Editing Roger the Engineer (section)

==Recording==
The first product produced under the aegis of Napier-Bell was the single "[[Over Under Sideways Down]]" along with its B-side "Jeff's Boogie", which were recorded at Advision from 19–20 April 1966.<ref name="Russo">
{{cite book
| last = Russo
| first = Greg
| title = Yardbirds: The Ultimate Rave-Up
| year = 2016
| location = Floral Park, New York
| publisher = Crossfire Publications
| isbn = 978-0-9791845-7-4
| page = 210
}}</ref> The single was released on 27 May and performed well, charting at number 10 in the UK and number 13 in the US.<ref name="Ultimate"/> It continued in the pioneering psychedelic vein of the previous "[[Shapes of Things]]", with Beck conjuring a distorted Eastern-inspired fuzz guitar hook that contrasted with the 1950s boogie-style walking bass line he also came up with.<ref name=crazy>{{cite book |last1=Carson |first1=Annette |title=Jeff Beck: Crazy Fingers |date=2001 |publisher=Backbeat Books |location=San Francisco}}</ref> The flip side, "Jeff's Boogie", was based on [[Chuck Berry]]'s "Guitar Boogie" and allowed Beck to show off his considerable guitar prowess; it would become a live favorite with [[The Jeff Beck Group]].

The bulk of the album was recorded at Advision from 31 May to 4 June 1966 with bassist Paul Samwell-Smith and Napier-Bell co-producing.<ref name="Russo"/> Roger Cameron was the engineer, although the final session at IBC on 14 June which produced "I Can't Make Your Way" saw [[Glyn Johns]] take his place.<ref name=ibcjohns>''Roger the Engineer'' 2021 re-release liner notes</ref> Although Samwell-Smith played bass on about half the album's tracks, the group hired Mick Fitzpatrick to play on the rest. The band reworked four tracks from the aborted March Gomelsky sessions ("Lost Women", "The Nazz Are Blue", "He's Always There" and "What Do You Want") and added six more, most of which were quickly written in the studio. Samwell-Smith later complained that the group only had five days to complete the album, and wondered how great it might have been if they had been given one month.<ref name=crazy/> The typical method of working in the studio was to have the band members work out the basic backing tracks and then, after many hours had passed, allow Beck the freedom to add guitar overdubs as he saw fit. According to Beck: <blockquote> "I would sit around twiddling my fingers in anger waiting for my chance to get in and rip it in half. And they used to watch the flame build and build until I really couldn't take it. And then we'd all laugh and have a drink afterwards."<ref name=crazy/>
</blockquote>

Musically, the album continued in the vein of their recent run of hit singles including blues-based numbers ("The Nazz Are Blue", "Rack My Mind"), riff-driven hard rock ("He's Always There", "What Do You Want"), lysergic rave-ups ("Lost Women") Gregorian chant ("Turn Into Earth"), and exotic psychedelia (the instrumental "Hot House of Omagararshid"). In addition, Keith Relf contributed the sensitive piano ballad "Farewell" with accompanying social commentary on modern life. Beck's guitar solos experimented with fuzz, feedback, reverb and Eastern modes, played on a recently purchased [[Gibson Les Paul]] Sunburst that he had seen [[Eric Clapton]] using with [[John Mayall & the Bluesbreakers|the Bluesbreakers]].<ref name=crazy/>