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'.
You're A Better Man Than I
The Yardbirds Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
By the way he wears his hair?
Can you read his mind
By the clothes that he wears?
Can you see a bad man
By the pattern on his tie?
Well then, mister, you're a better man than IYeah, mister, you're a better man than I
Oh, mister, you're a better man than I
Yeah, mister, you're a better man than I
Could you tell a wise man
By the way he speaks or spells?
Is this more important
Than the stories that he tells?
And call a man a fool
If for wealth he doesn't strive?
Well then, mister, you're a better man than I
Yeah, mister, you're a better man than I
Oh, mister, you're a better man than I
Yeah, mister, you're a better man than I
Can you condemn a man
If you're faith he doesn't hold?
Say the colour of his skin
Is the colour of his soul?
Could you say that men
For king and country all must die?
Well, mister, you're a better man than I
Yeah, mister, you're a better man than I
Oh, mister, you're a better man than I
Yeah, mister, you're a better man than I
The lyrics of The Yardbirds's song You're A Better Man Than I explore the idea of whether we can truly judge a person based on external factors such as appearance or beliefs. The opening verse asks whether one can judge a man by his hairstyle, clothing, or tie. The second verse asks whether one can judge a wise man by his speech or spelling rather than the content of his stories. The final verse questions whether one can condemn a person based on their faith or skin color. The song concludes with the repeated refrain that the listener must be a better person than the singer if they can make such judgments.
The song can be interpreted as a critique of societal norms and prejudices that judge individuals based on superficial qualities. The lyrics also suggest that we should refrain from making assumptions about others and instead focus on understanding them as complex individuals with unique experiences and perspectives. The repeated refrain emphasizes that it takes a truly exceptional person to not make snap judgments and assumptions about others.
Line by Line Meaning
Can you judge a man
By the way he wears his hair?
Do external appearances accurately reflect a person's character?
Can you read his mind
By the clothes that he wears?
Can you know a person's thoughts and intentions merely based on their outfit?
Can you see a bad man
By the pattern on his tie?
Does a person's clothing indicate their moral qualities?
Well then, mister, you're a better man than I
Yeah, mister, you're a better man than I
Oh, mister, you're a better man than I
Yeah, mister, you're a better man than I
The artist is acknowledging that he is unable to accurately judge others based on superficial qualities and that anyone who can do so is a superior person.
Could you tell a wise man
By the way he speaks or spells?
Can a person's intelligence and wisdom be determined by their speech and spelling abilities?
Is this more important
Than the stories that he tells?
Is a person's ability to communicate more significant than the content of their message?
And call a man a fool
If for wealth he doesn't strive?
Is it fair to criticize someone for not valuing money above all else?
Can you condemn a man
If you're faith he doesn't hold?
Is it justifiable to judge someone for not sharing your religious beliefs?
Say the colour of his skin
Is the colour of his soul?
Does a person's race determine their inherent worth or morality?
Could you say that men
For king and country all must die?
Is it acceptable to demand that people sacrifice themselves for their nation's leaders or interests?
Lyrics © Sony/ATV Music Publishing LLC
Written by: Brian Hugg, Mike Hugg
Lyrics Licensed & Provided by LyricFind
@Flyingvrips
Can you judge a man by the way he wears his hair?
Can you read his mind by the clothes that he wears?
Can you see a bad man by the pattern on his tie?
Well then Mister, you're a better man than I
Yeah, Mister, you're a better man than I
Oh, Mister, you're a better man than I
Yeah, Mister, you're a better man than I
Could you tell a wise man by the way he speaks or spells?
Is this more important than the stories that he tells?
And call a man a fool if for wealth he doesn't strive?
Well then, Mister, you're a better man than I
Yeah, Mister, you're a better man than I
Oh, Mister, you're a better man than I
Yeah, Mister, you're a better man than I (solo)
Can you condemn a man - if your faith he doesn't hold?
Say the color of his skin - is the color of his soul?
Could you say that men - for king and country - all must die?
Well Mister - you're a better man than I
Yeah - Mister you're a better man than I
Oh, Mister, you're a better man than I
Yeah, Mister, you're a better man than I
@Weird_Old_Uncle_Kenny
This has got to be one of the heaviest guitar solos from 1965. Still gives me goosebumps!
@nyg1954
Certainly one of the first to make you sit up and take notice.
@normanmatthews8798
I learned to play bass, by ear, while listening to the Yardbirds and Animals.
@huskyjerk
Try listening to Sham 69 version. The guitar sizzles on that one, too.
@templetonparceley8645
.... Let alone the strong lyrics...... a masterpiece
@peteromalley9124
It blew me away the first time I heard it. I was just working it out from memory from lo these many years ago!
@68enxy
Maybe it's because I was a teenager during the 60's, but for me, this was the BEST music ever.
@eli10az
+68enxy Not because you were a teenager, because it WAS the best music ever.
@MrJsmith49
+68enxy Me too & maybe, for the same reason
@swordfish52
I concur 68 .....