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The single "Over Under Sideways Down", along with the B-side "Jeff's Boogie", was recorded at Advision Studios in London on 19–20 April 1966. [9]The rest of the album was recorded from 31 May to 4 June 1966, also at Advision. [9]
The B-side, the instrumental "Jeff's Boogie", is credited to Beck, however, it has been described as "a near copy of Chuck Berry's 'Guitar Boogie'". [8] The single became the Yardbirds' fifth single to reach the UK top 10 chart, where it peaked at number 10. In Canada it reached number 5. [9] In the US, it reached number 13. [10]
(Jeff Beck, then with the Yardbirds later based his "Jeff's Boogie" on Berry's version). Freddie King's 1960 blues guitar instrumental "Hide Away" incorporates elements from various songs, including sections similar to those in "Guitar Boogie". Later renditions of "Guitar Boogie" include live versions by Tommy Emmanuel and Tom Petty.
The Yardbirds were signed to EMI and their records were released through the Columbia Graphophone Company in the UK and Epic Records in the US. [13] In other countries, the group's releases were handled by a variety of labels, including affiliates of Columbia and Epic, Capitol (Canada), Riviera (France), Ricordi International (Italy), Odeon (Japan), and CBS (international). [14]
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The Yardbirds are an English rock band formed in London in 1963. The band started the careers of three of rock's most famous guitarists: Eric Clapton (1963–1965), Jeff Beck (1965–1966) and Jimmy Page (1966–1968), all of whom ranked in the top five of Rolling Stone magazine's list of 100 greatest guitarists. [5]
The B-side, "In Old England Town", is an edited instrumental version of "In Old England Town (Boogie No. 2)" by Lynne. Recorded in 1972, this was the opening track of the band's second LP ELO 2 , and was one of two songs on the album that featured Roy Wood on cello and bass guitar , the other being "From the Sun to the World".
The Baldry album features his biggest U.S. hit, "Don't Try to Lay No Boogie-Woogie on the King of Rock and Roll"; Baldry once noted how Stewart's loose and late-night recording sessions affected the tracks, "especially those recorded on my thirtieth birthday when he showed up with cases of Remy Martin cognac and several measures of good quality ...