Group kind of
Collapsed, and i thought,

"It's a shameI because there"s a big
gig Coming up in a Couple of weeks."

Woodstock!

He disappeared. In the middle of the
night. Next morning, he was gone.

And we get a phone call.
"jeff"s gone home."

When i saw the film, ijust thought,
"Thank God for my integrity,

"thank God that the little birdie
whispered, "Don't do it,'"

because I would have been up there,
dated and frozen with that image,

you know, with the music not being
quite right. I did the right thing.

He could have explained it to us,
and that would have made sense.

But I do agree,
I'm glad we didn't do it.

Once again, i'm baCk
to my mum's house again!

He's not paeticularly
wrapped up in his success.

He'd just as soon not discuss
music and the guitar.

He'd rather talk about the movies
that he likes and, you know,

Certainly his cars.

My gran used to take me to
the cinema, and she took me to see

a posh film, but the supporting
film was Hot Rod Gang.

She just freaked out and said,
"Oh, this is not suitable,"

because the word "gang"" was in it,
and she said "Right, we're leaving.

"Let's go out of the cinema and come
back when the main feature staets."

I clung on to the seat.

The opening sequence shows
these two hot rods racing one

another on opposite sides
of the street. Totally cool.

And I was hit, smitten right away.

For a B movie, I mean,
it was pretty nonsensical.

I still watch it from time to time,
as it was suCh a massive impact.

Come on, Johny, let's go!

Hot rods has always been his
passion, from when he was really,

really young. And then
he staeted building them.

The way that he puts it
most of the time, musiC and guitar

is his job, and that's his pastime,
for when he gets baCk home off tour.

He's always kind of tinkered
with his Cars as long as I've

known him, you know?

I think the first time
that i went to his house, the hood

of his Corvette was open and
he might have been under the hood!

The fact that Jeff builds those cars
and the fact that he does it

so well he's kind of a man of two
passions, i think, guitar and cars.

Your senses are sharpened,
because you built it.

And even if you had
a professionally built car,

you're still driving an early Car,
maybe a Ford or a Chevy,

'305, and they don't handle
the same as a late-model car.

And I'm going over this hill - no
top of the car, you know -

just 30 mph over this little,
gentle incline, get to the

top of it and the car starts to go
straight on to the oncoming traffic

without me touching the wheel.

And I turned the wheel
on the opposite lock, and it still

kept going and hit this poor chap
in this Morris Traveller head-on.

Broke his legs, broke my face up.
BaCk injury, ieg injury.

I got taken into Maidstone General,
who were amazing, just incredible.

We had a cheerful Chappie that
used to come round and shave you

and bring you tea.
I was recovering,

and then this guy decided
to bring me in a music paper.

And he was Scouse, and he went...

SCOUSE ACCENT: .."Your mate's
gone and joined the Faces.""

I went, "Oh, terrific."

You didn't need to hear that
right at that particular time.

I think the biggest problem for Jeff
is finding somebody to front

the band that really fit
what he was doing.

He had the, y"know, arguably
one of the best

singers at the time in his band,

and how long did that band last?
A couple of years.

Rod Stewart was great, but,
you know, more often than not...

And I think one of the reasons
why he ended up being

an instrumentalist is just
it was hard to find anybody that

really interpreted the music
correctly or just had

the right energy
or whatever it was.

I got to Epic in mid-'72,

and the Orange Album had come out
a few months before that.

The name of the album
is Jeff Beck Group,

but we all always refer to it
as the Orange Album

because there was the photo
of the orange on the Cover.

I staeted looking round
for players that could really...

..like, drummers that Could...
I was always foCused on drummers.

They are the life of the band
they are the driving force.

You get your drummer right,
you"re pretty muCh set for life!

We obviously lost
a lot of regular contact,

but when i did see Jeff, he'd always
be keen on his latest line-up.

He'd always rave about
different drummers.

He'd say, "i've got this guy
Called Cozy Powell.

"Listen to what i'm doing!"

I loved Cozy. i piCked him out of
a line-up of 20-odd drummers.

Mickie Most"s secretary organised
this whole audition, and she said,

"Jeff, I know you're late, but you
don't need to look at anybody else.

"There's your brother over there!"

Looking the same - same hair, you
know. "All right, jeff, I"m Cozy."

I went, "All right?"
And he started playing.

And you saw people putting
their Cymbals back in the cases!

HE LAUGHS

They were packing their drums ready.
They knew that that was it.

And then Max Middleton came up
with the idea of a simple melody

a bluesy thing, with a bottleneck.

And he said, ""Why don't we
write three melodies?""

And there are three melodies
in there.

One plays the countermelody,

and then there's a third descant
on top of that.

And I remember thinking,
"This is a cacophony of noise."

MUSIC: Definitely Maybe

Steve Cropper came down. He said,
"Man, this is really amazing,"

because I was doing these parts
individually and dubbing on.

And I wasn"t hearing the blend,
I was only doing them individually

because if I'd heard
guitar number one,

I would not have been able
to play against it.

And when i went up and heard
all three put together, y'know,

it was, "Let's buy Max
a round of drinks for that one."

I think there's no question
that Definitely Maybe led the way

to Blow By Blow...

..with a detour. With Jeff,
there's always a detour.

# Looking for another pure love

# In my life... #

Well, i've always liked
playing on other people's records

and not being named.

I mean that thing where
Stevie caIls out, "jeff!"...

..on Looking For Another Pure Love.

GUiTAR SOLO

Hit it, jeff.

And it is actually great
when it happens,

but i think I like Jeff
playing on records where we're just

kind of the mystery agent,
and i like the idea of someone being

able to identify me
by what i'm playing.

Stevie's record company
needed him to do something.

And I wasn't doing anything.

And Epic said, "What if we got you
in the studio with Stevie?"

Couldn't wait for this to happen.

So, the deal was i was to play
a Couple of tracks on Stevie's

album Talking Book and then
he'd write me a couple of traCks,

one of which was Superstition.

He said, "What about we get
a song with superstitions

"that you know about that
the Americans maybe not know about?"

And I said, ""Well, we don"t
walk under ladders for bad luck."

And I said,
"If you dropped a mirror,

"that would be
seven years" bad luck.""

I staeted playing the drums
in a break. He'd gone out for lunch,

and he'd come back and he was
Clapping along to my bit, my rhythm.

I said, "Steve, it's not...
I'm not a drummer."

He goes, "Yeah you are now.
Don't stop."

And he just grabbed the clavinet
and staeted playing that vamp.

And I"m thinking, "Christ,
I"m playing drums to Stevie Wonder!"

It was pretty cool, just
a simple thing that I could play.

And then he went,
"OK, I"ll lay the track down,"

because I was messing up
with the fills and stuff.

And he came and sat at the same kit
and played exactly what

I was playing. But better.

And he made space
for a five-chord turnaround

all right away, and then he went
straight in and put a bassline on.

That was it.

When that bassline came on,
the whole studio turned upside down.

Then he went and put
the lyrics on, rough lyrics,

and that was how that song was made.

# Seven years of bad luck

# The good things in your past

# When you believe in things
that you don"t understand

# Then you suffer

# Superstition ain't the way

# Hey-hey, hey... #

Just do your thing, son!

But then, when the demo went back
to Motown and Berry Gordy heard it,

he said, "This is the best thing
you"ve ever written."

So out comes Stevie's single,
and it's a smash, number one.

And it still is the biggest seller,
I think of all time of his singles.

And it worked out OK, because
it was a much better version

than the one we did, i think.
We did a heavy metal version.

I don't think he Cared for it
too much.

When i heard Stevie Wonder's
version of that song,

that's the definitive version
of that song, you know,

nobody should ever Cover it,
just leave it alone,

otherwise it'lljust sound like
a bar band butchering it.

Not so with Jeff Beck. Not so.

And when Beck, Bogert & Appice
recorded it,

it stood on its own, like another
entity again. And they were great.

I mean they were just
incredibly exciting to play with.

I'd seen the Fudge threeI four
times, and they blew me away.

It"s pretty powerful.

MUSIC: Superstition
by Beck, Bogert & Appice

# Very superstitious

# Writings on the wall... #

Unknowing that maybe Stevie
had written the ultimate power

trio song, because the double bass
drum that Carmine used was perfect.

Timmy"s busy bass playing, you know,
with that riff. What more could...?

They sang, as well, so we'd got two
singers, bass player and a drummer.

Good morning! it's over.