Despite the presence of a singer destined to become huge in his own right Most wanted to persist with Beck's undistinguished vocals in pop mode, although the outfit's live performances (I've managed to track down a couple of bootlegs) presented a heavily Anglicised Chicago-style blues band with plenty of flash guitar-vocal interplay.
Hughesy's memory may be playing tricks here, but I seem to recall an article somewhere stating that Stewart's shyness meant that the microphone was located out of sight of the audience on early Beck Group gigs, producing bewilderment among audience members who couldn't work out where the vocals were coming from.
Had Me a Real Good Time, on the other hand has the Beck Group starting a two-night gig at the Fillmore East opening for the Grateful Dead where Stewart's vocals went missing (as in nothing came out), requiring a generous application of medicinal brandy behind the speaker stacks.
Ah, well, that shyness bit always seemed totally out of character...
Beck's third single, an acoustic instrumental cover of Love Is Blue, was a major hit, but presumably failed to find a spot in the Jeff Beck Group set-list.
At this point things get rather quirky.
Peter Grant, a road manager who'd worked in the States with the Animals and The New Vaudeville Band and reckoned he'd spotted an alternative career path for an up and coming act booked a short U.S. tour for the Beck Group and tried to buy Beck's contract from Mickie Most, figuring that live work and the new FM radio format meant that you could break a new act in the States without a hit single.
When things didn't quite work out as planned with Mr Beck and friends, Grant turned his attention to Page's New Yardbirds who'd borrowed the monicker suggested by Keith Moon for the Beck's Bolero lineup.
Led Zeppelin.