Chords for 17-18 BRIAN AUGER TALKS ABOUT PAUL MCCARTNEY, THE STEAM PACKET '65-'66, ROD STEWART-.mov
Tempo:
139.05 bpm
Chords used:
Gb
Eb
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I played on a couple of things for Paul McCartney.
Which were those?
Do you remember?
I think it was
No, I can't remember what the hell they were.
Was it for his solo album?
No, no, no.
It was actually producing other artists.
One of them was a guy called Chris Barber.
And it might have been a girl singer or something like that.
Anyway, that was cool.
I knew his family.
I knew his brother was a comedian.
A very funny guy, actually.
I'd met first before anybody.
I had a band called The Steam Packet.
The Steam Packet ran from 1965 to around about September 1966.
And that was a different kind of world.
It was Long John Baldry, Rod Stewart, who was unknown really at the time.
Julie, we drafted Julie in as well.
Vic Briggs and Mickey Waller on drums.
And Rick Brown on bass.
And myself, I ran the band.
Was it three singers singing harmony a lot?
Well, no.
In fact, when I
That's another thing.
John saw me playing with the
I'd just bought the organ.
I was playing with the organ trio
in this place called the Twisted Wheel in Manchester.
And John came in.
John was a household name at the time.
Huge.
And asked me if I'd give him a call on Monday,
call his managers on Monday,
and ask me if I'd come up and have a meeting with them.
And they wanted me to
They said, look, John's band, the Hoochie Coochie Men,
are totally out of control.
And there's some funny stories there too.
Anyway, he said, John wants somebody who can put a band together for him
and kind of make sure that it all runs properly.
And we want somebody who can handle the business for us,
make sure that John learns new material
and turns up for rehearsals and generally.
And so John was there and said,
I definitely want to do something with you.
I said, I could put a band together, no problem.
And then he said, but I have this protégé,
strange word to use.
I said, yeah, really?
And he said, yeah, Rod Stewart.
Do you know Rod Stewart?
And I said, yeah.
Because Roddy was kind of around the scene,
but would sit in with different bands.
There was one band that he sat in with more than anybody else,
which was a little organ band called the Soul Agents.
And so I had a trio as well,
and Rod had come and sat in with me a couple of times as well.
And he was obviously crazy about Sam Cooke.
Even though he had that raspy voice at the time.
Yeah, I think he strained his voice to the point where
it was kind of a smoky thing.
Him and Joe Cocker, their voices were absolutely ruined.
Yeah, but it sounded so right when he was singing with Joe.
Exactly, it was just, you know, it was worse.
Yeah, he was born to do that.
However, then I said to John, well, wait a minute.
If you're having another singer, it's like two singers.
What is this kind of like a Sam and Dave thing or what?
And John said, well, no, no, really.
I haven't really thought of it like that.
And so it was strange to me.
I thought, well, does one come on and then the other one comes on?
Or what exactly?
And so I said, look, we have a young lady in our,
who's answering Yardbirds fan mail in the office, Julie Driscoll.
And I played on a couple of her singles.
And maybe you could draft Julie in as well.
And this would be, I mean, have a look around the scene.
Is there anything that's like that?
No, there isn't.
And they said, well, how would it work?
And I said, well, I go on, I play a couple of my tunes,
you know, to start the evening.
Julie comes on.
She sings, well, she would sing anything from kind of Tamla Motown stuff
to stuff by Donovan to folk things to Nina Simone to whatever.
And so I said, yeah, I mean, she come on and I could sing back up for her.
Rod comes on and does Sam Cooke impressions
and Marvin Gaye stuff and maybe some blues.
And we both sing back up for him.
Then Baldry comes on at the end and does his gospel Chicago blues thing.
And we're all on stage and we all sing back up for him, you know.
How about that?
And they said, great, let's try that.
And that just got off like a firecracker.
So it was like a show.
You'd have one singer come [Gb] on and do a thing.
Yeah, it was really nothing [Eb] like that.
And [Ab] did they sing in support of each other or any kind of thing like that?
Yeah.
So that went on and we're talking about 65 through maybe March or April 65,
right the way through [N] about September 66.
That was the steam packet.
The steam packet.
Steam packet.
Yeah.
And that was a tremendous band.
But what it did for me is it took me out of the jazz scene
and then I started to play organ.
So I was kind of getting some R&B experience and stuff.
But this, I was playing right through the whole spectrum of music,
you know, Tavala Motown stuff, like folk stuff, you know,
straight Chicago blues, different, just gospel, everything.
At the end of that, I had this clear idea of where I wanted to go,
which was the Trinity, to make this jazz bridge.
So that was a pretty amazing time.
Unfortunately, because Rod had a manager, John had a manager,
I had a manager, the managers argued for the life of the band
as to which label any recording should come out on.
And so we ended up where there's a certain amount of pirate recordings
and that's about it.
You never got to make the one biggie that could be promoted.
Yeah, and everybody was kind of pursuing their own little solo careers as well.
So it was what it was.
But we had a lot of great support.
I think Elton John was a big fan, you know, of the Stones, people like that.
And in fact, Elton John started a band called Bluesology at one point
with two or three singers, and it's kind of like a Steampacket spin-off.
So it had all those things going.
And that was my entry into playing over so many different fields and types of music
that I was ready to know what the hell I wanted to do at the end of that.
And I put my energies into the Trinity, which then expanded
and got us onto all the jazz festivals and everything.
Then finally I started the Oblivion Express, which is, you know
Which were those?
Do you remember?
I think it was
No, I can't remember what the hell they were.
Was it for his solo album?
No, no, no.
It was actually producing other artists.
One of them was a guy called Chris Barber.
And it might have been a girl singer or something like that.
Anyway, that was cool.
I knew his family.
I knew his brother was a comedian.
A very funny guy, actually.
I'd met first before anybody.
I had a band called The Steam Packet.
The Steam Packet ran from 1965 to around about September 1966.
And that was a different kind of world.
It was Long John Baldry, Rod Stewart, who was unknown really at the time.
Julie, we drafted Julie in as well.
Vic Briggs and Mickey Waller on drums.
And Rick Brown on bass.
And myself, I ran the band.
Was it three singers singing harmony a lot?
Well, no.
In fact, when I
That's another thing.
John saw me playing with the
I'd just bought the organ.
I was playing with the organ trio
in this place called the Twisted Wheel in Manchester.
And John came in.
John was a household name at the time.
Huge.
And asked me if I'd give him a call on Monday,
call his managers on Monday,
and ask me if I'd come up and have a meeting with them.
And they wanted me to
They said, look, John's band, the Hoochie Coochie Men,
are totally out of control.
And there's some funny stories there too.
Anyway, he said, John wants somebody who can put a band together for him
and kind of make sure that it all runs properly.
And we want somebody who can handle the business for us,
make sure that John learns new material
and turns up for rehearsals and generally.
And so John was there and said,
I definitely want to do something with you.
I said, I could put a band together, no problem.
And then he said, but I have this protégé,
strange word to use.
I said, yeah, really?
And he said, yeah, Rod Stewart.
Do you know Rod Stewart?
And I said, yeah.
Because Roddy was kind of around the scene,
but would sit in with different bands.
There was one band that he sat in with more than anybody else,
which was a little organ band called the Soul Agents.
And so I had a trio as well,
and Rod had come and sat in with me a couple of times as well.
And he was obviously crazy about Sam Cooke.
Even though he had that raspy voice at the time.
Yeah, I think he strained his voice to the point where
it was kind of a smoky thing.
Him and Joe Cocker, their voices were absolutely ruined.
Yeah, but it sounded so right when he was singing with Joe.
Exactly, it was just, you know, it was worse.
Yeah, he was born to do that.
However, then I said to John, well, wait a minute.
If you're having another singer, it's like two singers.
What is this kind of like a Sam and Dave thing or what?
And John said, well, no, no, really.
I haven't really thought of it like that.
And so it was strange to me.
I thought, well, does one come on and then the other one comes on?
Or what exactly?
And so I said, look, we have a young lady in our,
who's answering Yardbirds fan mail in the office, Julie Driscoll.
And I played on a couple of her singles.
And maybe you could draft Julie in as well.
And this would be, I mean, have a look around the scene.
Is there anything that's like that?
No, there isn't.
And they said, well, how would it work?
And I said, well, I go on, I play a couple of my tunes,
you know, to start the evening.
Julie comes on.
She sings, well, she would sing anything from kind of Tamla Motown stuff
to stuff by Donovan to folk things to Nina Simone to whatever.
And so I said, yeah, I mean, she come on and I could sing back up for her.
Rod comes on and does Sam Cooke impressions
and Marvin Gaye stuff and maybe some blues.
And we both sing back up for him.
Then Baldry comes on at the end and does his gospel Chicago blues thing.
And we're all on stage and we all sing back up for him, you know.
How about that?
And they said, great, let's try that.
And that just got off like a firecracker.
So it was like a show.
You'd have one singer come [Gb] on and do a thing.
Yeah, it was really nothing [Eb] like that.
And [Ab] did they sing in support of each other or any kind of thing like that?
Yeah.
So that went on and we're talking about 65 through maybe March or April 65,
right the way through [N] about September 66.
That was the steam packet.
The steam packet.
Steam packet.
Yeah.
And that was a tremendous band.
But what it did for me is it took me out of the jazz scene
and then I started to play organ.
So I was kind of getting some R&B experience and stuff.
But this, I was playing right through the whole spectrum of music,
you know, Tavala Motown stuff, like folk stuff, you know,
straight Chicago blues, different, just gospel, everything.
At the end of that, I had this clear idea of where I wanted to go,
which was the Trinity, to make this jazz bridge.
So that was a pretty amazing time.
Unfortunately, because Rod had a manager, John had a manager,
I had a manager, the managers argued for the life of the band
as to which label any recording should come out on.
And so we ended up where there's a certain amount of pirate recordings
and that's about it.
You never got to make the one biggie that could be promoted.
Yeah, and everybody was kind of pursuing their own little solo careers as well.
So it was what it was.
But we had a lot of great support.
I think Elton John was a big fan, you know, of the Stones, people like that.
And in fact, Elton John started a band called Bluesology at one point
with two or three singers, and it's kind of like a Steampacket spin-off.
So it had all those things going.
And that was my entry into playing over so many different fields and types of music
that I was ready to know what the hell I wanted to do at the end of that.
And I put my energies into the Trinity, which then expanded
and got us onto all the jazz festivals and everything.
Then finally I started the Oblivion Express, which is, you know
Key:
Gb
Eb
Ab
Gb
Eb
Ab
Gb
Eb
_ I played on a couple of things for Paul McCartney.
Which were those?
Do you remember?
_ _ I think it was_ _
_ _ No, I can't remember what the hell they were.
Was it for his solo album?
No, no, no.
It was actually producing other artists. _
One of them was _ a guy called Chris Barber.
_ _ And it might have been _ a _ _ _ girl singer or something like that.
_ _ _ Anyway, that was cool.
I knew _ his family.
I knew his brother was a comedian.
A very funny guy, actually.
I'd met first before anybody. _
I had a band called The Steam Packet.
The Steam Packet ran _ from 1965 _ _ to around about September 1966.
And that was a different kind of world.
It was Long John Baldry, _ _ _ _ _ Rod Stewart, who was unknown really at the time.
Julie, we drafted Julie in as well.
Vic Briggs and Mickey Waller on drums.
_ And Rick Brown on bass.
And myself, I ran the band.
Was it three singers singing harmony a lot?
Well, no.
In fact, _ when I_
That's another thing.
John saw me playing with the_
I'd just bought the organ.
I was playing with the organ trio
in this place called the Twisted Wheel in Manchester.
_ And John came in.
John was a household name at the time.
_ Huge.
_ And asked me if I'd give him a call on Monday,
call his managers on Monday,
and ask me if I'd come up and have a meeting with them.
And they _ wanted me to_
They said, look, _ John's band, _ the Hoochie Coochie Men,
are totally out of control. _ _ _ _
_ And there's some funny stories there too. _
Anyway, he said, John wants somebody who can put a band together for him
and kind of make sure that it all runs properly.
And we want somebody who can _ _ handle the business for us, _
make sure that John learns new material
and turns up for _ _ _ _ _ _ _ _ rehearsals and generally.
_ And so John was there and said,
I definitely want to do something with you.
I said, I could put a band together, no problem.
And then he said, but I have this _ protégé,
_ strange word to use.
I said, yeah, really?
And he said, yeah, Rod Stewart.
Do you know Rod Stewart?
And I said, yeah.
Because Roddy was kind of around the scene,
but would sit in with different bands.
There was one band that he sat in with more than anybody else,
which was a little organ band called the Soul Agents.
_ And so _ I had a _ trio as well,
and Rod had come and sat in with me a couple of times as well.
_ _ And he was obviously crazy about Sam Cooke. _ _
_ _ _ _ Even though he had that raspy voice at the time.
Yeah, I think he strained his voice to the point where
it was kind of a smoky thing.
Him and Joe Cocker, their voices were absolutely ruined.
Yeah, but it sounded so right when he was singing with Joe.
Exactly, it was just, you know, it was worse.
_ Yeah, he was born to do that.
However, then I said to John, well, wait a minute.
If you're having another singer, it's like two singers.
What is this kind of like a Sam and Dave thing or what?
_ And John said, well, no, no, really.
I haven't really thought of it like that.
_ _ And so it was strange to me.
I thought, well, does one come on and then the other one comes on?
_ Or what exactly?
And so I said, _ _ look, _ we have a young lady in our,
who's answering Yardbirds fan mail in the office, Julie Driscoll.
And I played on a couple of her singles.
And maybe you could _ draft Julie in as well.
And this would be, I mean, have a look around the scene.
Is there anything that's like that?
No, there isn't.
And they said, well, how would it work?
And I said, well, I go on, I play a couple of my tunes,
you know, to start the evening.
Julie comes on.
She sings, well, she would sing anything from kind of Tamla Motown stuff
to stuff by Donovan to folk things to Nina Simone to whatever.
And so I said, yeah, I mean, she come on and I could sing back up for her.
Rod comes on and does _ Sam Cooke impressions
and Marvin Gaye stuff and maybe some blues.
_ And we both sing back up for him.
Then Baldry comes on at the end and does his gospel Chicago blues thing.
And we're all on stage and we all sing back up for him, you know.
How about that?
And they said, great, let's try that.
And that just got off like a firecracker.
_ So it was like a show.
You'd have one singer come [Gb] on and do a thing.
Yeah, it was really nothing [Eb] like that.
And [Ab] did they sing in support of each other or any kind of thing like that?
Yeah.
_ So _ that went on and we're talking about 65 _ _ through maybe March or April 65, _
right the way through [N] about September 66.
_ That was the steam packet.
The steam packet.
Steam packet.
Yeah.
And that was a tremendous band.
But what it did for me is it took me out of the jazz scene
_ _ and then I started to play organ.
So I was kind of getting some R&B experience and stuff.
But this, I _ was playing right through the whole spectrum of _ music,
you know, Tavala Motown stuff, like folk stuff, you know,
_ straight Chicago blues, _ _ different, just _ gospel, everything.
_ At the end of that, I had this clear idea of where I wanted to go,
which was the Trinity, to make this jazz bridge.
So that was a pretty amazing time.
_ _ Unfortunately, _ because Rod had a manager, John had a manager,
I had a manager, the managers argued for the life of the band
as to which label any recording should come out on.
And so we ended up where there's a certain amount of pirate recordings
and that's about it. _
You never got to make the one biggie that could be promoted.
Yeah, and everybody was kind of pursuing their own little solo careers as well.
So it was _ _ what it was.
But we had a lot of great support.
I think Elton John _ was a big fan, you know, of the Stones, people like that. _ _ _ _
And in fact, Elton John _ started a band called Bluesology at one point
with two or three singers, and it's kind of like a Steampacket spin-off.
_ _ _ _ So it had _ all those things going.
And that was my entry into playing over so many different fields and types of music
that I was ready to know what the hell I wanted to do at the end of that.
And I put my energies into the Trinity, _ which then _ _ expanded
and got us onto all the jazz festivals and everything.
Then finally I started the Oblivion Express, which is, _ you know_
Which were those?
Do you remember?
_ _ I think it was_ _
_ _ No, I can't remember what the hell they were.
Was it for his solo album?
No, no, no.
It was actually producing other artists. _
One of them was _ a guy called Chris Barber.
_ _ And it might have been _ a _ _ _ girl singer or something like that.
_ _ _ Anyway, that was cool.
I knew _ his family.
I knew his brother was a comedian.
A very funny guy, actually.
I'd met first before anybody. _
I had a band called The Steam Packet.
The Steam Packet ran _ from 1965 _ _ to around about September 1966.
And that was a different kind of world.
It was Long John Baldry, _ _ _ _ _ Rod Stewart, who was unknown really at the time.
Julie, we drafted Julie in as well.
Vic Briggs and Mickey Waller on drums.
_ And Rick Brown on bass.
And myself, I ran the band.
Was it three singers singing harmony a lot?
Well, no.
In fact, _ when I_
That's another thing.
John saw me playing with the_
I'd just bought the organ.
I was playing with the organ trio
in this place called the Twisted Wheel in Manchester.
_ And John came in.
John was a household name at the time.
_ Huge.
_ And asked me if I'd give him a call on Monday,
call his managers on Monday,
and ask me if I'd come up and have a meeting with them.
And they _ wanted me to_
They said, look, _ John's band, _ the Hoochie Coochie Men,
are totally out of control. _ _ _ _
_ And there's some funny stories there too. _
Anyway, he said, John wants somebody who can put a band together for him
and kind of make sure that it all runs properly.
And we want somebody who can _ _ handle the business for us, _
make sure that John learns new material
and turns up for _ _ _ _ _ _ _ _ rehearsals and generally.
_ And so John was there and said,
I definitely want to do something with you.
I said, I could put a band together, no problem.
And then he said, but I have this _ protégé,
_ strange word to use.
I said, yeah, really?
And he said, yeah, Rod Stewart.
Do you know Rod Stewart?
And I said, yeah.
Because Roddy was kind of around the scene,
but would sit in with different bands.
There was one band that he sat in with more than anybody else,
which was a little organ band called the Soul Agents.
_ And so _ I had a _ trio as well,
and Rod had come and sat in with me a couple of times as well.
_ _ And he was obviously crazy about Sam Cooke. _ _
_ _ _ _ Even though he had that raspy voice at the time.
Yeah, I think he strained his voice to the point where
it was kind of a smoky thing.
Him and Joe Cocker, their voices were absolutely ruined.
Yeah, but it sounded so right when he was singing with Joe.
Exactly, it was just, you know, it was worse.
_ Yeah, he was born to do that.
However, then I said to John, well, wait a minute.
If you're having another singer, it's like two singers.
What is this kind of like a Sam and Dave thing or what?
_ And John said, well, no, no, really.
I haven't really thought of it like that.
_ _ And so it was strange to me.
I thought, well, does one come on and then the other one comes on?
_ Or what exactly?
And so I said, _ _ look, _ we have a young lady in our,
who's answering Yardbirds fan mail in the office, Julie Driscoll.
And I played on a couple of her singles.
And maybe you could _ draft Julie in as well.
And this would be, I mean, have a look around the scene.
Is there anything that's like that?
No, there isn't.
And they said, well, how would it work?
And I said, well, I go on, I play a couple of my tunes,
you know, to start the evening.
Julie comes on.
She sings, well, she would sing anything from kind of Tamla Motown stuff
to stuff by Donovan to folk things to Nina Simone to whatever.
And so I said, yeah, I mean, she come on and I could sing back up for her.
Rod comes on and does _ Sam Cooke impressions
and Marvin Gaye stuff and maybe some blues.
_ And we both sing back up for him.
Then Baldry comes on at the end and does his gospel Chicago blues thing.
And we're all on stage and we all sing back up for him, you know.
How about that?
And they said, great, let's try that.
And that just got off like a firecracker.
_ So it was like a show.
You'd have one singer come [Gb] on and do a thing.
Yeah, it was really nothing [Eb] like that.
And [Ab] did they sing in support of each other or any kind of thing like that?
Yeah.
_ So _ that went on and we're talking about 65 _ _ through maybe March or April 65, _
right the way through [N] about September 66.
_ That was the steam packet.
The steam packet.
Steam packet.
Yeah.
And that was a tremendous band.
But what it did for me is it took me out of the jazz scene
_ _ and then I started to play organ.
So I was kind of getting some R&B experience and stuff.
But this, I _ was playing right through the whole spectrum of _ music,
you know, Tavala Motown stuff, like folk stuff, you know,
_ straight Chicago blues, _ _ different, just _ gospel, everything.
_ At the end of that, I had this clear idea of where I wanted to go,
which was the Trinity, to make this jazz bridge.
So that was a pretty amazing time.
_ _ Unfortunately, _ because Rod had a manager, John had a manager,
I had a manager, the managers argued for the life of the band
as to which label any recording should come out on.
And so we ended up where there's a certain amount of pirate recordings
and that's about it. _
You never got to make the one biggie that could be promoted.
Yeah, and everybody was kind of pursuing their own little solo careers as well.
So it was _ _ what it was.
But we had a lot of great support.
I think Elton John _ was a big fan, you know, of the Stones, people like that. _ _ _ _
And in fact, Elton John _ started a band called Bluesology at one point
with two or three singers, and it's kind of like a Steampacket spin-off.
_ _ _ _ So it had _ all those things going.
And that was my entry into playing over so many different fields and types of music
that I was ready to know what the hell I wanted to do at the end of that.
And I put my energies into the Trinity, _ which then _ _ expanded
and got us onto all the jazz festivals and everything.
Then finally I started the Oblivion Express, which is, _ you know_