Latest / Booked On Rock with Eric Senich / [EP 396] The Jeff Beck Story: Brad Tolinski & Chris Gill Reveal the Man Behind the Guitar

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[EP 396] The Jeff Beck Story: Brad Tolinski & Chris Gill Reveal the Man Behind the Guitar · Booked On Rock with Eric Senich

• 0:00
  Speaker 1: They basically found a completely demolished Jeff Beck. He had
• 0:04
  Speaker 1: gotten completely thrown out of his car onto the pavement,
• 0:07
  Speaker 1: cracked his head open, was in a terrible state. If
• 0:10
  Speaker 1: he'd have been a less talented man, might have completely
• 0:13
  Speaker 1: killed his career at that point.
• 0:15
  Speaker 2: We're totally rock and roll. I mean, I'll leave you.
• 0:19
  Speaker 2: You're reading little hands, since it's time to rock and roll.
• 0:22
  Speaker 2: Roll up.
• 0:24
  Speaker 3: We are totally booked. Welcome back to book don Rock
• 0:31
  Speaker 3: Conversations with authors, musicians and insiders revealing the stories behind
• 0:36
  Speaker 3: classic Rocks, greatest songs, albums and artists. I'm merk Senich.
• 0:40
  Speaker 3: Is great to have you with us again before we
• 0:42
  Speaker 3: get started. If you'd like to support the podcast and
• 0:45
  Speaker 3: get episodes commercial free and before they arrive to the
• 0:49
  Speaker 3: rest of the world, center for the backstage pass from
• 0:52
  Speaker 3: Patreon just five dollars a month. Linked the show notes
• 0:55
  Speaker 3: or go to Booked on rock dot com. All right now,
• 0:58
  Speaker 3: onto our guests, Brad Telinsky and Chris Gill, authors of
• 1:02
  Speaker 3: the critically acclaimed oral history on Eddie Van hilland Eruption.
• 1:06
  Speaker 3: They are back with the brand new book titled Blow
• 1:08
  Speaker 3: by Blow The Jeff Becks Story. Welcome back to the podcast. Guys.
• 1:12
  Speaker 3: Good to see you again, great to be here.
• 1:13
  Speaker 1: Thanks for having us.
• 1:14
  Speaker 3: Well, Chris, you opened the book with quite a story,
• 1:18
  Speaker 3: this Jeff Beck's story. You literally had to climb over
• 1:20
  Speaker 3: a wall just to interview him, and it was a
• 1:25
  Speaker 3: cliff gallop guitar pick that broke the ice. So if
• 1:27
  Speaker 3: you could please share that story to get a start.
• 1:30
  Speaker 2: I think people need to read it to really get
• 1:31
  Speaker 2: the whole thing, but I'll kind of give the cliffs
• 1:34
  Speaker 2: notes version here. It was basically, you know, I had
• 1:37
  Speaker 2: heard about Jeff being a difficult guy to interview and everything.
• 1:40
  Speaker 2: I'm lifelong fan, you know, the guy since I basically
• 1:43
  Speaker 2: first took interest in guitar and but you know, I
• 1:47
  Speaker 2: was working at Guitar Player magazine. You had people like
• 1:49
  Speaker 2: Jazz Obreck there, and you know, we had this guy,
• 1:52
  Speaker 2: Ross Garnick who worked for Musician magazine, so he was
• 1:55
  Speaker 2: there when you know, Musician did a lot of their
• 1:57
  Speaker 2: their Jeff Beck interviews in you know, eighty five and
• 1:59
  Speaker 2: eight nine, and I just heard like, oh, Jeff Man,
• 2:02
  Speaker 2: he's just he's he's a real he's a difficult dude,
• 2:05
  Speaker 2: you know. And so we were talking about we need something,
• 2:09
  Speaker 2: you know, to give him as a gift, you know,
• 2:10
  Speaker 2: to kind of a peace offering, and we talked about
• 2:13
  Speaker 2: hot rod parts, and then we realized we had Cliff
• 2:16
  Speaker 2: Galp's guitar picks from this guitar picks poster that they
• 2:19
  Speaker 2: had done in like the late eighties when Cliff was
• 2:21
  Speaker 2: still alive, and so I came over with that, and
• 2:24
  Speaker 2: of course I had to meet the muster of Jeff's manager,
• 2:29
  Speaker 2: Ralph Baker, you know, asked me all these questions about
• 2:31
  Speaker 2: Cliff Gallup to make sure that I was up to snuff,
• 2:33
  Speaker 2: and I actually had info that he didn't know about.
• 2:37
  Speaker 2: But yeah, it was you know, you drive an hour.
• 2:40
  Speaker 2: You know. First of all, I arrived in London, you know,
• 2:42
  Speaker 2: from San Francisco. I'm jet lagged, you know. I get
• 2:44
  Speaker 2: picked up the next morning, and actually my interview got
• 2:46
  Speaker 2: moved up. I was supposed to go in I was
• 2:48
  Speaker 2: going to just go shopping cuz it was around Christmas.
• 2:50
  Speaker 2: I'm going to shopping in London, but it got moved
• 2:52
  Speaker 2: up a day, which turned out. Crazy story on the
• 2:55
  Speaker 2: side of this, there was an IRA bombing on Oxford Street,
• 2:57
  Speaker 2: which is where I was going to go that particular
• 2:59
  Speaker 2: day that I was there, so I might have missed,
• 3:02
  Speaker 2: you know, being filled with shrapnel and walking around with
• 3:04
  Speaker 2: you know, chunks of metal in my head. Yeah. I've
• 3:06
  Speaker 2: got other type of metal in my head, but.
• 3:07
  Speaker 3: Not that kind. But this is one, I think, right.
• 3:12
  Speaker 2: Two December of ninety two. But anyways, you know, we
• 3:16
  Speaker 2: take this long ass drive through the countryside, through all
• 3:19
  Speaker 2: these crazy roads, and we're on the opposite side of
• 3:21
  Speaker 2: the road and I'm just completely disoriented, you know, and
• 3:24
  Speaker 2: then we pull up to this kind of this this
• 3:26
  Speaker 2: wooded area with all these trees, you know, and there's
• 3:29
  Speaker 2: this brick wall and this big iron gate, you know,
• 3:33
  Speaker 2: and we pull up to the gate, Ralph hops out
• 3:36
  Speaker 2: messes with a combination lock, and it's like keeps messing
• 3:41
  Speaker 2: with it, keeps messing with it. And he's like, but
• 3:44
  Speaker 2: we're locked out, you know. And this early days of
• 3:47
  Speaker 2: cell phone technology, so we had to drive into the
• 3:49
  Speaker 2: nearest town, which is Waterst to try and call Jeff,
• 3:53
  Speaker 2: and he didn't pick up the phone, you know. And
• 3:55
  Speaker 2: it's like, oh great, I fly all the way out
• 3:57
  Speaker 2: here and the guys just literally locked me out. So
• 4:01
  Speaker 2: Ralph's like, oh, we're going over the wall then, And
• 4:05
  Speaker 2: that's what we did, and it turned out to be
• 4:07
  Speaker 2: the perfect introduction to the guy because I got to
• 4:09
  Speaker 2: really soak it all in instead of just you know,
• 4:12
  Speaker 2: flying down this little rutted you know, these two ruts
• 4:16
  Speaker 2: cutting the dirt, you know, leading up to his house
• 4:18
  Speaker 2: because it was built in fifteen hundreds. I got to
• 4:21
  Speaker 2: walk up there, you know and kind of like taking
• 4:24
  Speaker 2: the surrounding things. And it was a decent little walk,
• 4:27
  Speaker 2: you know, and all of a sudden we come around
• 4:28
  Speaker 2: this bend and there's the house, you know, and then
• 4:31
  Speaker 2: up on the hillside there's this out building and there's
• 4:34
  Speaker 2: the hot rods, you know, two of them, just sitting
• 4:36
  Speaker 2: out there in the mist, you know, collecting water on
• 4:38
  Speaker 2: them and everything. And it was just like, wow, here
• 4:41
  Speaker 2: I am. It's like, this is like real rock star territory.
• 4:45
  Speaker 2: This is the rock star mansion thing that you kind
• 4:47
  Speaker 2: of you know, that that fantasy you dream about and everything.
• 4:50
  Speaker 2: But yeah, it was, you know, it was. It still
• 4:53
  Speaker 2: was tough when you know, Beck opened the door and
• 4:55
  Speaker 2: turned his back on me, and then we sat down
• 4:57
  Speaker 2: and did an interview, gave him the picks and boom.
• 4:59
  Speaker 2: Three hours went by and we talked, you know about
• 5:01
  Speaker 2: all kinds of stuff, and you know, turned the tape
• 5:03
  Speaker 2: recorder off, hung out for another couple hours, got invited
• 5:05
  Speaker 2: back for another two days.
• 5:07
  Speaker 3: Yeah that's cool. Well, you guys hit it off. But
• 5:10
  Speaker 3: the big thing was the cliff gallop guitar pick that
• 5:12
  Speaker 3: broke the ice.
• 5:13
  Speaker 2: Yeah, yeah, amazing.
• 5:15
  Speaker 3: Yeah. So between the two of you, and I'll throw
• 5:17
  Speaker 3: this next one over to read. Between the two of you, you
• 5:19
  Speaker 3: had roughly forty hours of interviews with Jeff before writing
• 5:23
  Speaker 3: the book, but even after all those interviews, still huge
• 5:26
  Speaker 3: gaps in his story. So talk about the additional interviews
• 5:29
  Speaker 3: that were done and the goal of understanding how Jeff
• 5:32
  Speaker 3: worked and why he kept reinventing himself.
• 5:36
  Speaker 1: Well, that's why this book in some ways first had
• 5:40
  Speaker 1: to be written and was, you know, fun and challenging
• 5:45
  Speaker 1: to write, because when you're looking from the outside of
• 5:48
  Speaker 1: Jeff's career, it sort of goes all over the place.
• 5:52
  Speaker 1: And part of the thing that part of the mystery
• 5:55
  Speaker 1: and part of the thing that Chris and I wanted
• 5:57
  Speaker 1: to solve, was how do how do how does this
• 6:01
  Speaker 1: fifty year career that he had, fifty plus year career,
• 6:04
  Speaker 1: How did it all fit together? How did he go
• 6:07
  Speaker 1: from being the psychedelic guy to the hard rock guy,
• 6:10
  Speaker 1: to the funk guy, to the fusion guy, and it
• 6:15
  Speaker 1: was sort of difficult to find out. I mean, it
• 6:21
  Speaker 1: required us to talk to you know, guys that were
• 6:24
  Speaker 1: in the yardbirds with him, conversations with Jimmy Page. At
• 6:30
  Speaker 1: one point, I had a conversation with the great record
• 6:33
  Speaker 1: mogul Clive Davis, who a few people don't know this,
• 6:38
  Speaker 1: I mean everybody. Clive Davis is the great CBS record
• 6:43
  Speaker 1: executive and they talk about how he signed you know,
• 6:47
  Speaker 1: Whitney Houston and all these other people. But he played
• 6:50
  Speaker 1: a huge role in Jeff Beck's career, and thank god
• 6:54
  Speaker 1: he did when he signed Jeff in the early seventies.
• 6:58
  Speaker 1: He signed Jeff to almost unheard of a ten record
• 7:01
  Speaker 1: deal and then basically gave him the freedom to do
• 7:05
  Speaker 1: whatever the hell he wanted to, which is, you know
• 7:09
  Speaker 1: why we get this tremendous variety of output from Jeff.
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  Speaker 1: He wasn't really as constrained by commercial concerns as most
• 7:20
  Speaker 1: people have been. And you know what happens when you
• 7:23
  Speaker 1: give an artist, you know, full rain.
• 7:27
  Speaker 2: Like like an artist like Jeff Beck full rain. That's
• 7:29
  Speaker 2: that's the thing. It's not just something cool. It's Jeff Beck.
• 7:34
  Speaker 1: You know, you get something cool, you know, and you
• 7:36
  Speaker 1: get a bunch of stuff that's cool.
• 7:38
  Speaker 3: And he continually pushed the boundaries, even right up till
• 7:42
  Speaker 3: the end. I mean when we got into the two
• 7:43
  Speaker 3: thousands and I heard you had it coming, you had
• 7:46
  Speaker 3: it coming yet, Oh my god, I loved it. I
• 7:49
  Speaker 3: just embraced that. But I thought it was so cool
• 7:51
  Speaker 3: that he was. He was not stagnant.
• 7:53
  Speaker 1: He was not.
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  Speaker 3: Lacking inspiration or drive or the need to push further,
• 7:59
  Speaker 3: where a lot of artists may get to that point.
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  Speaker 3: But he just kept pushing forward.
• 8:04
  Speaker 1: I was just listening to rolling and tumbling off of that. Yes,
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  Speaker 1: I mean he took an old blues song, perhaps one
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  Speaker 1: of the oldest blue songs, and then just completely, you know,
• 8:18
  Speaker 1: revamped it and hot rotted it for that record. It
• 8:21
  Speaker 1: turned it into basically a techno song, you know, right right.
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  Speaker 3: I just love that he did that. His sister Annetta
• 8:29
  Speaker 3: is important because she introduced him to so much music.
• 8:33
  Speaker 3: She also suggested that he see a film called The
• 8:35
  Speaker 3: Girl Can't Help It. You describe Jeff seeing that film
• 8:38
  Speaker 3: as almost like a religious experience. For those not familiar
• 8:41
  Speaker 3: with the film, tell us about that and why was
• 8:43
  Speaker 3: it so important? Why did it have such a profound
• 8:45
  Speaker 3: effect on Jeff.
• 8:47
  Speaker 1: Well, his sister, Jeff was just starting to get interested
• 8:51
  Speaker 1: in rock music and his older sister and that said basically,
• 8:58
  Speaker 1: you know, you've got to go check out this film.
• 9:01
  Speaker 1: And the film had all these rock guys that nobody
• 9:07
  Speaker 1: had really seen. I mean, media wasn't like it was today.
• 9:10
  Speaker 1: So there are all these different famous rockers of the day,
• 9:15
  Speaker 1: Eddie Cochran and Fats Domino and then it plus it
• 9:19
  Speaker 1: had Jane Mansfield in it, which you know, this terrific
• 9:24
  Speaker 1: looking blonde, you know, and Jeff was just blown away.
• 9:30
  Speaker 1: He was just he couldn't believe it. But the other
• 9:34
  Speaker 1: cool thing that was in that movie were a bunch
• 9:36
  Speaker 1: of guys playing guitars. And that's basically, you know where
• 9:41
  Speaker 1: he said, I want one of those. I can do one,
• 9:43
  Speaker 1: I can do that. I'd like to do that. You know,
• 9:45
  Speaker 1: that was the beginning of the whole thing.
• 9:48
  Speaker 3: Jimmy Page is really the catalyst in that second chapter.
• 9:51
  Speaker 3: After Clapton's out of the Yardbirds, Jimmy Page was offered
• 9:54
  Speaker 3: the gig as lead guitarist, declined, suggests that Jeff joined
• 9:57
  Speaker 3: the band. So I wonder how different do you think
• 10:00
  Speaker 3: rock history would look if Jimmy had simply accepted that
• 10:03
  Speaker 3: Yardbird's job instead of recommending Jeff back.
• 10:07
  Speaker 2: Yeah, it's a difficult. It's difficult to predict what would
• 10:10
  Speaker 2: have happened. I mean, it's these what ifs are very fascinating.
• 10:14
  Speaker 3: Uh.
• 10:14
  Speaker 2: I think the thing about Jimmy was he was a
• 10:16
  Speaker 2: bit of a chameleon at that point in his career
• 10:19
  Speaker 2: and pretty much you know, throughout let Zeppelin and everything.
• 10:21
  Speaker 2: He had this massive record collection and that's really where
• 10:24
  Speaker 2: you know, Jeff and Jimmy bonded, you know, was you know,
• 10:28
  Speaker 2: playing guitar and listening to records. You know, like Jeff
• 10:31
  Speaker 2: had probably like about a dozen records, and I think,
• 10:33
  Speaker 2: you know, Jimmy already had a couple of hundred at
• 10:35
  Speaker 2: that point. And of course they you know, met there
• 10:39
  Speaker 2: were some other characters that were Stu for example, who
• 10:41
  Speaker 2: introduced them to the Blues, you know, And but I
• 10:44
  Speaker 2: think it still would have been cool. It just yeah,
• 10:47
  Speaker 2: it would have been different, definitely.
• 10:49
  Speaker 3: One of the myths that surround Jeff Beck is that
• 10:51
  Speaker 3: he either quit the Yardbirds or was fired. In the
• 10:54
  Speaker 3: title of chapter five, sorry we upset you now fuck off?
• 11:00
  Speaker 3: Please explain that title and helped sell them with did
• 11:03
  Speaker 3: Jeff quit? Was fired?
• 11:08
  Speaker 1: It was a little bit of both, you know. I mean,
• 11:10
  Speaker 1: here's the thing. Jeff was a complicated guy to begin with.
• 11:16
  Speaker 1: He was a bit of a loner, and he was
• 11:19
  Speaker 1: in the Yardbirds, and he came into them after they
• 11:22
  Speaker 1: had already been you know, together for a few years,
• 11:25
  Speaker 1: so he was always a little functioning as a little
• 11:28
  Speaker 1: bit of an outsider. But what we try to make
• 11:30
  Speaker 1: people understand was why was Jeff so cranky? Why did
• 11:37
  Speaker 1: he have his issues? And really, when you look at
• 11:39
  Speaker 1: touring back then, you know, when you look at the
• 11:42
  Speaker 1: conditions that he had to tour with with the Yardbirds,
• 11:45
  Speaker 1: people people don't understand it. Like these guys were traveling
• 11:50
  Speaker 1: day and night in the back of a van. A
• 11:54
  Speaker 1: lot of times when they were traveling, they didn't even
• 11:58
  Speaker 1: they couldn't even bring their own apps with them them.
• 12:00
  Speaker 1: So they had to have this thing sort of written
• 12:03
  Speaker 1: in their their their riders that the promoter would provide
• 12:06
  Speaker 1: them with amplifiers. And half of the time when Jeff
• 12:09
  Speaker 1: would get to the gig with his guitar, they'd have
• 12:11
  Speaker 1: some really terrible, uh you know, second rate blown out
• 12:17
  Speaker 1: amplifier for him to play through. And he was such
• 12:20
  Speaker 1: a perfectionist that this would just drive him crazy. So
• 12:25
  Speaker 1: between the awful touring conditions, the the the inferior you
• 12:30
  Speaker 1: know amplifiers, uh, you know, it wasn't going to make
• 12:36
  Speaker 1: him feel great about what he was doing. And so,
• 12:41
  Speaker 1: you know, he had his mood shifts and his ups
• 12:43
  Speaker 1: and downs, and he had also had some physical problems
• 12:48
  Speaker 1: like problems with headaches and stuff from an accident that
• 12:51
  Speaker 1: he had when he was a kid. And you know,
• 12:57
  Speaker 1: the other guys in the band just got sick of it,
• 13:00
  Speaker 1: to be honest with you, you know, right, and he
• 13:04
  Speaker 1: threatened to quit all the time. And one day after
• 13:10
  Speaker 1: he threatened to basically smash his guitar over the singer's head,
• 13:13
  Speaker 1: you know, they basically showed him the door.
• 13:16
  Speaker 3: And let him go.
• 13:18
  Speaker 1: They thought they were going to beg him back, but.
• 13:20
  Speaker 3: Right, yeah, he thought, sorry, we upset you, please come back,
• 13:22
  Speaker 3: but it was instead it was I think.
• 13:26
  Speaker 2: The other thing is that you know, Jeff had this
• 13:28
  Speaker 2: this this temptation on the side, which was the bikini
• 13:32
  Speaker 2: film starlet Mary Hughes, and he had a little thing
• 13:36
  Speaker 2: going on with her for a while while they were
• 13:37
  Speaker 2: on tour over the United States. But of course we're
• 13:39
  Speaker 2: being a film starlet in Hollywood. She was, you know,
• 13:42
  Speaker 2: rather fickle and everything like that. So now that Jeff
• 13:44
  Speaker 2: was freeing out of the band, she pretty much lost
• 13:47
  Speaker 2: interest in Jeff too. So but that was kind of
• 13:50
  Speaker 2: part of the thing too, is he thought, oh, I
• 13:52
  Speaker 2: can just go shack up with Mary Hughes and the
• 13:54
  Speaker 2: beach you know in Los Angeles and corvettes and la
• 13:57
  Speaker 2: la la, you know, and that didn't really work out.
• 14:00
  Speaker 3: Chapter seven is titled The Moment of Truth. It's one
• 14:02
  Speaker 3: of the most important chapters in the book because it
• 14:05
  Speaker 3: covers the creation and the impact of nineteen sixty eighth Truth,
• 14:09
  Speaker 3: an album many considered one of the blueprints for hard
• 14:12
  Speaker 3: rock and heavy metal. Shapes of things is slowed down
• 14:16
  Speaker 3: to what Jeff wanted to be, like a dirty and
• 14:18
  Speaker 3: evil vibe. It also introduced what became the unmistakable Jeff
• 14:22
  Speaker 3: Becks style. Talk about what we hear just over a
• 14:26
  Speaker 3: minute into that track that really stands.
• 14:28
  Speaker 1: Out, the sort of slide parts of yes.
• 14:31
  Speaker 3: And Yeah, and the Jeff Becks style, the sound that
• 14:35
  Speaker 3: he develops.
• 14:37
  Speaker 1: I mean, look, I think there's a good argument to
• 14:40
  Speaker 1: be made that it's the first heavy metal record. You know,
• 14:45
  Speaker 1: he's using power chords, he's using a Marshall stack in
• 14:50
  Speaker 1: the studio. He's getting this loud, nasty sound. And then
• 14:55
  Speaker 1: plus you have Ronnie Wood playing this gigantic distorted bas
• 15:00
  Speaker 1: on top of it, you know. And I think that
• 15:04
  Speaker 1: this is what's really interesting is you hear shapes of
• 15:07
  Speaker 1: things by the Yardbirds and their version of it, which
• 15:10
  Speaker 1: is cool, which is sort of psychedelic, but still sounds
• 15:15
  Speaker 1: like something out of the Beatles, you know, Beatles era.
• 15:18
  Speaker 1: And then you move two years later and he does
• 15:22
  Speaker 1: the same song, and he does it with everything that
• 15:24
  Speaker 1: he's learned, you know, and with all of his new
• 15:28
  Speaker 1: equipment and all this sort of bigger distortion and his
• 15:34
  Speaker 1: you know, after playing live, he creates a completely different sound,
• 15:38
  Speaker 1: and you almost get like a you almost get the
• 15:44
  Speaker 1: whole story of the sixties shifting in the seventies by
• 15:48
  Speaker 1: just listening to those two songs.
• 15:53
  Speaker 3: Rod Stewart, Ronnie Wood, Nikki Hopkins, Jeff Beck. I mean
• 15:56
  Speaker 3: that's like a once in a lifetime lineup. The chemistry
• 15:59
  Speaker 3: was in credible, but what changed so quickly? I mean
• 16:01
  Speaker 3: the band began to fall apart almost as fast as
• 16:04
  Speaker 3: it came together.
• 16:06
  Speaker 2: Yeah, Jeff, this is kind of a problem that recurs
• 16:09
  Speaker 2: with throughout Jeff's career is that, you know, he's the
• 16:12
  Speaker 2: marquee name on the album, and so he's getting the
• 16:16
  Speaker 2: line's share of the money too, And there was a
• 16:19
  Speaker 2: definite rift. You know, we talked about Van Halen, you know,
• 16:21
  Speaker 2: initially you know, being all for one, one for all,
• 16:24
  Speaker 2: and then there comes a point where they decide that,
• 16:27
  Speaker 2: you know, they don't want to share the spoils anymore. Well,
• 16:30
  Speaker 2: that was the onset of the Jeff Beck group, you know,
• 16:33
  Speaker 2: with those guys and Jeff is staying in nice hotels,
• 16:35
  Speaker 2: they were staying in dives and that really, I mean
• 16:38
  Speaker 2: automatically created just a rift between the guys where there
• 16:41
  Speaker 2: was just us against Jeff type of dynamic going on. Yeah.
• 16:45
  Speaker 3: I actually there was just a story I just heard
• 16:48
  Speaker 3: recently about it seems maybe most of the bands it's
• 16:52
  Speaker 3: this way, but Billy Gibbons was talking about he said,
• 16:57
  Speaker 3: none of those guys ever got along. So once they
• 16:59
  Speaker 3: were once an album was done and the tour was old,
• 17:02
  Speaker 3: they wouldn't see each other for like a year or two,
• 17:03
  Speaker 3: which led to the famous story of the beards, which
• 17:06
  Speaker 3: Chris has a very easy top like beer, and neither
• 17:10
  Speaker 3: of them knew they were growing the beard. You know,
• 17:12
  Speaker 3: they were so and that seems like I don't know
• 17:15
  Speaker 3: how many bands actually do get along well well.
• 17:18
  Speaker 1: Again, a lot of it has to do with I mean,
• 17:20
  Speaker 1: there are egos in play, and there are Jeff was
• 17:23
  Speaker 1: making a little bit more money than the other guys
• 17:25
  Speaker 1: because he was the marquee name. But again, you know,
• 17:30
  Speaker 1: I think that one thing your listeners will get off
• 17:33
  Speaker 1: on when they look at this book. It's sort of
• 17:36
  Speaker 1: like a small capsule on how the world has changed
• 17:40
  Speaker 1: in terms of touring, conditions of playing, conditions of all
• 17:45
  Speaker 1: of that stuff. I mean, these guys, it's sort of
• 17:49
  Speaker 1: hard to imagine how they survived, you know, getting from
• 17:53
  Speaker 1: one place to another under the conditions that they did.
• 17:57
  Speaker 1: And you know, there was times when, uh, you know,
• 18:01
  Speaker 1: they weren't making the kind of money that bands do
• 18:03
  Speaker 1: these days, and and Ron and would and Rod Stewart
• 18:07
  Speaker 1: would say they were practically starving, like they basically had
• 18:10
  Speaker 1: to bum money off of Jimmy Hendrix's girlfriend in order
• 18:14
  Speaker 1: in order to eat. So they're traveling under terrible conditions.
• 18:18
  Speaker 1: They're barely getting any sleep. You know, they turn up
• 18:22
  Speaker 1: to gigs in the and the gears all wonky and everything,
• 18:26
  Speaker 1: and under those conditions, even under the best of conditions,
• 18:30
  Speaker 1: tempers are going to flare. Under the worst of conditions,
• 18:33
  Speaker 1: tempers are really going to flare. Everybody's going to get
• 18:35
  Speaker 1: on each other's nerves. And that's a bit what happens,
• 18:39
  Speaker 1: you know.
• 18:40
  Speaker 2: I think too as a British band, you know, they
• 18:42
  Speaker 2: logistics wasn't the same. They didn't realize like how you
• 18:45
  Speaker 2: put together a tour and how you you know, they
• 18:48
  Speaker 2: didn't realize how vast the United States actually is. You
• 18:50
  Speaker 2: know that back then it took you five six days
• 18:53
  Speaker 2: to drive across the length of the United States. So
• 18:54
  Speaker 2: they might have a gig in Texas and then be
• 18:56
  Speaker 2: expected to be you know, in a short while med
• 18:58
  Speaker 2: the day or the next in California, and that's a
• 19:01
  Speaker 2: hell of a grind to get over there. And they
• 19:03
  Speaker 2: just you know, the booking, their management didn't really realize
• 19:07
  Speaker 2: what was involved with going from point A to point B.
• 19:10
  Speaker 2: So that created a lot you know, the weather was hot,
• 19:13
  Speaker 2: you know, and muggy and stuff, and it was it
• 19:14
  Speaker 2: was very different than being over and you know in
• 19:17
  Speaker 2: a you know, a humid little island you know, off
• 19:20
  Speaker 2: there in the Atlantic. So that was you know again
• 19:23
  Speaker 2: it was it was quite a culture change for them,
• 19:25
  Speaker 2: culture shock.
• 19:26
  Speaker 1: I mean, there's a funny story in the book speaking
• 19:29
  Speaker 1: of Billy Gibbons, you know, where Billy's talking about how
• 19:33
  Speaker 1: he hooked up with he worshiped the Jeff Beck group,
• 19:36
  Speaker 1: like the early wasn't ceasy top was moving sidewalks, I believe,
• 19:42
  Speaker 1: and how he worshiped Jeff and Jeff Beck group came
• 19:48
  Speaker 1: to Texas to play and Billy's band was warming up
• 19:53
  Speaker 1: for them, and Jeff was trying to figure out, like
• 19:56
  Speaker 1: literally how he was going to get his gear to
• 19:59
  Speaker 1: the next gig, and Billy's like, well, we can use
• 20:03
  Speaker 1: you can use our vands. I mean they didn't even
• 20:07
  Speaker 1: have a they didn't even transportation to get to the
• 20:09
  Speaker 1: next gig.
• 20:10
  Speaker 2: Yeah, it was the seat of your pants.
• 20:13
  Speaker 1: So Billy ended up driving the Jeff Beck group to
• 20:16
  Speaker 1: their their next gig using.
• 20:19
  Speaker 3: It was essentially like that for most bands. I mean
• 20:21
  Speaker 3: your Iyah Heap as it was the guitarist played with
• 20:24
  Speaker 3: a broken arm, you know those those that was that
• 20:27
  Speaker 3: was like that in those days for most bands.
• 20:29
  Speaker 1: I mean, I mean it was sort of just like,
• 20:32
  Speaker 1: I guess, any like punk rock band really you know,
• 20:36
  Speaker 1: in the in the seventies or something, or any indie
• 20:38
  Speaker 1: band you know, hadn't been that structure. So when you know,
• 20:44
  Speaker 1: when you read her book, I think that's part of
• 20:46
  Speaker 1: the fun and that's sort of the interesting thing is
• 20:49
  Speaker 1: not only do you see the evolution of Jeff Beck,
• 20:51
  Speaker 1: but you see how the whole music industry changed. Yeah,
• 20:56
  Speaker 1: you know, I can guarantee you that AT Records wasn't
• 21:00
  Speaker 1: giving out ten record deals and in the you know,
• 21:05
  Speaker 1: in the eighties. Yeah, yeah, that whole thing had changed.
• 21:08
  Speaker 2: I think one interesting thing too, that was doing the
• 21:11
  Speaker 2: research for this book was looking at these photos of
• 21:13
  Speaker 2: these gigs and you come to the realization that, my god,
• 21:15
  Speaker 2: they didn't have a PA system. That everybody had a
• 21:19
  Speaker 2: Marshall stack. Nikki had a Marshall stack. Rod had a
• 21:24
  Speaker 2: Marshall stack. You know, the drummer had a Marshall stack.
• 21:27
  Speaker 2: You know that that was the PA was a bunch
• 21:29
  Speaker 2: of Marshal stacks. Everybody had an individual one, and I
• 21:31
  Speaker 2: think Jeff had two.
• 21:33
  Speaker 3: You know. Crazy brat Selinsky and Chris Gill, the authors
• 21:36
  Speaker 3: of Blow by blow the Jeff Beck's story. So after
• 21:40
  Speaker 3: the success of the original Jeff Beck group, everything suddenly
• 21:44
  Speaker 3: unraveled and then came the devastating car accident which nearly
• 21:47
  Speaker 3: ended Jeff's career. It could have ended his life. How
• 21:51
  Speaker 3: close did he actually come to losing not his career
• 21:54
  Speaker 3: but also the ability to play guitar.
• 21:56
  Speaker 1: It was quite shocking, you know, when you know Jeff
• 22:00
  Speaker 1: was in the process of breaking up a previous band
• 22:03
  Speaker 1: and maybe starting what would have been Beck Bogert a
• 22:07
  Speaker 1: piece initially right before he got into this terrible car accident,
• 22:14
  Speaker 1: and he called his management to say what to tell
• 22:18
  Speaker 1: them what happened, and the management thought, which included Peter Grant,
• 22:24
  Speaker 1: by the way, the famous LEDs up manager, that he
• 22:29
  Speaker 1: was just exaggerating, you know, that they would go to
• 22:32
  Speaker 1: the hospital and figure, you know, it was just being
• 22:34
  Speaker 1: a whiny rock star and he had like a band
• 22:36
  Speaker 1: aid around his finger, and instead they basically found a
• 22:40
  Speaker 1: completely demolished Jeff Beck. You know, he had gotten completely
• 22:45
  Speaker 1: thrown out of his car onto the pavement, cracked his
• 22:48
  Speaker 1: head open, was in a terrible state, and it took
• 22:54
  Speaker 1: him pretty much a year to recover from that, which
• 23:00
  Speaker 1: you know, if he'd have been a less talented man,
• 23:02
  Speaker 1: might have completely killed his career at that point because
• 23:06
  Speaker 1: things were moving so fast. So you know, it precipitated
• 23:13
  Speaker 1: like tremendous change in the way he was looking at
• 23:16
  Speaker 1: the music world at his career while he was recuperating.
• 23:22
  Speaker 1: And people say, well, how come the Jeff Beck group
• 23:25
  Speaker 1: didn't get big and led Zeppelin got so big in
• 23:28
  Speaker 1: their place if they were similar, you know, And the
• 23:32
  Speaker 1: truth was was that year when Zeppelin exploded, Jeff was
• 23:36
  Speaker 1: in a hospital recuperating, and so the other thing that
• 23:43
  Speaker 1: that changed was the way he started looking at music.
• 23:47
  Speaker 1: He had, you know, smashed up his head and he
• 23:52
  Speaker 1: was having these problems with headaches and stuff, and the
• 23:56
  Speaker 1: thought of playing really really loud music completely you know,
• 24:05
  Speaker 1: completely steming him. Like he did not want to go
• 24:08
  Speaker 1: back out there playing through gigantic martial stacks because he
• 24:11
  Speaker 1: literally didn't think physically he could take it. And during
• 24:14
  Speaker 1: that period of recuperation, he starts thinking more about motown music,
• 24:20
  Speaker 1: R and B music, funk, He starts really getting into
• 24:24
  Speaker 1: black music to much more of a degree, and not
• 24:28
  Speaker 1: blues either, like literally R and B and dance music,
• 24:31
  Speaker 1: and it changes this whole way of thinking about what
• 24:34
  Speaker 1: he wants to do next, and that's when you get
• 24:36
  Speaker 1: this completely different change of direction. He goes from the
• 24:41
  Speaker 1: Jeff Beck Group, the first edition with Rod Stewart, which
• 24:45
  Speaker 1: is sort of proto metal, to the second version of
• 24:48
  Speaker 1: the Jeff Back Group that comes out a couple of
• 24:51
  Speaker 1: years later, which is almost you know, it's almost an
• 24:55
  Speaker 1: R and B funk band. There's a black singer, there's
• 24:57
  Speaker 1: a black bass player. You know, Jeff is love and
• 25:01
  Speaker 1: sli in the family stone and it eventually eventually leads
• 25:08
  Speaker 1: into him doing that sort of fusion, jazzy, funky thing
• 25:12
  Speaker 1: that he came to be known for a little bit later.
• 25:15
  Speaker 3: Yeah, really changed him. You get that impression. He was
• 25:18
  Speaker 3: almost a different person after that.
• 25:20
  Speaker 1: Yeah.
• 25:23
  Speaker 3: One person I should mention to you is Simon Napier Bell.
• 25:27
  Speaker 3: He's important, he believed in chaff right, he was he
• 25:29
  Speaker 3: managed the Yardbirds, and then when Jeff is out of
• 25:33
  Speaker 3: the other birds, he managed Jeff. Yes, and Simon was
• 25:37
  Speaker 3: on this show and he was. He kept in communication
• 25:41
  Speaker 3: with Jeff right up until the end, and he had
• 25:42
  Speaker 3: a great deal of respect for him.
• 25:44
  Speaker 1: Simon first is such an enormously entertaining guy.
• 25:49
  Speaker 3: He's great Yeah, he's got a.
• 25:51
  Speaker 1: Great sub stack. I read it. I still read it
• 25:53
  Speaker 1: all the time, you know, but I think, you know,
• 25:58
  Speaker 1: it was a period where Jeff needed somebody to believe
• 26:02
  Speaker 1: in him, and in some ways Simon was kind of
• 26:08
  Speaker 1: a weird choice of that because Simon was sort of
• 26:13
  Speaker 1: like a little bit like, you know, not your typical
• 26:18
  Speaker 1: hard nosed rock manager. You know, he was almost like
• 26:22
  Speaker 1: a party guy and almost didn't take didn't seem to
• 26:26
  Speaker 1: take things seriously. But for whatever reason, he just really
• 26:30
  Speaker 1: loved Jeff. He believed in Jeff's talent, and when everybody
• 26:35
  Speaker 1: started sort of walking away from Jeff, he was the
• 26:37
  Speaker 1: one guy to say, you've got to keep going, and
• 26:40
  Speaker 1: not only do you need to keep going, but I'm
• 26:42
  Speaker 1: going to help you get there.
• 26:43
  Speaker 3: Bet Bogart in piece that comes next now that that
• 26:47
  Speaker 3: been talked about for years and then it finally became reality,
• 26:50
  Speaker 3: and here would go with another what if? He was
• 26:53
  Speaker 3: supposed to record Superstition, but by the time he got
• 26:57
  Speaker 3: to release it, Stevie Wonder had his own talking about
• 27:01
  Speaker 3: what happened, and was Jeff angry with Stevie Wonder?
• 27:04
  Speaker 1: No, I mean the story is super complicated, and Chris
• 27:11
  Speaker 1: and I have joked that you could probably write a
• 27:13
  Speaker 1: whole book just on that little sliver. We end up
• 27:17
  Speaker 1: devoting a chapter to it. But like I said, Jeff,
• 27:21
  Speaker 1: after the accident starts really embracing black move the gar
• 27:25
  Speaker 1: and by Motown, and in his mind, Stevie was the
• 27:31
  Speaker 1: king of that. I mean, Jeff really believed that, you know,
• 27:35
  Speaker 1: Stevie was, you know, the greatest songwriter on the planet
• 27:39
  Speaker 1: at that point. And so the idea was, you know,
• 27:44
  Speaker 1: Jeff wanted him to produce his record, but Stevie's career
• 27:50
  Speaker 1: was going off like a rocket at that period, and
• 27:55
  Speaker 1: Stevie said, well, you know, I'd love to produce your
• 27:59
  Speaker 1: record because it would be really cool because it would
• 28:03
  Speaker 1: help me crossover to a white audience. And then you know,
• 28:08
  Speaker 1: me working with you would help you crossover to a
• 28:10
  Speaker 1: black audience, and we would both help each other out
• 28:13
  Speaker 1: in that kind of way as well. It would be great.
• 28:16
  Speaker 1: But Stevie just didn't have time to do that. So
• 28:19
  Speaker 1: he said to Jeff like, look, you plan a couple
• 28:21
  Speaker 1: of tracks, and I'll write you a couple of songs
• 28:23
  Speaker 1: because I know you need material. So what comes out
• 28:26
  Speaker 1: of that To make a long story short, and you
• 28:29
  Speaker 1: have to buy the book to get the whole thing
• 28:35
  Speaker 1: is that Stevie writes this fantastic song for Jeff, and
• 28:41
  Speaker 1: there's been a lot made out of that, basically saying
• 28:44
  Speaker 1: that the song was so good that Stevie's lawyer basically
• 28:49
  Speaker 1: said you can't, or Berry Gordy at Motown said you
• 28:51
  Speaker 1: can't give them that song. But the truth is is
• 28:55
  Speaker 1: Stevie was going to give it to him, but again,
• 28:58
  Speaker 1: Jeff sort of blue the opportunity because again he was
• 29:03
  Speaker 1: reshuffling his band, and he tried recording that song a
• 29:08
  Speaker 1: couple of times and was dissatisfied with it, and then
• 29:12
  Speaker 1: it took him a while to get his band together,
• 29:15
  Speaker 1: and by the time he finally got the song recorded
• 29:18
  Speaker 1: and out, Stevie's record had already been out for six
• 29:21
  Speaker 1: months and he already had a huge hit with the song.
• 29:24
  Speaker 1: Stevie's always said, look, I didn't want to take it
• 29:26
  Speaker 1: away from Jeff, but it was sort of Jeff's fault
• 29:30
  Speaker 1: because he didn't take advantage of it when he could.
• 29:33
  Speaker 1: You know, of course, Jeff's told this story different, but
• 29:38
  Speaker 1: this was closer to the truth as far as I
• 29:41
  Speaker 1: can figure it out, and as far as the various
• 29:45
  Speaker 1: people that we spoke to, told told it to us.
• 29:49
  Speaker 2: Jeff never resented Stevie for it. He always had the
• 29:52
  Speaker 2: utmost respect for Stevie. And I know there's other people
• 29:55
  Speaker 2: that he worked with where that was definitely not the case,
• 29:57
  Speaker 2: and Jeff would let you know about it, you know,
• 30:00
  Speaker 2: and it was with Stevie. It was always just you know,
• 30:02
  Speaker 2: he always had a kind word for Stevie no matter what.
• 30:04
  Speaker 1: Well, Stevie also came through for him on blow by
• 30:07
  Speaker 1: blow too.
• 30:08
  Speaker 2: Well yeah, yeah, yeah, And that's another there's another myth
• 30:11
  Speaker 2: around that, whether you know Stevie actually participated in recording
• 30:14
  Speaker 2: sessions or not, which I dug really deep into that
• 30:17
  Speaker 2: to figure out what really happened. And you know, Jeff
• 30:20
  Speaker 2: has a good way of exaggerating some of his Stevie stories.
• 30:23
  Speaker 2: I'll just leave it at that. So, but it's interesting,
• 30:26
  Speaker 2: it's a very interesting chapter. But you know, Stevie was
• 30:28
  Speaker 2: under you know, he was signed, sealed, delivered basically, you know,
• 30:32
  Speaker 2: by his management. You know, his emphasis on the sealed
• 30:35
  Speaker 2: part of things. You know, they they had him under
• 30:38
  Speaker 2: lock and key, and they watched his every move.
• 30:41
  Speaker 3: So there's that, Well, if it hadn't happened. We may
• 30:44
  Speaker 3: not get because we've ended as lovers. Right. The song
• 30:47
  Speaker 3: that Stevie offered to Jeff and ultimately nineteen seventy five
• 30:50
  Speaker 3: is Blow by Blow, the album that redefined his career.
• 30:53
  Speaker 3: It was what the nineteen seventy one Miles Davis album
• 30:56
  Speaker 3: a tribute to Jack Johnson, that he was listening to
• 31:01
  Speaker 3: he was working on his car, I think, and it was.
• 31:03
  Speaker 2: Yeah, yeah, it was actually Jack Johnson. I think was
• 31:05
  Speaker 2: nineteen seventy actually if I recall, right, but it was,
• 31:07
  Speaker 2: you know, because Jeff had basically was working in the
• 31:09
  Speaker 2: car that he wrecked. It was the tea bucket hot rod,
• 31:13
  Speaker 2: you know, open top, which is why he flew out
• 31:15
  Speaker 2: of it, no seat belts, you know, and he just
• 31:17
  Speaker 2: just hit something in Bam. You're like, it turns into
• 31:18
  Speaker 2: a catapult. But he was trying to fix this car up.
• 31:22
  Speaker 2: And this was when he lived where he lived somewhere
• 31:25
  Speaker 2: in Surrey, wasn't It wasn't the big house. He didn't
• 31:27
  Speaker 2: move into that till seventy five, the Demander where I
• 31:29
  Speaker 2: went to visit him. But yeah, he was like sitting there,
• 31:34
  Speaker 2: you know, struggling with this car, trying to get it
• 31:36
  Speaker 2: put back together and it's raining out and the waters
• 31:39
  Speaker 2: coming down into his garage and it's collecting around him
• 31:42
  Speaker 2: and he's just like ah, and he hears this sound
• 31:46
  Speaker 2: and it's John McLaughlin on the intro to that, you know,
• 31:48
  Speaker 2: and if you listen to that, compare it with Freeway
• 31:51
  Speaker 2: Jam side by side, the opening of that, the way
• 31:55
  Speaker 2: the bass line comes in the guitar, it's Freeway Jam,
• 32:00
  Speaker 2: you know, and Jeff that was definitely an inspiration for that.
• 32:03
  Speaker 2: But yeah, he kind of put that in his back pocket.
• 32:05
  Speaker 2: You know. He loved that music and he started, you know,
• 32:08
  Speaker 2: seeking out more fusion music. And it was kind of
• 32:11
  Speaker 2: like a little side thing, a little little perversion of sorts,
• 32:14
  Speaker 2: you know, amongst his crew, because he was kind of
• 32:17
  Speaker 2: running around with this this funk R and B crowd,
• 32:19
  Speaker 2: and he was around these rock guys when he was
• 32:21
  Speaker 2: with you know, with Bogert and a piece, and but
• 32:25
  Speaker 2: you know, on the side, he was listening to this
• 32:26
  Speaker 2: stuff and really loving it. And he was listening to
• 32:28
  Speaker 2: Mahavish New Orchestra, He listened to John McLoughlin's solo album
• 32:32
  Speaker 2: which came out in seventy one. He was listening to
• 32:36
  Speaker 2: Billy Cobham and Stanley Clark, you know, and all this stuff,
• 32:40
  Speaker 2: and just I think, you know, when he went with
• 32:43
  Speaker 2: Beck Bogert in a piece, it was a little bit
• 32:45
  Speaker 2: of a rewind for him, you know, because it was
• 32:46
  Speaker 2: something he was supposed to do in nineteen sixty nine
• 32:48
  Speaker 2: and didn't. And I think Jeff felt like this a
• 32:50
  Speaker 2: little bit of unfinished business and a what if. But
• 32:53
  Speaker 2: by the time they hit they were already a little
• 32:54
  Speaker 2: bit passe, you know, that that style of rock wasn't
• 32:58
  Speaker 2: quite as popular as it was a few years earlier.
• 33:01
  Speaker 2: So Jeff was behind the curve for once in his career.
• 33:04
  Speaker 2: When that fizzles out and breaks up rather you know,
• 33:08
  Speaker 2: violently and explosively, he's like, what am I going to
• 33:11
  Speaker 2: do next? And it's like Max Middleton, who was a
• 33:14
  Speaker 2: guy who was his sidekick through you know, all of this.
• 33:18
  Speaker 2: They were gathered together and it did kind of start
• 33:21
  Speaker 2: actually with Sarita with because we've nded his lovers, you know,
• 33:24
  Speaker 2: Jeff pulled that record out and presented it to Max
• 33:28
  Speaker 2: and says, what do you think? And Max is like,
• 33:30
  Speaker 2: it would be a really good instrumental you know, I
• 33:33
  Speaker 2: think we could work up an instrumental arrangement of that
• 33:35
  Speaker 2: and that's what they did. But yeah, all this stuff
• 33:38
  Speaker 2: is kind of flying around for Jeff though he's you know,
• 33:40
  Speaker 2: listening to to McLaughlin and loving it, you know, and
• 33:43
  Speaker 2: this wild adventurous thing, the Apocalypse album by Maha Vish
• 33:46
  Speaker 2: New Orchestra comes out that blows Jeff away, and rightfully so,
• 33:50
  Speaker 2: because that record is just amazing sounding to this day,
• 33:53
  Speaker 2: you know, this big, huge orchestra amongst this fiery progressive
• 33:58
  Speaker 2: fusion music, you know, with McLaughlin just going nuts and
• 34:02
  Speaker 2: yet being lyrical and beautiful at the same time. And
• 34:04
  Speaker 2: it's produced by George Martin so and Jeff's managers, you know,
• 34:09
  Speaker 2: Ernest Chapman and Ralph Baker, they oblige him and they
• 34:12
  Speaker 2: contact George on his behalf and say like, would you
• 34:16
  Speaker 2: work with us? And Martin says yes, and boom, blow
• 34:18
  Speaker 2: by blow.
• 34:20
  Speaker 1: You know, Eric, I think you know when when you're
• 34:24
  Speaker 1: when we're talking about this stuff, it's sort of like,
• 34:27
  Speaker 1: you know, your head is spinning because you know the
• 34:30
  Speaker 1: music is changing and Jeff's changing, and to some degree,
• 34:34
  Speaker 1: I think it's you know, for people, for your listeners
• 34:37
  Speaker 1: that might not be as familiar with Jeff sort of
• 34:41
  Speaker 1: a way to think about this is in the sixties,
• 34:45
  Speaker 1: Jeff invents psychedelia. In the seventies, he invents heavy metal
• 34:52
  Speaker 1: in the and then funk rock, and that helps helps
• 34:56
  Speaker 1: launch the fusion thing.
• 34:59
  Speaker 2: You know.
• 34:59
  Speaker 1: Jeff always like two years ahead of everybody else. Yeah,
• 35:04
  Speaker 1: you know, and maybe the reason why he isn't as
• 35:08
  Speaker 1: famous as Jimmy Page or Eric Clapton and those guys
• 35:13
  Speaker 1: is because rock doesn't always reward those that are ahead
• 35:16
  Speaker 1: of their time. You know, rock likes it when it's
• 35:20
  Speaker 1: right on time. But Jeff was always a little bit
• 35:23
  Speaker 1: ahead of the curve, you know, always a bit ahead
• 35:26
  Speaker 1: of the curve. And then he finally, somehow finally hits
• 35:30
  Speaker 1: that sweet spot in the seventies with Blow by Blow
• 35:34
  Speaker 1: and doing this fusion music which takes little bits of
• 35:38
  Speaker 1: progressive rock, you know, takes bits of jazz, takes you know,
• 35:43
  Speaker 1: R and B, a lot of funks that are sung
• 35:46
  Speaker 1: going on in the in the culture at that time,
• 35:48
  Speaker 1: including disco, and ties it up and do this beautiful
• 35:52
  Speaker 1: package that people can understand.
• 35:56
  Speaker 3: Find the Bookdown Rock website at bookedownrock dot com there
• 36:00
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• 36:02
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• 36:13
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• 36:16
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• 36:19
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• 36:24
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• 36:29
  Speaker 3: What fascinates me? And if you are both guitarists, so
• 36:32
  Speaker 3: hopefully you can explain this, but it may be very complicated.
• 36:36
  Speaker 3: But his sound is so unique that when he would
• 36:42
  Speaker 3: guest on a song, I would know immediately it's him,
• 36:46
  Speaker 3: And I don't even know how to describe, but it
• 36:50
  Speaker 3: just it has such an amazing tone and his feel
• 36:54
  Speaker 3: the way he played. But I mean, there had to
• 36:56
  Speaker 3: been a lot that he did to develop that over time,
• 37:00
  Speaker 3: kind of like I know, you know, we're all we
• 37:02
  Speaker 3: all love Eddie van Halen, and Eddie was the one
• 37:04
  Speaker 3: who was perfecting it over years. Yeah, I mean, what
• 37:07
  Speaker 3: are we talking as far as equipment, the guitar use,
• 37:12
  Speaker 3: the you know, just to develop that tone because it was.
• 37:16
  Speaker 2: Less about the equipment and more about Jeff, to be honest,
• 37:19
  Speaker 2: and it was more about what he was listening to,
• 37:21
  Speaker 2: because you know, many guitar players will listen to other
• 37:24
  Speaker 2: guitar players, and you know, I love all these guys
• 37:27
  Speaker 2: out there, who can you know, copy Eddie van Halen
• 37:30
  Speaker 2: to a t, you know, and they sound just like him.
• 37:32
  Speaker 2: But Jeff was like looking well beyond the guitar. He
• 37:35
  Speaker 2: was looking at all these other sounds. He was looking
• 37:37
  Speaker 2: at vocals, he was looking at horns, you know, even
• 37:40
  Speaker 2: keyboards and what have you. So he was very adventurous
• 37:44
  Speaker 2: with his gear in kind of a minimalist way though
• 37:47
  Speaker 2: it wasn't like this big expanse of a bunch of pedals.
• 37:49
  Speaker 2: He would just find something and really capitalize. I mean,
• 37:52
  Speaker 2: you go back to the yardbirds. The first thing he did,
• 37:54
  Speaker 2: the first thing that breaks him into the public eye
• 37:56
  Speaker 2: heartful of soul. You know, he's he's imitating the sitar
• 38:00
  Speaker 2: that they hired for the session. Who's just it didn't
• 38:02
  Speaker 2: sound powerful enough. So he gets a fuzzbox, you know,
• 38:06
  Speaker 2: Borrows went from Jimmy Page who happens to be over
• 38:08
  Speaker 2: in the next studio, and uses that for the session,
• 38:10
  Speaker 2: you know, and he beats satisfaction out. Everyone says, oh,
• 38:13
  Speaker 2: satisfaction in the fuzzbox. That's what made the fuzzbox popular.
• 38:16
  Speaker 2: But Beck was the head of the curve there and
• 38:19
  Speaker 2: we see that throughout where he's using all these these
• 38:22
  Speaker 2: new things. He's using an octave box well before anybody,
• 38:25
  Speaker 2: and that's what you hear, especially on Blow by Blow
• 38:30
  Speaker 2: and Wired, where it sounds like a synthesizer, you know,
• 38:33
  Speaker 2: and he's sounding like Yon Homer, so he that's really
• 38:37
  Speaker 2: where a part of it. I mean, yeah, the gear
• 38:39
  Speaker 2: sort of plays a role in it, but it really
• 38:41
  Speaker 2: comes more from his heart and his fingers.
• 38:43
  Speaker 3: Okay, yeah, because I always get this image of like
• 38:46
  Speaker 3: sheet metal, Like when I like a visual to the sound,
• 38:52
  Speaker 3: it's like pristine, shiny sharp, it's it's very clean and articulated.
• 38:59
  Speaker 2: Yah. I think that's a big part of it. And
• 39:02
  Speaker 2: I think for me, where Jeff Beck really becomes a
• 39:05
  Speaker 2: Jeff Beck that we know for the rest of his career.
• 39:07
  Speaker 2: I mean, he's leading up to this point and he's
• 39:08
  Speaker 2: doing all this amazing stuff, But for me, it's good
• 39:10
  Speaker 2: bye pork by hat on Wired, where you hear him
• 39:14
  Speaker 2: like even on cause we've ended his lovers it's an
• 39:16
  Speaker 2: amazing you know, lyrical ballad and everything like that. But
• 39:20
  Speaker 2: he's still kind of doing Roy Buchanan, who he tributes,
• 39:23
  Speaker 2: you know, in the credits for that as an influence,
• 39:26
  Speaker 2: and he's doing Roy Buchanan basically. But on good Bye
• 39:29
  Speaker 2: pork By Hat, you're hearing him play more with his
• 39:32
  Speaker 2: fingers instead of a pick.
• 39:34
  Speaker 3: You know, yeah, he did. He ditch the pick in
• 39:36
  Speaker 3: the eighties all together.
• 39:38
  Speaker 2: That was yeah by by seventy nine basically that he
• 39:40
  Speaker 2: ditched it all together, but he was leading up to that,
• 39:42
  Speaker 2: so he's experimenting with that, you know, using the pick
• 39:44
  Speaker 2: and his fingers, and you hear that a lot more
• 39:47
  Speaker 2: on Goodbye pork By Hat. You hear these little you know,
• 39:50
  Speaker 2: he overdubs things in very sly ways that in transitions
• 39:53
  Speaker 2: to these different tones and texters that you don't really notice.
• 39:56
  Speaker 2: But he had this little box called a green Ringer,
• 39:58
  Speaker 2: and that's you gotta operate that by hand. It's not
• 40:01
  Speaker 2: a stompbox. It's a little tiny box like the size
• 40:04
  Speaker 2: of a match box that plugs either straight into your
• 40:06
  Speaker 2: guitar into your amp, and you've got to flick it
• 40:07
  Speaker 2: on and off with that by hand with a switch
• 40:10
  Speaker 2: and you hear that come into play on that song
• 40:13
  Speaker 2: and he gets it to growl like a saxophone, you know,
• 40:15
  Speaker 2: which is really really cool. And that's you know, that
• 40:18
  Speaker 2: to me is like where that's where Jeff really defines himself,
• 40:21
  Speaker 2: finds his purpose in life, you know, so to speak,
• 40:24
  Speaker 2: and then he just expands from there.
• 40:26
  Speaker 3: Yeah, like John bon Jovi talks about he was and
• 40:29
  Speaker 3: you guys played that clip by Chris maybe you posted
• 40:32
  Speaker 3: on Instagram a collage of clips of everybody talking how
• 40:35
  Speaker 3: great he was and John bon Jovi, Howard starin Asham,
• 40:38
  Speaker 3: Who's the greatest guitarist? He says, Jeff Beck, you know, And.
• 40:41
  Speaker 1: When Jimmy Page and Brian May and uh, you know,
• 40:45
  Speaker 1: David Gilmore will all tell you that too.
• 40:47
  Speaker 3: Right, Yeah, I mean that's high praise. But when John
• 40:50
  Speaker 3: bon Jovi came out with that Young Guns Too soundtrack
• 40:53
  Speaker 3: and I heard those songs again just immediately, and they
• 40:56
  Speaker 3: didn't really play it up that Jeff Beck was on it,
• 40:59
  Speaker 3: but I knew immediately it was him. Yeah, Yeah, he
• 41:03
  Speaker 3: just had that distinct sound, you know.
• 41:05
  Speaker 1: I think to Chris's point though, and you know, he
• 41:10
  Speaker 1: expressed it well, but Jeff looked to other things for inspiration.
• 41:16
  Speaker 1: He didn't look to other guitar players, and that's part
• 41:19
  Speaker 1: of what made his sound, you know, sound unlike any
• 41:25
  Speaker 1: other night.
• 41:26
  Speaker 3: Yeah. Yeah, so he's not approaching it as a guitarist
• 41:28
  Speaker 3: so much as he's it's almost like he it's like
• 41:31
  Speaker 3: it's it's like, uh, he's it's like vocals. It's like
• 41:34
  Speaker 3: he's laying down vocals or even.
• 41:37
  Speaker 1: You go back to ain't superstitious.
• 41:39
  Speaker 4: You know, all of a sudden, he's uh sound like
• 41:44
  Speaker 4: a dog and cat where you listen to uh Beck's
• 41:48
  Speaker 4: boogie and he's imitating doorbells.
• 41:51
  Speaker 1: And you know he's he's grabbing these you know, incredible
• 41:55
  Speaker 1: sounds from all over the place.
• 41:58
  Speaker 3: Yeah, his his soul on people Get Ready with Rod Stewart,
• 42:02
  Speaker 3: it's like it almost brings me to tears listening to
• 42:05
  Speaker 3: that goosebumps every time.
• 42:08
  Speaker 2: So much that he does, we'll bring you to tears.
• 42:09
  Speaker 2: But yeah, going back on that point though, it's you know,
• 42:11
  Speaker 2: he inspired Jimmy Hendrix. Now think about this, What was
• 42:14
  Speaker 2: Jimmy Hendrix doing before he became Jimmy Hendrix, playing you know,
• 42:18
  Speaker 2: R and B on the Chiplin Circuit basically you know,
• 42:21
  Speaker 2: and everything. Then he hears Jeff Beck and here's Jeff
• 42:23
  Speaker 2: making train whistles, you know, and using his guitar like
• 42:27
  Speaker 2: a drum, you know, and getting all these crazy percussive
• 42:30
  Speaker 2: sounds out of it, and he's you know, doing sirens,
• 42:33
  Speaker 2: you know, and all this other stuff. And Jimmy hears that,
• 42:35
  Speaker 2: and he's like, oh my gosh.
• 42:37
  Speaker 1: You know, I'm gonna The Yardbirds were two years before
• 42:40
  Speaker 1: Purple Hayz.
• 42:41
  Speaker 2: Yeah. Yeah. And Jeff doesn't really get enough credit for,
• 42:45
  Speaker 2: you know, basically giving birth to Jimmy Hendrix. You know,
• 42:48
  Speaker 2: essentially without Jeff there would not have been a Jimmy
• 42:51
  Speaker 2: most likely, or it'd been a very different type of Jimmy.
• 42:54
  Speaker 3: I never hear that. You don't hear that well, I mean,
• 42:56
  Speaker 3: but the other thing is he had his opportunities. He
• 42:59
  Speaker 3: had had some high profile opportunities a tour with Rod
• 43:03
  Speaker 3: Stewart and then one with Mick Jagger. But then prior
• 43:06
  Speaker 3: to that, he was almost in the Rolling Stones. After
• 43:10
  Speaker 3: is this, after Mick Taylor was out. How close did
• 43:12
  Speaker 3: that come to happening?
• 43:14
  Speaker 2: I think it came closer than most. It's funny because
• 43:16
  Speaker 2: I've talked with a number of people over the years
• 43:18
  Speaker 2: who were also, you know, in consideration during that period,
• 43:22
  Speaker 2: Wayne Perkins in particular. I have to dig out my
• 43:24
  Speaker 2: tape I of him unfortunately stop my tape recorder with
• 43:26
  Speaker 2: all the really juicy details. But but it's a fascinating period.
• 43:32
  Speaker 2: But I think they really had their their eye on
• 43:34
  Speaker 2: Jeff initially. The thing is, I it never would have worked,
• 43:38
  Speaker 2: and Jeff knew it, you know, And if you go
• 43:41
  Speaker 2: online and you you dig around a little bit, you
• 43:43
  Speaker 2: can find some of these these bootlegs out there, and
• 43:46
  Speaker 2: it's really kind of like it's just a horrible mismatch
• 43:49
  Speaker 2: they're doing. They're doing freeway jam, you know, and it
• 43:53
  Speaker 2: just sounds goofy, you know. It just it doesn't have
• 43:56
  Speaker 2: this this grandeur and this this funkiness and this drive
• 43:59
  Speaker 2: to it. It's just kind of dumb. But dump, but dump,
• 44:01
  Speaker 2: but dump.
• 44:01
  Speaker 1: You know.
• 44:02
  Speaker 2: They're playing this littlechuck Berry rhythm in the background. He's
• 44:04
  Speaker 2: do do do do? You know it's just kind of
• 44:07
  Speaker 2: you know, it's almost like you can see like a
• 44:09
  Speaker 2: Looney Tunes cartoon, you know, going along with it or something,
• 44:12
  Speaker 2: Porky pig beating up bugs bunny or whatever. Uh, it
• 44:16
  Speaker 2: just didn't work. But you know, Jeff gave it a try,
• 44:19
  Speaker 2: and thank god he didn't because I mean, you know,
• 44:22
  Speaker 2: he had blow by blow in his pocket. It was done,
• 44:25
  Speaker 2: you know, and then he went off on this tour
• 44:26
  Speaker 2: of mis McLaughlin just imagined that we would have missed
• 44:29
  Speaker 2: out on that, which was amazing for people who thought
• 44:31
  Speaker 2: I missed it. Unfortunately I was just a little bit
• 44:33
  Speaker 2: too young, but you know it was amazing just this
• 44:37
  Speaker 2: fertile period and how they inspired each other and everything,
• 44:41
  Speaker 2: and you know, otherwise he just would have been another
• 44:43
  Speaker 2: guy in the Rolling Stones. You know, I'm not just
• 44:45
  Speaker 2: say not to you know, not to put down Ronnie Would,
• 44:47
  Speaker 2: who ended up getting the gig eventually, but it just
• 44:50
  Speaker 2: wouldn't have worked.
• 44:51
  Speaker 1: Yeah, Ronnie comps correct haircut.
• 44:53
  Speaker 3: I mean yeah, that's I mean, really Ronnie would. Jeff
• 44:59
  Speaker 3: Beck and Rod Steele. It's like were they are they
• 45:01
  Speaker 3: brothers or what?
• 45:02
  Speaker 1: You know?
• 45:03
  Speaker 3: The stylists really they looked like twins look into that.
• 45:09
  Speaker 3: But yeah, he had those opportunities. His relationship with Rod
• 45:14
  Speaker 3: Stewart is you know, it's the stuff of legend, man.
• 45:17
  Speaker 3: I mean, it's like the music they made together. But
• 45:19
  Speaker 3: they couldn't I mean, what he was supposed to tour
• 45:22
  Speaker 3: with Rod and it lasted like nine shows.
• 45:25
  Speaker 2: Yeah.
• 45:26
  Speaker 1: Yeah, Well, well back to the Stones thing, you know.
• 45:28
  Speaker 1: I mean, I actually talked with with Keith Keith Richards
• 45:33
  Speaker 1: a couple of years ago, shortly after Jeff died, and
• 45:38
  Speaker 1: I asked him, you know, about playing with Jeff when
• 45:43
  Speaker 1: Jeff auditioned for the band, or not auditioned, but but
• 45:46
  Speaker 1: jammed with them. And even Keith said to me, look,
• 45:50
  Speaker 1: you know, I think Mick was hoping for it, you know,
• 45:54
  Speaker 1: to happen, because Mick was a huge, huge Jeff Beck fan,
• 45:58
  Speaker 1: and in fact, Jeff played on some of mixed solo
• 46:02
  Speaker 1: stuff later on. But the way Keith put it, which
• 46:06
  Speaker 1: is accurate, as he said, look at Jeff Beck is
• 46:10
  Speaker 1: a genius, but he's his own man, and the Rolling
• 46:14
  Speaker 1: Stones are a band, and that's a difference. I mean,
• 46:18
  Speaker 1: the thing that you have to look at Jeff back
• 46:21
  Speaker 1: through a kind of lens is maybe the current rock
• 46:25
  Speaker 1: star that people might think of as somebody like Neil Young.
• 46:30
  Speaker 1: Whereas Neil, you know, he never stayed with one band.
• 46:35
  Speaker 1: Neil just kept on changing, and every time he would change,
• 46:39
  Speaker 1: he would bring in a new group of guys to
• 46:43
  Speaker 1: suite that. And maybe drift back to some of the
• 46:45
  Speaker 1: older guys. But he was always like, depending on how
• 46:48
  Speaker 1: he felt, he would find the right musicians to compliment
• 46:51
  Speaker 1: what he was doing. And that's not a very rock
• 46:54
  Speaker 1: and roll idea, you know. I mean, most rock and
• 46:57
  Speaker 1: roll is right, you get in with your band of
• 46:58
  Speaker 1: brothers and you stick together for thirty years until you
• 47:01
  Speaker 1: kill each other, that kind whereas Jeff was like, nah,
• 47:05
  Speaker 1: I'm moving in a different way. I think I want
• 47:07
  Speaker 1: some other people. And you know, from the outside, you
• 47:12
  Speaker 1: look at that and say, well, that makes a lot
• 47:14
  Speaker 1: of sense. But unfortunately, sometimes when you're that guy that
• 47:18
  Speaker 1: gets shoved aside, that creates some bad blood as well,
• 47:21
  Speaker 1: you know. So sometimes Jeff did get maybe the bad
• 47:25
  Speaker 1: rap from people just because Jeff decided it was time
• 47:29
  Speaker 1: for him, you know, to move on, because.
• 47:31
  Speaker 3: I don't think he really was interested in being a
• 47:34
  Speaker 3: pop star or a famous.
• 47:36
  Speaker 1: I think he would have loved to have that happen,
• 47:39
  Speaker 1: but only if it came out in terms.
• 47:41
  Speaker 3: On his own terms.
• 47:43
  Speaker 2: Yes, yeah, and that was that was the thing, is
• 47:45
  Speaker 2: that his own terms were an entirely different thing than
• 47:47
  Speaker 2: what the general public wanted at the time, right, So,
• 47:51
  Speaker 2: but yeah, going back to the Rod Stewart thing. One
• 47:53
  Speaker 2: of my favorite quotes from from Jeff is like, you know, yeah,
• 47:55
  Speaker 2: Rod and I have a love hate relationship. Rod loves
• 47:58
  Speaker 2: me and I hate.
• 47:58
  Speaker 3: Him let me. You know, it's like infatuation and people
• 48:02
  Speaker 3: get ready. I mean those songs, they're just phenomenal, that
• 48:05
  Speaker 3: chemistry they had. But you know what what what was
• 48:08
  Speaker 3: at the core of their battles, Well, Rod.
• 48:11
  Speaker 2: Was a superstar, right, you know, and and Jeff was
• 48:14
  Speaker 2: a hired gun, and Jeff just ain't a hired gun.
• 48:18
  Speaker 3: Yeah, that's what he said. With Mick Jagger, right, like
• 48:20
  Speaker 3: he's you're writ in the book, like he's thinking, oh cool,
• 48:22
  Speaker 3: we get we're going to have our own project here,
• 48:24
  Speaker 3: like you know, yeah, but he's, like I said, I'm
• 48:27
  Speaker 3: I'm mixed guitarist.
• 48:28
  Speaker 2: Yeah.
• 48:29
  Speaker 1: With him at Rod was that, you know, their roles
• 48:32
  Speaker 1: sort of changed. Yeah, it was difficult for both of
• 48:36
  Speaker 1: them because back when Rod was originally playing with with Jeff,
• 48:40
  Speaker 1: Jeff was the big kahuna. He was the or, as
• 48:43
  Speaker 1: Jeff would call it, Billy Big Bananas, Billy big Bananas,
• 48:49
  Speaker 1: and Rod was sort of the secondary person. So when
• 48:54
  Speaker 1: Rod emerged as the gigantic superstar, that dynamic that power
• 48:58
  Speaker 1: dynamic shifted and it was hard for you know, for
• 49:04
  Speaker 1: Jeff to adjust to that. And Rod wasn't about to
• 49:08
  Speaker 1: take back seat to Jeff either, So there were just
• 49:11
  Speaker 1: you know, ego clashes. They actually recorded, or it was
• 49:15
  Speaker 1: reported anyways, that they recorded an entire record together much
• 49:20
  Speaker 1: later on.
• 49:21
  Speaker 3: Yeah, and I remember that and that late nineties, early
• 49:25
  Speaker 3: two thousands.
• 49:27
  Speaker 1: Yeah, yeah, and then you know, Rod just decided he
• 49:34
  Speaker 1: didn't he didn't want to finish it. He just didn't
• 49:37
  Speaker 1: want to go there, you know, and it had to
• 49:40
  Speaker 1: do with their chemistry. And Rod admitted, I mean, he
• 49:44
  Speaker 1: did say, look, you know, I want things my way
• 49:46
  Speaker 1: and Jeff wants it his way and just weren't lining up.
• 49:50
  Speaker 3: You know.
• 49:51
  Speaker 2: One funny episode I remember just talking about this was
• 49:53
  Speaker 2: when I went over and interviewed him in ninety two,
• 49:55
  Speaker 2: and it was, you know, during that downtime where we're
• 49:57
  Speaker 2: just kind of chatting and stuff, and you know, we
• 49:59
  Speaker 2: were talking about Rod Stewart, you know, just kind of
• 50:01
  Speaker 2: off the record and everything like that, and Ralph Baker's
• 50:04
  Speaker 2: manager was just like, oh, you know, Rold's got this
• 50:05
  Speaker 2: new record, he's crooning, he's doing all these standards and
• 50:08
  Speaker 2: everything like that. And this is when Jeff was doing
• 50:10
  Speaker 2: you know, Crazy Legs, which was the very accurate duplicate
• 50:14
  Speaker 2: of gene Vincent, you know, and it was just kind
• 50:16
  Speaker 2: of fence like, well, you're both doing retro things. Why
• 50:18
  Speaker 2: can't you guys see the eye to eye. And it's like, well,
• 50:20
  Speaker 2: he's just doing a bunch of pop shit and I'm
• 50:22
  Speaker 2: doing the real deal. You know.
• 50:26
  Speaker 3: Well the decade ended well though, with a Stevie ray
• 50:29
  Speaker 3: Vaughn tour. Yeah, and how did he get along with
• 50:32
  Speaker 3: Stevie ray famously?
• 50:35
  Speaker 2: Really really well, those those guys just they they admired
• 50:38
  Speaker 2: each other, you know, and I think that was a
• 50:41
  Speaker 2: real real kick for them both, you know, just to
• 50:44
  Speaker 2: go up there and be around each other and to
• 50:46
  Speaker 2: be playing and everything like that. But you know, Jeff
• 50:49
  Speaker 2: does have his privacy about him. He does have his
• 50:51
  Speaker 2: private moments, and he could be a bit cag I
• 50:53
  Speaker 2: think there was something that didn't make the book. It
• 50:55
  Speaker 2: was on the cutting room floor, but Chris Layton talking
• 50:57
  Speaker 2: about you know, Jeff playing Happy Birthday for him, you know,
• 51:03
  Speaker 2: like he said, like Jeff Bareley said a word to me,
• 51:05
  Speaker 2: and then one day he shows up in my dressing
• 51:07
  Speaker 2: room and plays Happy birthday for me, and then the
• 51:09
  Speaker 2: next day he was just like walking past me in
• 51:11
  Speaker 2: the hole and doesn't even acknowledge my presence.
• 51:13
  Speaker 1: You know, I think Jeff loved that Stevie challenged him. Yeah,
• 51:22
  Speaker 1: like other like, he wasn't Stevie. I mean, Jeff wasn't
• 51:27
  Speaker 1: that way. He liked when other guitarists gave him some shit,
• 51:32
  Speaker 1: you know, gave him something to bump up against. And
• 51:38
  Speaker 1: in the early nineteen nineties I did an interview with
• 51:43
  Speaker 1: both Jeff and Jimmy Page together and they both brought
• 51:47
  Speaker 1: their guitars with them, which was incredible to witness. And
• 51:52
  Speaker 1: at one point, you know, Jeff takes out a strat
• 51:57
  Speaker 1: and he just starts playing the most ridiculous shit. I mean,
• 52:02
  Speaker 1: you know, he's just playing this crazy rockabilly stuff with
• 52:05
  Speaker 1: his fingers and doing all this stuff. And then he
• 52:08
  Speaker 1: stops and he knows, he knows he's just killed it.
• 52:13
  Speaker 1: And he to Jimmy and says, hey, what do you
• 52:15
  Speaker 1: have to show me? It's like the page in Page
• 52:20
  Speaker 1: just what he just lifted his hands up.
• 52:25
  Speaker 2: Do you want to mention the arms concerts too, which
• 52:26
  Speaker 2: we got clapped in back in page altogether? You know,
• 52:29
  Speaker 2: for a handful of shows there in eighty three, and
• 52:32
  Speaker 2: of course Beck is the one who came out, you know,
• 52:34
  Speaker 2: dominating it, and it was in a friendly way and
• 52:36
  Speaker 2: everything like that, but Jeff kind of knew that. Yeah,
• 52:39
  Speaker 2: I kicked their asses, you know, and I think that
• 52:42
  Speaker 2: kind of gave him a lift. Unfortunately, was a period
• 52:44
  Speaker 2: where everything was kind of down and they're trying to again.
• 52:46
  Speaker 2: They were trying, like like like Mickey Most did with
• 52:49
  Speaker 2: Hi host several lining, they're trying to make him a
• 52:50
  Speaker 2: pop star again, and that just didn't work.
• 52:56
  Speaker 3: Thanks so much for checking out the book Down Rock podcast.
• 52:58
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• 53:02
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• 53:29
  Speaker 3: at Booked on Rock. Thanks again for listening now back
• 53:32
  Speaker 3: to the show, Well, kind of relationship did he have
• 53:35
  Speaker 3: with Eddie? Speaking of Van hilln were they?
• 53:39
  Speaker 2: They admired each other? Jeff, you know, Jeff is not
• 53:42
  Speaker 2: like a lot of guitar players, you know who big
• 53:47
  Speaker 2: Momstery like to cut down other people, you know, and
• 53:50
  Speaker 2: criticize them. Jeff loved everybody, and he was kind of
• 53:53
  Speaker 2: intimidated actually by the New Breeders when I talked with
• 53:56
  Speaker 2: him in you know, ninety nine, and he was, you know,
• 53:59
  Speaker 2: satry On and Vai were major superstars by that point,
• 54:03
  Speaker 2: and he was kind of like, I, you know, I
• 54:06
  Speaker 2: feel intimidated by those guys, and you know, I can't
• 54:09
  Speaker 2: keep up. But at the same time, I remember, you
• 54:11
  Speaker 2: know a few months later, I met the hard Rock
• 54:13
  Speaker 2: at the Joint in Las Vegas and I turned around,
• 54:16
  Speaker 2: and who's behind me? Steve Vi, you know, there to
• 54:18
  Speaker 2: see Jeff back, you know, And I got went back
• 54:21
  Speaker 2: and met with them, you know, after the show and
• 54:22
  Speaker 2: everything like that, and Steve was just all like, you know,
• 54:25
  Speaker 2: it's like he was meeting with the Pope or something.
• 54:27
  Speaker 2: You wanted to kiss string, you know, But but yeah, no,
• 54:31
  Speaker 2: Eddie loved Jeff. Jeff loved Eddie, there was there was
• 54:34
  Speaker 2: no jealousy, There was no rivalry between those guys, you know,
• 54:38
  Speaker 2: and Luca ad Luca Thar to the bunch Man, and
• 54:40
  Speaker 2: it's like, gosh, you want to talk about you know,
• 54:42
  Speaker 2: every you know, mailbox in Hollywood probably got busted that
• 54:45
  Speaker 2: night from their antics. But but you know, they really
• 54:51
  Speaker 2: were all kind of part of this of this clan
• 54:52
  Speaker 2: and this group you know that got along together, and
• 54:54
  Speaker 2: of course being car enthusiasts too, so there was that
• 54:57
  Speaker 2: as well.
• 54:57
  Speaker 3: Oh yeah, I like.
• 54:59
  Speaker 1: The point I like to sort of point this out too,
• 55:01
  Speaker 1: is that I mean I knew that Ed listened to
• 55:05
  Speaker 1: Wired a lot like that record Coular, because I think
• 55:10
  Speaker 1: also like Jeff was that was the record where Jeff
• 55:13
  Speaker 1: really started embracing the strat, using the whammy bar and
• 55:16
  Speaker 1: all sorts of really super interesting ways. And and I
• 55:21
  Speaker 1: just ask you to look at the cover of Wired
• 55:24
  Speaker 1: and how Jeff Beck's hair is and how his haircut
• 55:27
  Speaker 1: and compare that to the first Van Halen record.
• 55:30
  Speaker 3: Oh yeah, wow, I didn't even think about that. Yeah,
• 55:35
  Speaker 3: that's cool.
• 55:36
  Speaker 2: End the timing of it all, because you know, Ed
• 55:38
  Speaker 2: was pretty much playing guitars without whammy bars, you know,
• 55:42
  Speaker 2: up until the mid seventies, and all of a sudden,
• 55:43
  Speaker 2: Beck comes along and wired and you know, even some
• 55:46
  Speaker 2: of a blow by blow and you know what said he
• 55:48
  Speaker 2: got a strat, you know, seventy six.
• 55:53
  Speaker 3: Yeah, so well, I mean I think you've answered the question.
• 55:58
  Speaker 3: I mean, yeah, he was. He could be demanding, stubborn,
• 56:01
  Speaker 3: frustrating to work with, but time and time again, the
• 56:04
  Speaker 3: best musicians in the world wanted to work with him continually.
• 56:09
  Speaker 1: Yeah, I mean, really, look at you know, in some
• 56:12
  Speaker 1: ways people want to downplay Jeff but the guy won
• 56:15
  Speaker 1: eight Grammys, he was inducted into the Rock and Roll
• 56:18
  Speaker 1: Hall of Fame twice, and not only that, but you know,
• 56:24
  Speaker 1: during the course of a fifty or sixty you know,
• 56:28
  Speaker 1: year career, he was still playing large venues and pretty
• 56:33
  Speaker 1: much entertaining people with just a guitar in his hand.
• 56:36
  Speaker 1: I mean, so it's funny. It's almost hard to square
• 56:41
  Speaker 1: the fact that he didn't have big hit records and
• 56:44
  Speaker 1: wasn't like this big songwriter, but there was no point
• 56:48
  Speaker 1: in his career that he couldn't go into a large
• 56:51
  Speaker 1: hall and fill it with people who just wanted to
• 56:53
  Speaker 1: hear him play the guitar.
• 56:55
  Speaker 2: And imagine this. You know, he goes to Japan in
• 56:57
  Speaker 2: the late seventies with Stanley Clark and it's like Beatlemania. Yeah,
• 57:00
  Speaker 2: imagine that. Imagine Beatlemania for a fusion band. You know,
• 57:04
  Speaker 2: imagine that. How crazy that? And to this day the
• 57:07
  Speaker 2: Japanese are crazy about Jeff Beck.
• 57:09
  Speaker 3: Moving into the nineties bit more, the press often portrayed
• 57:13
  Speaker 3: him in the eighties and again in the nineties as
• 57:15
  Speaker 3: somebody basic preferred tinkering with hot rods to making music.
• 57:20
  Speaker 3: But your research paints a very different picture. You're constantly recording,
• 57:25
  Speaker 3: collaborating and experimenting. The Roger Waters project, there's another one,
• 57:31
  Speaker 3: some movie projects, Andy tour with Carlos Santana. Why do
• 57:34
  Speaker 3: you think that myth became so much bigger than reality?
• 57:38
  Speaker 3: I mean, he was busier than ever in the nineties.
• 57:40
  Speaker 2: Well, the thing was is that he didn't have big
• 57:43
  Speaker 2: projects to promote. Now, that was kind of part of
• 57:45
  Speaker 2: our big task in his book was to fill those spaces,
• 57:48
  Speaker 2: because you know, Jeff would do interviews, but he would
• 57:50
  Speaker 2: do them when usually he had an album out, and
• 57:52
  Speaker 2: his albums went from like three years to five years
• 57:55
  Speaker 2: to ten year spans. You had these big voids in
• 57:58
  Speaker 2: between Now I was really you know after that interview
• 58:01
  Speaker 2: did within ninety two, because I talked with him a lot,
• 58:03
  Speaker 2: you know, and I would find out about something and
• 58:05
  Speaker 2: be an item in Guitar Player or a Guitar World,
• 58:07
  Speaker 2: and I would just call him up and talk with
• 58:09
  Speaker 2: him for five ten maybe even a half hour about
• 58:11
  Speaker 2: some projects. So I had little bits and pieces of stuff,
• 58:15
  Speaker 2: but you know, you find out about these things like, well,
• 58:16
  Speaker 2: what really did happen. I was really lucky actually in
• 58:19
  Speaker 2: the Roger Waters thing because I had talked with him,
• 58:22
  Speaker 2: you know, because I had that three hours with him.
• 58:23
  Speaker 2: That's one of the things we talked about because he
• 58:25
  Speaker 2: didn't really do any interviews about that particular album, and
• 58:28
  Speaker 2: yet it's important part of what he did. But yeah,
• 58:33
  Speaker 2: it's kind of a lazy journalistic thing to just say like, well,
• 58:36
  Speaker 2: we don't know what Jeff did. So he built hot rods,
• 58:39
  Speaker 2: you know, and that was kind of like it became
• 58:41
  Speaker 2: a cliche to say, like, oh, you know, in between
• 58:43
  Speaker 2: this time, he did no albums and he just worked
• 58:45
  Speaker 2: on this hot Rods. Well, he always had guitars around,
• 58:48
  Speaker 2: and if he talked with his domestic partners, they said
• 58:51
  Speaker 2: there was guitars in every room, you know, and he
• 58:54
  Speaker 2: would sit down to eat dinner and he'd have a
• 58:56
  Speaker 2: guitar in his lap, and he'd sit down to watch television.
• 59:00
  Speaker 2: He'd have a guitar in his lap and he'd be
• 59:01
  Speaker 2: playing along and like creating soundtracks to the television show,
• 59:05
  Speaker 2: you know. And he'd come out from the garage with
• 59:07
  Speaker 2: his hands all covered in oil and pick up the
• 59:09
  Speaker 2: guitar and start playing. And he had projects, constant projects.
• 59:13
  Speaker 2: And the fascinating thing about Jeff is not so much
• 59:16
  Speaker 2: what he put out, but what he didn't put out,
• 59:19
  Speaker 2: what didn't meet his muster. And talking about that period
• 59:22
  Speaker 2: in the nineties, yeah, you had that.
• 59:23
  Speaker 1: You know.
• 59:24
  Speaker 2: I got to watch him work on the Muddy Water
• 59:26
  Speaker 2: Blues thing with Paul Rodgers, not with Paul Rodgers. He
• 59:28
  Speaker 2: was he'd already done the tracks and Jeff was just
• 59:30
  Speaker 2: laying down guitar, but he was working on that record,
• 59:33
  Speaker 2: and you look at it and it's like, gosh, he
• 59:34
  Speaker 2: always had like he had all these sessions that he did.
• 59:38
  Speaker 2: Then he'd you know, he had the record with Lucather
• 59:41
  Speaker 2: that he was working on in the later part of
• 59:43
  Speaker 2: the nineties, and then he decides to ditch all that
• 59:46
  Speaker 2: in go fusion, but there was always something going on.
• 59:49
  Speaker 2: And there's an album was Stuart Copeland that he was
• 59:51
  Speaker 2: doing in that period too?
• 59:53
  Speaker 3: Really?
• 59:53
  Speaker 2: Yeah, it goes on and on and on.
• 59:55
  Speaker 3: I mean I loved Stuart Cook. What did this ever
• 59:58
  Speaker 3: come out?
• 59:59
  Speaker 2: No? No, Unfortunately it never will. And that's the bad
• 1:00:02
  Speaker 2: thing about it, is like if Jeff didn't put it
• 1:00:04
  Speaker 2: out in the first place, he didn't want it out,
• 1:00:06
  Speaker 2: and that's kind of in his will that this stuff
• 1:00:08
  Speaker 2: shall not be released. And unfortunately mother Nature had a
• 1:00:11
  Speaker 2: bit of a role in that, and there was a
• 1:00:13
  Speaker 2: flood at his house and a bunch of those tapes
• 1:00:15
  Speaker 2: got destroyed.
• 1:00:17
  Speaker 3: What year was the Stuart Copeland project.
• 1:00:19
  Speaker 2: That was about? That was about ninety five ninety six
• 1:00:23
  Speaker 2: if I recall properly, Wow, because then right after the
• 1:00:26
  Speaker 2: Santana you know tour.
• 1:00:28
  Speaker 3: Okay, and then Stuart Coplan did the oyster Head.
• 1:00:31
  Speaker 2: With Yeah, with a little bit later oyster Head with
• 1:00:34
  Speaker 2: I remember because I saw oyster Head that was like
• 1:00:36
  Speaker 2: that was after nine to eleven, I remember, Okay, okay,
• 1:00:39
  Speaker 2: right around that period.
• 1:00:40
  Speaker 1: Wow, I think about it, Eric, I mean, look at
• 1:00:42
  Speaker 1: we have already talked about a record that he did
• 1:00:45
  Speaker 1: it at Motown studios that doesn't get released. You know,
• 1:00:49
  Speaker 1: we talk about another record with Beck Boger and a
• 1:00:52
  Speaker 1: piece that doesn't get released.
• 1:00:54
  Speaker 2: A slight Stone project that gets killed, you.
• 1:00:56
  Speaker 1: Know, Livestone project that gets killed, a record with Rod
• 1:01:00
  Speaker 1: Stewart that gets killed, a record with Steve you know. So,
• 1:01:05
  Speaker 1: but you know, he made sure that the airwaves or
• 1:01:11
  Speaker 1: his reputation or however you want to look at it,
• 1:01:14
  Speaker 1: did not get filled with garbage, you know, because he
• 1:01:18
  Speaker 1: could have put out a bunch of mediocre records and
• 1:01:21
  Speaker 1: we'd be maybe looking at him the same way that
• 1:01:23
  Speaker 1: we look at somebody like, you know, liketing Vay Momstein,
• 1:01:28
  Speaker 1: who who does these sort of groundbreaking records but then
• 1:01:32
  Speaker 1: just puts out a bunch of like who cares.
• 1:01:35
  Speaker 3: You know, dilutes the dilutes the legacy, salutes.
• 1:01:38
  Speaker 1: The legacy, you know. And Jeff just had an iron grip.
• 1:01:43
  Speaker 1: Even though he could have done anything and had the
• 1:01:46
  Speaker 1: rights to do anything under his record contract, he he
• 1:01:51
  Speaker 1: had this high, high, high standard and and luckily everything
• 1:01:56
  Speaker 1: that we hear has has a certain quality about it.
• 1:02:00
  Speaker 3: Yeah, so his estate has to respect that whatever his
• 1:02:03
  Speaker 3: wishes were, that they're not going to put that stuff out.
• 1:02:07
  Speaker 3: So do you think because and I loved I mentioned
• 1:02:10
  Speaker 3: you had a Coming two thousand. But then also I
• 1:02:12
  Speaker 3: remember the rock station here in Connecticut was playing what
• 1:02:16
  Speaker 3: Mama Said and it had that clip off It's a mad, mad,
• 1:02:20
  Speaker 3: mad world, and I just thought, this is so great,
• 1:02:23
  Speaker 3: this is so cool. But I remember thinking maybe the
• 1:02:25
  Speaker 3: older generation of Beck fans might be turned off by
• 1:02:28
  Speaker 3: a what his fan base? Did they welcome that?
• 1:02:32
  Speaker 2: Yes? And no. I mean the first of all, it's
• 1:02:34
  Speaker 2: just got tons of Jeff Beck guitar playing on it, right,
• 1:02:37
  Speaker 2: you can't really deny that. And he always has these
• 1:02:39
  Speaker 2: nuggets on there. On that particular record, Angel Footsteps, you know,
• 1:02:44
  Speaker 2: that's a continuation of what he did with Where Were You,
• 1:02:47
  Speaker 2: you know, and just this amazing lyrical thing, you know,
• 1:02:50
  Speaker 2: and he still manages to put you know, a blues
• 1:02:52
  Speaker 2: song with the blues on there, you know, and he
• 1:02:56
  Speaker 2: just you know, and those records were kind of still
• 1:02:58
  Speaker 2: a mixed back, so he did have, you know, stuff
• 1:03:02
  Speaker 2: in that kind of modern electronica ish direction, but then
• 1:03:05
  Speaker 2: he also had some chestnuts in there for the old
• 1:03:07
  Speaker 2: fans too, So I think, you know, if you got
• 1:03:09
  Speaker 2: through the record, you would find a lot of stuff
• 1:03:11
  Speaker 2: that was really worth digging into You just had to
• 1:03:13
  Speaker 2: do the work, you know, you had to dig into it.
• 1:03:14
  Speaker 3: And his fans went along for the ride with him.
• 1:03:17
  Speaker 3: Then yeah, yeah, all right. Last question is is collaboration
• 1:03:20
  Speaker 3: with Johnny Depp, which surprised a lot of people. Brad,
• 1:03:23
  Speaker 3: you mentioned interviewing Johnny Depp near the very end of
• 1:03:26
  Speaker 3: the project. Was there anything that Johnny shared that maybe
• 1:03:28
  Speaker 3: give you a new perspective on Jeff.
• 1:03:30
  Speaker 1: Well, the thing that strikes me, I mean, this is
• 1:03:33
  Speaker 1: more of my perspective, and then we'll get around to
• 1:03:37
  Speaker 1: what Johnny had to say. But in some ways, you know,
• 1:03:42
  Speaker 1: it's a last record. It shouldn't have been his last record,
• 1:03:46
  Speaker 1: you know, eighteen with Johnny Depp, But in some ways
• 1:03:50
  Speaker 1: it ended up being kind of an interesting summation and
• 1:03:55
  Speaker 1: ended up kind of touching on different areas of Jeff's career.
• 1:04:01
  Speaker 1: I think it's a it's a it's sort of a
• 1:04:03
  Speaker 1: terrific overview. And the interesting thing about it to me
• 1:04:10
  Speaker 1: was the friendship that Jeff had with Johnny. And Jeff
• 1:04:19
  Speaker 1: was pretty much a loner. He didn't really build, you know,
• 1:04:23
  Speaker 1: close relationships with a lot of musicians. He was always
• 1:04:27
  Speaker 1: changing bands, and that's the one record that Jeff I
• 1:04:32
  Speaker 1: never heard him say anything negative about like he loved
• 1:04:37
  Speaker 1: that record, and I think it had to do with
• 1:04:40
  Speaker 1: his friendship and how easy the collaboration was with Johnny.
• 1:04:46
  Speaker 3: It's eighteen, yes, eighteen, I mean.
• 1:04:50
  Speaker 1: With Johnny from his perspective, it was more like Jeff
• 1:04:55
  Speaker 1: reaching out and giving him a helping hand. So so
• 1:04:58
  Speaker 1: Johnny was super great grateful. They didn't set out to
• 1:05:01
  Speaker 1: make a record. What happened was Johnny was sort of
• 1:05:07
  Speaker 1: in a bad place. He was going through divorce, there
• 1:05:12
  Speaker 1: was a lot of controversy in his life, and he
• 1:05:16
  Speaker 1: took refuge at Jeff's house and lived at Jeff's house
• 1:05:21
  Speaker 1: on an offer for a good six months. And the
• 1:05:24
  Speaker 1: one thing that people don't understand about Johnny is he
• 1:05:27
  Speaker 1: basically started out as a musician. He had bands in
• 1:05:30
  Speaker 1: Florida when he was a kid, and then in LA
• 1:05:32
  Speaker 1: and then his career took this other shift. So in
• 1:05:35
  Speaker 1: some ways, Johnny is a musician that does that acts
• 1:05:40
  Speaker 1: like in his own head. And I don't know, you know,
• 1:05:46
  Speaker 1: for whatever reason, those two gave each other a safe
• 1:05:50
  Speaker 1: place to create and they really really liked what they
• 1:05:53
  Speaker 1: did together. And Johnny was grateful that somebody of Jeff's
• 1:05:59
  Speaker 1: magnitude would work with him and accept him as an
• 1:06:04
  Speaker 1: equal as a musician, and this was, you know, profound
• 1:06:09
  Speaker 1: for him.
• 1:06:10
  Speaker 3: Yeah, I can imagine he must have been devastated when
• 1:06:13
  Speaker 3: he when when Jeff died, I mean, he was sudden.
• 1:06:15
  Speaker 1: The one thing that I got from my conversation with him,
• 1:06:18
  Speaker 1: which went on for a couple of hours, actually was
• 1:06:23
  Speaker 1: sort of what a cool, down to earth, unpretentious sort
• 1:06:27
  Speaker 1: of guy he was. But it's interesting when you look
• 1:06:30
  Speaker 1: at who Johnny Depp's friends are. They're the great eccentrics.
• 1:06:35
  Speaker 1: They're the great geniuses of our time. Like he was
• 1:06:38
  Speaker 1: great friends with Hunterrest, the great writer Hunter S. Thompson.
• 1:06:42
  Speaker 1: He was friends with Marlon Brando. I mean, who's friends
• 1:06:46
  Speaker 1: with Marlon? You know? So I think that there was
• 1:06:51
  Speaker 1: just he could relate to Jeff as an artist, Jeff
• 1:06:55
  Speaker 1: could relate to him as an artist, and they just created.
• 1:06:58
  Speaker 1: They just had a great creer of chemistry together. List
• 1:07:02
  Speaker 1: of what you think of the record, you.
• 1:07:04
  Speaker 3: Know, January tenth, twenty twenty three, he died suddenly, and
• 1:07:07
  Speaker 3: it felt like we were losing somebody who was still creating. Yeah, right,
• 1:07:10
  Speaker 3: I mean.
• 1:07:11
  Speaker 2: On tour he was just as good as ever, if
• 1:07:14
  Speaker 2: not better, you know, still reaching still hadn't lost a step,
• 1:07:18
  Speaker 2: you know, it wasn't stumbling at all, just just phenomenal,
• 1:07:22
  Speaker 2: you know, And do you think that you know, he
• 1:07:24
  Speaker 2: was almost eighty years old and he was just you know,
• 1:07:27
  Speaker 2: and I've seen guys like Les Paul when they were
• 1:07:30
  Speaker 2: eighty years old, i mean less and unfortunately had ourthritis
• 1:07:32
  Speaker 2: and stuff, so that kind of held him back. But
• 1:07:34
  Speaker 2: you see some of these guys they get up in
• 1:07:35
  Speaker 2: their sixties and seventies and stuff and they start losing it,
• 1:07:38
  Speaker 2: you know, but Jeff never lost it at all. And
• 1:07:40
  Speaker 2: that's it was shocking to me. I mean, you know,
• 1:07:42
  Speaker 2: as we we kind of knew and we discovered it
• 1:07:44
  Speaker 2: more as we dug into this project of you know,
• 1:07:46
  Speaker 2: he had health problems. You know, he had numerous bouts
• 1:07:50
  Speaker 2: of extreme sickness, you know, an illness and periods, and
• 1:07:54
  Speaker 2: that was actually probably what held him up more than
• 1:07:56
  Speaker 2: working on hot rods. Was actually periods where he was
• 1:07:57
  Speaker 2: waylaid by an injury or an illness of some sort.
• 1:08:01
  Speaker 2: So it wasn't entirely a shock, but still he was
• 1:08:04
  Speaker 2: so vital and youthful, which is I think why the
• 1:08:08
  Speaker 2: album was called eighteen because you know, Johnny, they said
• 1:08:11
  Speaker 2: they felt like they were eighteen years old when they
• 1:08:13
  Speaker 2: were hanging out with each other.
• 1:08:14
  Speaker 3: He was very youthful.
• 1:08:17
  Speaker 1: I had just hung out with with Jeff and Billy
• 1:08:20
  Speaker 1: Gibbons maybe a year before he died, and there was
• 1:08:27
  Speaker 1: no sense of any kind of railt, you know, and Jeff,
• 1:08:33
  Speaker 1: so yeah, it was surprising.
• 1:08:37
  Speaker 3: The book Down Rock podcast is part of the Boneless
• 1:08:39
  Speaker 3: Podcasting Network. If you're a fan of classic rock and
• 1:08:42
  Speaker 3: classic film like I am, go to Boneless dot lovable
• 1:08:46
  Speaker 3: dot app to find over twenty great shows there that's
• 1:08:49
  Speaker 3: Boneless Downlovable dot app, or just go to bookdown rock
• 1:08:53
  Speaker 3: dot com the Boneless podcasting network. It is what you
• 1:08:56
  Speaker 3: want to be Listen with confidence. Blow by blow The
• 1:09:01
  Speaker 3: Jeff Backstory out July fourteenth, which means it's out tomorrow.
• 1:09:05
  Speaker 3: We're recording this on the thirteenth, so by the time
• 1:09:08
  Speaker 3: this episode's out, the book will be out. Find out
• 1:09:10
  Speaker 3: wherever books are sold and look forward at the nearest bookstore.
• 1:09:14
  Speaker 3: Look for your nearest independent bookstore at bookedon rock dot com.
• 1:09:17
  Speaker 3: And guys, where can people find you online? Chris, I know,
• 1:09:21
  Speaker 3: I'm I'm in your Instagram page and brad your Facebook page.
• 1:09:27
  Speaker 1: Well, I've got a cool substack too for people that
• 1:09:30
  Speaker 1: want to keep up called guitar Land. You know, I'm
• 1:09:34
  Speaker 1: basically putting stuff up there every week.
• 1:09:38
  Speaker 2: Yeah, and Bradson inspiring me. I just I've been reading
• 1:09:40
  Speaker 2: some substacks about Eddie van Halen stuff and it's like,
• 1:09:42
  Speaker 2: you know, I've wanted to do an Eddie van Halen
• 1:09:44
  Speaker 2: MythBuster series because there are so many myths that perpetuate
• 1:09:49
  Speaker 2: on and onto this day and people still can't get
• 1:09:51
  Speaker 2: over the first album. And it's like, people, it's a
• 1:09:53
  Speaker 2: lot more simple than you think, you know. So maybe
• 1:09:55
  Speaker 2: it's my calling to do that. Maybe That's what I'll
• 1:09:57
  Speaker 2: do with my golden years.
• 1:09:59
  Speaker 3: Yeah, Chris, you are the go to man for making
• 1:10:01
  Speaker 3: sure that the facts are straight. You've got to be
• 1:10:04
  Speaker 3: excited about the project with Alex, and you know it's
• 1:10:09
  Speaker 3: it's all instrumentals, I believe. I don't think they're going
• 1:10:11
  Speaker 3: to find a vocal.
• 1:10:11
  Speaker 2: I am pensively excited about it. You know, I love Alex,
• 1:10:16
  Speaker 2: but I don't know if he's got the right perspective
• 1:10:19
  Speaker 2: on this thing. Who has the right perspective other than Eddie?
• 1:10:21
  Speaker 2: You know, and he's not around to do that anymore.
• 1:10:24
  Speaker 2: But you know, from I don't want to go on.
• 1:10:26
  Speaker 2: We can go on about this, but just you know,
• 1:10:27
  Speaker 2: from what I know, it's just the leftover tracks from
• 1:10:29
  Speaker 2: a different kind of truth. And you know, Edie told
• 1:10:31
  Speaker 2: me that they had about, you know, sixteen things that
• 1:10:33
  Speaker 2: were unfinished. You know, they were just basically instrumental tracks
• 1:10:36
  Speaker 2: as really you know, they were waiting on Roth to
• 1:10:38
  Speaker 2: come up with ideas, which is often a good thing
• 1:10:41
  Speaker 2: with the band. But yeah, I'm interested. I will definitely
• 1:10:44
  Speaker 2: give it a listen, and I wish, I'm hoping it's
• 1:10:46
  Speaker 2: going to be great.
• 1:10:48
  Speaker 3: Yeah. Well, congratulations on this book. Jeff Beck deserves a
• 1:10:52
  Speaker 3: book like this, and nobody better to do it than you, guys,
• 1:10:55
  Speaker 3: So thank you for coming on and thank you for
• 1:10:58
  Speaker 3: a phenomenal book.
• 1:10:59
  Speaker 2: Thanks Eric, This is always a blast.
• 1:11:01
  Speaker 1: Care appreciate it.
• 1:11:07
  Speaker 2: M M, that's it.
• 1:11:11
  Speaker 3: It's in the books.
• 1:11:13
  Speaker 1: H