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'.
Putty
The Yardbirds Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You say stop and I'll stop,
You say come and I come,
Oh anything you say I'm like a hunk of clay.
I'm just like putty,
Putty in your hands ah-ah,
Well ah-ah.
With one wave of your hand,
I'm your slave to command,
But I'm glad it's OK,
Oh anything you say I'm like a hunk of clay.
I'm just like putty,
Putty in your hands ah-ah,
Well ah-ah.
You can stretch me until I'm ten feet tall,
Or cut me down to the size of a rubber ball.
You can use me, abuse me, but never remove me,
Without your love I ain't nothing at all.
Oh well ah.
They say I'm a fool,
'Cause you treat me so cruel,
But I'll go on this way.
Oh anything you say I'm like a hunk of clay.
I'm just like putty,
Putty in your hands ah-ah,
Oh ah-ah.
You can stretch me until I'm ten feet tall,
Or cut me down to the size of a rubber ball.
You can use me, abuse me, but never refuse me,
Without your love I ain't nothing at all.
They say I'm a fool,
'Cause you treat me so cruel,
But I'll go on this way,
Oh anything you say I'm like a hunk of clay.
I'm just like putty,
Putty in your hands ah-ah,
Well ah-ah.
I'm just like putty,
Putty in your hands ah-ah,
Well ah-ah.
I'm just like putty,
Putty in your hands ah-ah,
Well ah-ah.
The Yardbirds’ song “Putty” is an ode to being in love and feeling completely under the spell of the one you adore. The lyrics suggest that the singer is willing to do anything for their beloved, and will obey their every command without hesitation. They compare themselves to a “hunk of clay” or “putty” in their lover’s hands, ready to be molded into whatever shape they desire.
The repetition of the phrase “I’m just like putty, putty in your hands” reinforces the idea that the singer is powerless in the face of their lover’s charm. However, they seem to be content with this arrangement, as they sing “But I’m glad it’s OK.” The lyrics also suggest that their love is all-encompassing, and without it, the singer would be nothing at all.
Overall, “Putty” is a catchy and playful love song that captures the feeling of being head over heels in love and willing to do anything for the object of one’s affection.
Line by Line Meaning
You say hop and I'll hop,
I will do whatever you tell me to do.
You say stop and I'll stop,
I will immediately cease any action upon your request.
You say come and I come,
I will arrive expeditiously when you summon me.
Oh anything you say I'm like a hunk of clay.
I am completely obedient to your every command without question or hesitation.
I'm just like putty,
I am malleable and take on whatever form, shape or direction you desire.
Putty in your hands ah-ah,
You have complete control over me and I have no other purpose or will than to serve you.
With one wave of your hand,
Your slightest gesture of instruction is enough for me to act.
I'm your slave to command,
I am completely subservient to you and your desires.
But I'm glad it's OK,
I am satisfied with being completely under your control and at your beck and call.
You can stretch me until I'm ten feet tall,
You have the ability to enhance my abilities or make me more significant than I otherwise could be.
Or cut me down to the size of a rubber ball.
You have the ability to minimize me or make me less than I am capable of being.
You can use me, abuse me, but never remove me,
You can exploit me for your gain or treat me poorly, but I will always be under your control and influence.
Without your love I ain't nothing at all.
Without your control and power over me, I would be incomplete and have no sense of purpose.
They say I'm a fool,
Others comment on my behavior as being unwise or foolish.
'Cause you treat me so cruel,
The treatment I receive from you is perceived by others as harsh and unfair.
But I'll go on this way.
Despite others' opinions, I will continue to be completely submissive to your will.
I'm just like putty,
Reiteration that I am completely under your control and have no identity other than that which you give me.
Putty in your hands ah-ah,
Reminder that you have complete mastery over me and I will do whatever you want.
Well ah-ah.
Vocalization of my compliance and surrender to your authority.
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Eddie Snyder, John Patton, Kay Rogers
Lyrics Licensed & Provided by LyricFind
@danieltrammell6464
One of my favorite British Invasion Bands!!!!!
@Pooknottin
Can't remember how I got into them back in my teens, but I'll never forget them. Thanks for posting this.
@beverlyledbetter4906
Love this song. These guys were so good!
@kinkybeatle
Simply great !!!!!!!!
@mathstar4176
British Invasion man !!😆🌎☮️
@benjgoroza5828
it's every once in a while when i feel like it, stay dizzy 🌴
@Karpie44
🎶🎵 I'm Just Like Puttyyyyy A Putty In Your Hands Uh-Huh. 🎶🎵
@mollypack4677
thanks Tristan for bringing me here
@jbawn
It's hard to imagine that just 18 months later Clapton got so good he made some of the best playing on a blues record with John Mayall and a couple years after that was blowing everyone away with his versions of Steppin Out and Crossroads in Cream. He got so bloody good from after he left Yardbirds onwards. Then of course when he was on the hard drugs he changed to fender and recorded his epic solo album as well as Dominies Layla album. What an amazing 5 years of learning /playing he had then
@manuelmunoz7267
Temazo !!!!!!!