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'.
Smokestack Lightning
The Yardbirds Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Don't you hear me callin'?
Don't you hear me callin' your name?
Don't you hear me callin' you?
Don't you hear me callin' you?
Tell me where did you go last night?
Gotta know who you been with.
Tell me where did you go last night? Tell me where did you go?
Tell me where did you go?
Fare you well, goodbye, pretty baby
Never see you no more, no more
Fare you well, goodbye, pretty baby, goodby
Fare you well, goodbye
Yeah, smokestack lightning
Shining like gold
Don't you hear me call out you?
Don't you hear me callin' you now?
Don't you hear me callin' you now?
Ah, stop your train, yeah
Let me go for a ride with you
Let me go for a ride, oh stop your train now
Oh, stop your train now
Fare you well, goodbye, pretty baby
Tell me where did you go?
Why did you leave me, oh?
Oh, fare you well, goodbye, goodbye
The Yardbirds' "Smokestack Lightning" is a blues song that tells a story of a man who lost his lover to an unknown destination. The song is characterized by a powerful beat and wailing guitar riffs that reflect the man's pain and longing for his lost love. The lyrics are full of emotion, and the repetition of the phrase "don't you hear me calling" reinforces the man's desperation and desire to be reunited with his lover.
The opening line "Smokestack Lightning" refers to the sight of steam bursting out of a train engine's smokestack. The image of a train is significant in blues music as it symbolizes the idea of moving on and leaving one's troubles behind. In the context of the song, the train represents the man's hope of finding his lover and being able to leave his pain behind. The phrase "shining like gold" also adds to this idea, as it suggests that the train represents a brighter future for the man.
The chorus "fare you well, goodbye, pretty baby" suggests a final goodbye to the lost lover, and the repetition of "tell me where did you go" emphasizes the man's confusion and desperation. The final plea to "stop your train" demonstrates the man's realization that his lover has moved on, and he cannot chase after her anymore. Overall, "Smokestack Lightning" is a powerful blues song that captures the raw emotion of a man experiencing heartbreak and loss.
Line by Line Meaning
Yeah, smokestack lightning
The singer is observing the phenomenon of 'smokestack lightning' and is excited about it.
Don't you hear me callin'?
The singer is trying to get someone's attention and is calling out to them.
Don't you hear me callin' your name?
The singer is specifically trying to get the attention of the person he is addressing.
Don't you hear me callin' you?
The artist is still calling out to the person and asking them if they can hear him.
Don't you hear me callin' you?
Repetition of the previous line to emphasize the artist's desire for a response.
Tell me where did you go last night?
The singer is curious about the whereabouts of the person he is addressing and wants to know who they were with.
Gotta know who you been with.
The singer is assertive in his questioning, and insists on getting an answer.
Tell me where did you go last night?
The artist repeats the question, emphasizing his curiosity and concern.
Tell me where did you go?
Repetition of the previous line, reiterating the artist's desire for an answer.
Tell me where did you go?
Another repetition of the question, stressing its importance to the artist.
Fare you well, goodbye, pretty baby
The singer is saying goodbye to the person he is addressing.
Never see you no more, no more
The artist does not expect to see the person again, and says goodbye for good.
Fare you well, goodbye, pretty baby, goodbye
A repeat of the previous lines, emphasizing the finality of the goodbye.
Fare you well, goodbye
Repetition of the previous line, again stressing the finality of the goodbye.
Yeah, smokestack lightning
The singer sees the phenomenon of smokestack lightning again and is still excited about it.
Shining like gold
The artist is describing how the smokestack lightning looks to him.
Don't you hear me call out you?
The artist is still trying to get someone's attention and is calling out to them again.
Don't you hear me callin' you now?
Repetition of the previous line, emphasizing the singer's desire for a response.
Don't you hear me callin' you now?
Another repetition of the question, once again stressing the singer's desire for a response.
Ah, stop your train, yeah
The artist is making a request for the person he is addressing to stop what they are doing and pay attention to him.
Let me go for a ride with you
The artist is offering to accompany the person he is addressing, possibly as a way to get their attention.
Let me go for a ride, oh stop your train now
Repetition of the previous line, emphasizing the artist's desire to accompany the person he is addressing.
Oh, stop your train now
The singer is pleading with the person to stop what they are doing and pay attention to him.
Fare you well, goodbye, pretty baby
The artist says goodbye to the person he is addressing once again.
Tell me where did you go?
The singer repeats the question from earlier, still concerned about the person's whereabouts.
Why did you leave me, oh?
The singer is asking why the person he is addressing left him and is looking for an explanation.
Oh, fare you well, goodbye, goodbye
A repeat of the previous lines, emphasizing the finality of the goodbye.
Lyrics © TuneCore Inc., Word Collections Publishing
Written by: Chester Burnett
Lyrics Licensed & Provided by LyricFind
@eugenecotes4987
Yeah, smokestack lightning
Don't you hear me callin'?
Don't you hear me callin'? Well, well
Tell me where did you go last night?
I gotta know who you been with
Tell me where did you go last night? Well, well
You gotta stop your train
Let me go for a ride, pretty baby, you know
Stop your train, I gotta ride with you
Gotta ride with you
I gotta ride with you
Fare you well, goodbye, pretty baby
Fare you well, goodbye, goodbye
I never see nobody little baby, goodbye
Goodbye, goodbye
Goodbye, goodbye
Goodbye, goodbye
Yeah, smokestack lightning
Shining like gold
Don't you hear me callin'? Well, well
You gotta stop your train
Let me go for a ride, gotta ride with you
Stop your train and ride with you, now
@snakebait5118
July of 64, I was 13 years old and I remember this song like it was yesterday. These were dark days for me being a victim in a dysfunctional family. It's all good. I'm 71 and have been happily married to my bride of 48 years who gave me two beautiful daughters who are successful in life!
@jasonpowell8832
I wasn’t born till 78 (also a good year in music) but I luckily got to listen and learn from my two uncles and moms records. I’d spend hours listening and attempting to play on my toy guitar.
@chrisnewport6242
Quality ! You got lucky my friend . I was born too late in 67 but so greatfull of the Mod revival in 79 . Still into the Mod scene today and its how i took interest and descovered the Yardbirds genious . Life was given to us to enjoy and these guys make it all happen never gathering cobwebs . 👌
@grokeffer6226
👍👍👍
@billhorstkamp98
God bless you and your wife ❤
@snakebait5118
@@billhorstkamp98 He certainly has, thank you!
@walterfechter8080
I'm forever grateful that the Blues swept over Britain like a sonic tsunami. So many artists caught that soul fever -- Eric Clapton, Jeff Beck, Alexis Korner, John Mayall, Peter Green, Jimmy Page, Rory Gallagher, Van Morrison, et al. Yardbirds were bruisin' -- then as now.
@williamthompson9261
Smokestack Lightning made me wanna b a harp player over50 years ago! Playing harp is fantastic for your heart! It’s never too late! BT
@ML-rg9dn
One of my favourite all-time LPs Five Live Yardbirds. Smokestack Lightening. I was then switched onto Rhythm and Blues. Then John Mayall and The Blues breakers etc etc
Saw Yardbirds at The Dungeon Club, Nottingham Feb 1965, I was 16. I stood right in front of Eric Clapton, I was in heaven!
@MissMyPonytail
Except for The Dungeon Club (I lived in Seattle), we could be clones!