By now, everyone knows the Yardbirds legend, if not their music; the band graduated three of the great Ph.D.s of rock guitar: Eric Clapton, Jeff Beck and Jimmy Page. They created hard rock out of standard twelve-bar blues, doubling the tempos and whacking the amps up to ten. On the British club scene, the Yardbirds, the Animals, and the Rolling Stones ruled the stages. The Yardbirds expanded the range of the electric guitar, experimenting with feedback, sustain, and fuzztone. They also coined and popularized the rave-up, a kind of free-for-all where you jam long and hard, not as soloists, but in a tandem, until you reach an epiphany about 10 or 20 or 30 minutes later, a shuddering climax of decibels and pure energy, and then—back into the song for one more boom-boom chorus. The Yardbirds were the bridge between the tributary white R&B of early-sixties London and the pastures of fuzz-toned psychedelia and power-chorded heavy metal plowed much later in the decade and throughout the seventies. Yes, the Yardbirds laid the groundwork for Rock Guitar As We Know It. — from Parke Puterbaugh liner notes to Rhino’s Greatest Hits, Vol. 1, 1964-1966 We really didn’t know what we were doing in those days. We were just trying everything and thumbing our noses, not knowing that it would become a blueprint for a lot of stuff. — Yardbirds co-founder Chris Dreja We won’t attempt to write a book on the Yardbirds here; that’s already been done — three times (see the print and online bibliography at the end of this bio for further reading). We’ll simply reiterate that the Yardbirds, perhaps more than any other group, brought guitar pyrotechnics to rock & roll in the 1960s. By introducing Clapton, Beck and Page to the world, and giving them plenty of space to create, the band set the template not only for Cream, the Jeff Beck Group and Led Zeppelin (whose original moniker was the New Yardbirds), but for virtually every rock group featuring distortion, feedback and in-your-face electric-guitar virtuosity.

 

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