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Back in '65, a young unknown named Jeff Beck was faced with the seemingly insurmountable task of replacing the mighty Eric Clapton in the Yardbirds. Within two years, he had become as big as his predecessor, renowned for his utterly unique, balls-out style, and burned his signature into the future of rock guitar. One of Jeff's early masterpieces is this classic (rerecorded by Jeff in grand fashion for his first solo album, Truth), on which Jeff utilizes distortion, feedback, and a fluid legato style, with a nod in the direction of Eastern music in terms of melodic phrasing and tonality.
The song starts out with a triplet feel written in straight time, using a "two eighths = quarter-eighth triplet" equivalency. Behind the staccato quarter-note chords, Jeff adds volume-swelled chords, often swelling into the second beat of a given bar. At the chorus sections, the song switches to a straight-eighth feel, behind which Jeff doubles the vocal melody.
For the solo section, Jeff overdubbed two lead guitars: one begins with heavily attacked, distorted chords which feedback, working into a simple melody created by feedback; the other guitar plays snakey, legato solo lines on the B and G strings. A big part of Jeff's signature is his master's touch in terms of bending, apparent here with the subtle use of semitones within the melody of the line. He begins with lines based on G Mixolydian (G,A,B,C,D,E,F#), throwing in the b6, Eb, before moving into G Dorian (G,A,Bb,C,D,E,F). Combining the major third with the b7 in a melody is something Jeff has taken advantage of throughout his career, heard also to great effect on the classic, "Led Boots," from Wired.