Originally a blues-based band noted for their signature "rave-up" instrumental breaks, the Yardbirds broadened their range into pop, pioneering psychedelic rock and early hard rock; and contributed to many electric guitar innovations of the mid-1960s. Some rock critics and historians also cite their influence on the later punk rock, progressive rock and heavy metal trends. Following the band's split in 1968, Relf and McCarty formed the acoustic-duo Together, and then later Renaissance, a progressive rock group memorable for being heavily influenced by medieval instruments and sound, and guitarist Jimmy Page formed Led Zeppelin - the latter of which was initially intended as a direct successor to the Yardbirds. Dreja was first invited to play guitar in the new group, then known as "The New Yardbirds", however he turned it down, opting to become a photographer instead. He captured the back cover of Led Zeppelin's first album.
The band formed in the south-west London suburbs in 1963. Relf and Samwell-Smith were originally in a band named the Metropolitan Blues Quartet. After being joined by Dreja, McCarty and Top Topham, they performed at Kingston Art School in late May 1963 as a backup band for Cyril Davies. Following a couple of gigs in September 1963 as the Blue-Sounds, they changed their name to the Yardbirds. McCarty claims that Relf was the first to use the name; he may have got it from Jack Kerouac's novel On the Road, where it referred to rail yard hobos. He adds that Topham identified it as a nickname for jazz saxophonist Charlie "Yardbird" Parker.
The quintet achieved notice on the burgeoning British rhythm and blues scene when they took over as the house band at the Crawdaddy Club in Richmond, succeeding the Rolling Stones. Their repertoire drew from the Chicago blues of Howlin' Wolf, Muddy Waters, Bo Diddley, Sonny Boy Williamson II and Elmore James, including "Smokestack Lightning", "Good Morning Little School Girl", "Boom Boom", "I Wish You Would", "Rollin' and Tumblin'", "Got Love if You Want It" and "I'm a Man".
Original lead guitarist Topham left and was replaced by Eric Clapton in October 1963. Crawdaddy Club impresario Giorgio Gomelsky became the Yardbirds manager and first record producer. Under Gomelsky's guidance the Yardbirds toured Britain as the back-up band for blues legend Sonny Boy Williamson II in December 1963 and early 1964, recording live tracks on 8 December and other dates. The recordings would be released two years later during the height of the Yardbirds popularity on the album Sonny Boy Williamson and the Yardbirds.
After the tours with Williamson, the Yardbirds signed to EMI's Columbia label in February 1964, and recorded more live tracks on 20 March at the legendary Marquee Club in London. The resulting album of mostly American blues and R&B covers, Five Live Yardbirds, was released by Columbia nine months later, and it failed to enter the UK Albums Chart. Over time, Five Live gained stature as one of the few high-quality live recordings of the era and as a historical document of both the British rock and roll boom of the 1960s and Clapton's time in the band.
The band was inducted into the Rock and Roll Hall of Fame in 1992. They were included at number 89 in Rolling Stone's list of the "100 Greatest Artists of All Time" and ranked number 37 on VH1's 100 Greatest Artists of Hard Rock.
The Yardbirds re-formed in the 1990s, featuring drummer Jim McCarty and rhythm guitarist Chris Dreja as the only original members. In 2003, the Yardbirds released the album "Birdland" featuring original personnel Jim McCarty and Chris Dreja, along with contributions from Jeff Beck, and John Idan replacing Relf on lead vocals.
Dreja left the band in 2012, leaving McCarty as the sole original member of the band in the present lineup.
Along with John Mayall's Bluesbreakers, The Yardbirds were part of the British blues scene of the 1960s. As the blues rock genre developed, some acts like Chicken Shack were playing a louder and more aggressive style, while the Yardbirds emphasized instrumental textures and extended instrumental improvisations. They covered blues classics like Howlin' Wolf's Smokestack Lightning (1956) and Bo Diddley's I'm a Man (1955) which had a repetitive structure where instrumental solos were brief breaks between repetition of verses. The Yardbirds often extended these instrumental sections into "heavy jams", known as 'rave-ups'.
Honey In Your Hips
The Yardbirds Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
There ain't no stopping for an hour more.
I go rocking up and down and around and round.
I go reeling to the beat of that crazy sound.
I can't stop, I want to kiss your pretty lips,
'Cause I know, pretty babe, you got honey in your hips.
I can't stop my feet and I can't stop my hands
When I hear the sound of a rock 'n' roll band.
Gotta rock, gotta roll, gonna jump and shout;
Nobody better come and turn me out.
I'm staying all night till I get my kicks,
'Cause you know, pretty babe, you got honey in your hips.
I want you and you want me.
We're gonna dance all night till we both feel free.
We'll shake and we'll shimmy right across the floor.
When it gets late, we'll dance out the door.
You better get ready with your pretty lips,
'Cause you know, pretty babe, you got honey in your hips.
The Yardbirds' song "Honey In Your Hips" is a vivid depiction of a man's experience on the dance floor. He is unable to resist the temptation of his partner and is driven by the beat of the music. The singer describes his movements as he rocks up and down, reeling to the beat of the sound. He is fully immersed in the moment, unable to stop himself from dancing and moving to the band's music.
The singer is clearly infatuated by his dance partner, whom he describes as having 'honey in her hips.' He cannot stop himself from wanting to kiss her, completely consumed by her physical allure. He is driven by his desire to be with her, fully aware that he is in the throes of a passionate dance floor experience. He is willing to stay all night until he gets his kicks, thereby emphasizing his intense passion towards his dance partner.
Overall, "Honey In Your Hips" is a classic rock and roll tune that depicts the ecstasy that comes with the dance floor experience. The lyrics illustrate the power of music, physical attraction, and the desire to let loose and be free.
Line by Line Meaning
When I get out on the dancing floor,
As soon as I step onto the dance floor,
There ain't no stopping for an hour more.
There is no stopping my constant movement for at least an hour.
I go rocking up and down and around and round.
I sway and move my body in every direction to the beat.
I go reeling to the beat of that crazy sound.
I am completely absorbed and lost in the wild rhythm of the music.
I can't stop, I want to kiss your pretty lips,
I am so overtaken by desire and passion that I cannot resist the urge to kiss your alluring lips.
'Cause I know, pretty babe, you got honey in your hips.
I am convinced that you possess an irresistible sweetness and sensuality in your curves and movements.
I can't stop my feet and I can't stop my hands
I am so caught up in the music that I cannot contain my bodily movements and actions.
When I hear the sound of a rock 'n' roll band.
The moment I am exposed to the electric and lively energy of a rock and roll band.
Gotta rock, gotta roll, gonna jump and shout;
I feel an urge to rock, to roll, to jump and shout with wild abandon.
Nobody better come and turn me out.
No one should dare interrupt or hinder my ecstatic expression of my desires and emotions.
I'm staying all night till I get my kicks,
I am willing to stay up all night until I satisfy my craving and seek pleasure to the fullest.
'Cause you know, pretty babe, you got honey in your hips.
Because I am absolutely convinced that your curves and movements carry an irresistible and tempting sweetness and sensuality.
I want you and you want me.
It is clear that both of us are desiring and longing for each other.
We're gonna dance all night till we both feel free.
We will dance without inhibition all night long until we experience complete liberation and freedom.
We'll shake and we'll shimmy right across the floor.
We will move and groove with lively and vibrant movements all across the dance floor.
When it gets late, we'll dance out the door.
We will keep dancing even as the night wears on, until we dance our way out the door.
You better get ready with your pretty lips,
You should prepare yourself for what's to come, with those tempting and enticing lips of yours.
'Cause you know, pretty babe, you got honey in your hips.
Because I am certain that you possess an enchanting and irresistible sweetness and sensuality in the curves and movements of your body.
Lyrics © Sony/ATV Music Publishing LLC
Written by: KEITH RELF
Lyrics Licensed & Provided by LyricFind
@redd5674
It amazing how this band can play anything and jam. Wither it was Clapton or beck on guitar all these stuff jams. It really nice to hear were guitarists like eric clapton started out.
@vauxhall908
we need this kind of music today i'm trying to bring it back
@raufsahin334
I luv this song very much tq
@margaretoshea82
Absolutely fantastic;!!!
@FransiQ
The Yardbirds + Beer = Love
@noblesiner
An 18 year old Clapton. Amazing.
@tpmbe
excellent
@gabrielfreyr
this music rocks
@dwaynewladyka577
Awesome!
@sfdog1369
Nice Thx!!