Jimmy Page ... History of his Guitars !!!

Discussion in 'Vintage Les Pauls' started by BOBBO, Nov 7, 2008.

  1. BOBBO

    BOBBO Banned

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    I think one of the elements to " Jimmy " tone is using all 3 positions on your pickups !! Granted Jimmy used a Tele for a lot of stuff , But on most live DVD's I've seen where he's using his LP he makes ample use of the neck , bridge & both pups combined on a good number of his tunes !!!

    Glad to share way cool stuff with others !!! :thumb:
     
  2. ledfree

    ledfree Senior Member

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    Spot on Bobbo. I've also noticed on the live recordings JP is not only switches between pup's, he also conststantly tweeking his volume and tone pots on his guitar. Which also adds too his tone.
     
  3. BOBBO

    BOBBO Banned

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  4. BOBBO

    BOBBO Banned

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    [​IMG]
     
    Mordor likes this.
  5. BOBBO

    BOBBO Banned

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  6. BOBBO

    BOBBO Banned

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    I noticed in the MSG show from 1973 Jimmy uses the middle or rhythm position oh his LP for most of the time , Only using the treble position for leads or heavier parts !!!
     
  7. Es Paul

    Es Paul Senior Member

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    I still can't get over this thread. The guy who went thru all of the trouble of doing this, should be rewarded. This is the Holy Grail of Jimmy Page information. Can't beat it. I almost cried when I finished reading. It was closing a chapter in my life. I now know what Pagey used and why and how and who from, etc,etc..Bobbo, if I could thank you more I would. But, I already gave you a thanks up top...you da man!
     
  8. BOBBO

    BOBBO Banned

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    I'm sure there's more info out there !!! If there is I'll find it and post it !!! I encourage anyone who has Jimmy info to post it here and really make this an information buffet !!!!! Ohh Thanks for the props !!! :thumb:
     
  9. BOBBO

    BOBBO Banned

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    Jimmy Page Info ..Part 1


    James Patrick Page, OBE (born 9 January 1944) is an English guitarist, composer and record producer. He began his career as a studio session guitarist in London and was subsequently a member of The Yardbirds from 1966 to 1968, after which he co-founded the English rock band Led Zeppelin.

    Page has been described as "unquestionably one of the all-time most influential, important, and versatile guitarists and songwriters in rock history".[1] In 2003, Rolling Stone magazine ranked Page #9 in its list of the 100 Greatest Guitarists of All Time.[2] He has been inducted into the Rock and Roll Hall of Fame twice, once as a member of The Yardbirds (1992)[3] and once as a member of Led Zeppelin (1995).[4]

    Early years
    Page was born in the West London suburb of Heston, which today forms part of the London Borough of Hounslow. His father was an industrial personnel manager and his mother was a doctor's secretary. In 1952 they moved to Miles Road, Epsom. Page first played the guitar when he was 11 years old he played his guitar at his school talent show and he was great, 1977 Jimmy Page Interview, Modern Guitars, May 25, 2007 (originally published in the July 1977, issue of Guitar Player magazine).</ref> and, although he took a few lessons in nearby Kingston, was largely self-taught. Among his early influences were rockabilly guitarists Scotty Moore and James Burton, who both played on recordings made by Elvis Presley. Hearing the Presley song "Baby Let's Play House" is cited by Page as being his inspiration to take up playing the guitar.[5] His first guitar was a second hand 1959 Futurama Grazioso, which was later replaced by a Telecaster.[5][6]

    Page's musical tastes included skiffle and acoustic folk playing, particularly that of Bert Jansch and John Renbourn, and the blues sounds of Elmore James, B.B. King, Otis Rush, Buddy Guy, Freddie King and Hubert Sumlin.[7] "Basically, that was the start: a mixture between rock and blues."[5] At the age of 14, Page appeared on Huw Wheldon's All Your Own talent quest programme in a skiffle quartet, a popular English music genre of the time. One performance was televised[1]. Asked by Wheldon what he wanted to do after schooling, Page said, "I want to do biological research" to find a cure for "cancer, if it isn't discovered by then". Page was very enthusiastic about the idea of becoming a career researcher studying germs, but expressing reservations that "I haven't got enough brains" to become a doctor.

    Page said in an interview with Guitar Player magazine, "There was a lot of busking in the early days, but as they say, I had to come to grips with it, and it was a good schooling."[5] Page would take a guitar to school each day and have it confiscated and handed back to him at 4.00 pm.[8] He was interested in science and had an interview for a job as a Laboratory Assistant, but he ultimately chose to leave Danetree Secondary School, West Ewell to pursue music instead [8]. Initially, Page had difficulty finding other musicians with whom he could play on a regular basis. "It wasn't as though there was an abundance. I used to play in many groups... anyone who could get a gig together, really."[6] Following brief stints backing Beat poet Royston Ellis and singer Red E. Lewis, he was asked by singer Neil Christian to join his band The Crusaders after Christian had seen a fifteen-year-old Page playing in a local hall.[6] Page toured with Christian for approximately two years and later played on several of his records, including the November 1962 single, "The Road to Love".

    During his stint with Christian, Page fell seriously ill with glandular fever (infectious mononucleosis) and couldn't continue touring.[6] While recovering, Page decided to put his musical career on the shelf and concentrate on his other love, painting. He enrolled at Sutton Art College in Surrey. As he explained in an interview in 1975:

    “ [I was] travelling around all the time in a bus. I did that for two years after I left school, to the point where I was starting to get really good bread. But I was getting ill. So I went back to art college. And that was a total change in direction. That's why I say it's possible to do. As dedicated as I was to playing the guitar, I knew doing it that way was doing me in forever. Every two months I had glandular fever. So for the next 18 months I was living on ten dollars a week and getting my strength up. But I was still playing.[9]
    Session musician
    While still a student, Page would often jam on stage at The Marquee with bands such as Cyril Davies' All Stars, Alexis Korner's Blues Incorporated and with guitarists Jeff Beck and Eric Clapton. He was spotted one night by John Gibb of The Silhouettes, who asked him to help record a number of singles for EMI, including "The Worrying Kind". It wasn't until an offer from Mike Leander of Decca Records that Page was to receive regular studio work. His first session for the label was the recording "Diamonds" by Jet Harris and Tony Meehan, which went to Number 1 on the singles chart in early 1963.[6]

    After brief stints with Carter-Lewis and the Southerners, Mike Hurst's group, and Mickey Finn and the Blue Men, Page committed himself to full-time session work. As a session guitarist he was known as 'Little Jim' so there was no confusion with Big Jim Sullivan. Page was mainly called in to sessions as "insurance" in instances when a replacement or second guitarist was required by the recording artist. "It was usually myself and a drummer", he explained, "though they never mention the drummer these days, just me ... Anyone needing a guitarist either went to Big Jim [Sullivan] or myself"[6]

    Page was the favoured session guitarist of producer Shel Talmy, and therefore he ended up doing session work on songs for The Who and The Kinks as a direct result of the Talmy connection.[10] Page's studio output in 1964 included Marianne Faithfull's "As Tears Go By", The Nashville Teens' "Tobacco Road", The Rolling Stones' "Heart of Stone" (released on Metamorphosis), Van Morrison & Them's "Baby Please Don't Go" and "Here Comes the Night", Dave Berry's "The Crying Game" and "My Baby Left Me", and Brenda Lee's "Is It True". Under the auspices of producer Talmy, Page contributed to The Kinks' 1964 debut album and he sat in on the sessions for The Who's first single "I Can't Explain" (although Pete Townshend was reluctant to allow Page's contribution on the final recording, Page did play on the B-side "Bald Headed Woman".)

    In 1965 Page was hired by Rolling Stones manager Andrew Loog Oldham to act as house producer and A&R man for the newly-formed Immediate Records label, which also allowed him to play on and/or produce tracks by John Mayall, Nico, Chris Farlowe, Twice as Much and Eric Clapton. Page also formed a brief songwriting partnership with then romantic interest, Jackie DeShannon. He worked as session musician on the Al Stewart album Love Chronicles in 1969, and played guitar on five tracks of Joe Cocker's debut album, With a Little Help from My Friends.

    When questioned about which songs he played on, especially ones where some controversy as to what his exact role was, Page often points out that it is hard to remember exactly what he did given the huge number of sessions he was playing at the time.[10]

    Although Page recorded with many notable musicians, many of these early tracks are only available through bootlegged copies, several of which were released by the Led Zeppelin fan club in the late 1970s. The records released by the fan club include many otherwise unreleased live Led Zeppelin recordings. One of the rarest of these is the early jam session featuring Jimmy Page playing with Rolling Stones guitarist Keith Richards, featuring a cover of "Little Queen of Spades" by Robert Johnson. Several songs which featured Page's involvement were compiled on the twin album release: James Patrick Page: Session Man Volume One and James Patrick Page: Session Man Volume Two.

    Page decided to leave studio work when the increasing influence of Stax Records on popular music led to the greater incorporation of brass and orchestral arrangements into recordings at the expense of guitars.[5] However, he has stated that his time as a session player served as extremely good schooling for his development as a musician:

    “ My session work was invaluable. At one point I was playing at least three sessions a day, six days a week! And I rarely ever knew in advance what I was going to be playing. But I learned things even on my worst sessions -- and believe me, I played on some horrendous things. I finally called it quits after I started getting calls to do Muzak. I decided I couldn't live that life anymore; it was getting too silly. I guess it was destiny that a week after I quit doing sessions Paul Samwell-Smith left The Yardbirds, and I was able to take his place. But being a session musician was good fun in the beginning -- the studio discipline was great. They'd just count the song off, and you couldn't make any mistakes.[7] ”



     
  10. BOBBO

    BOBBO Banned

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    Jimmy Page info Part 2


    The Yardbirds
    In late 1964, Page was approached about the possibility of replacing Eric Clapton in The Yardbirds, but he declined the offer out of loyalty to his friend.[6] In February 1965 Clapton quit the Yardbirds, and Page was formally offered Clapton's spot, but because he was unwilling to give up his lucrative career as a session musician, and because he was still worried about his health under touring conditions, he suggested his friend, Jeff Beck. On 16 May 1966, drummer Keith Moon, bass player John Paul Jones, keyboardist Nicky Hopkins, Jeff Beck and Page recorded "Beck's Bolero" in London's IBC Studios. The experience gave Page an idea to form a new supergroup featuring Beck, along with The Who's John Entwistle on bass and Keith Moon on drums.[6] However, the lack of a quality vocalist and contractual problems prevented the project from getting off the ground. During this time, Entwistle suggested the name "Lead Zeppelin" for the first time, after Moon commented that the proceedings would take to the air like a lead balloon.

    Within weeks, Page attended a Yardbirds concert at Oxford. After the show he went backstage where Paul Samwell-Smith announced that he was leaving the group.[5] Page offered to replace Samwell-Smith and this was accepted by the group. He initially played electric bass with the Yardbirds before finally switching to twin lead guitar with Beck when Chris Dreja moved to bass. The musical potential of the line-up was scuttled, however, by interpersonal conflicts caused by constant touring and a lack of commercial success, although they released one single, "Happenings Ten Years Time Ago". (While Page and Jeff Beck played together in The Yardbirds, the trio of Page, Beck and Eric Clapton never played in the original group at the same time. The three guitarists did appear on stage together at the ARMS charity concerts in 1983.)

    After Beck's departure, the Yardbirds remained a quartet. They recorded one album with Page on lead guitar, Little Games. The album received indifferent reviews and was not a commercial success, peaking at only number 80 on the Billboard Music Charts. Though their studio sound was fairly commercial at the time, the band's live performances were just the opposite, becoming heavier and more experimental. These concerts featured musical aspects that Page would later perfect with Led Zeppelin, most notably performances of "Dazed and Confused".

    Despite the departure of Keith Relf and Jim McCarty in 1968, Page wished to continue the group with a new line-up to fulfill unfinished tour dates in Scandinavia. He recruited vocalist Robert Plant and drummer John Bonham, and was contacted by John Paul Jones who asked to join.[11] During the Scandinavian tour the new group appeared as "The New Yardbirds", but soon recalled the old joke by Keith Moon and John Entwistle. Page stuck with that name to use for his new band. Peter Grant changed it to "Led Zeppelin", to avoid a mispronunciation of "Leed Zeppelin."

    Led Zeppelin
    Main article: Led Zeppelin
    Page has explained that he had a very specific idea in mind as to what he wanted Led Zeppelin to be, from the very beginning:

    “ I had a lot of ideas from my days with The Yardbirds. The Yardbirds allowed me to improvise a lot in live performance and I started building a textbook of ideas that I eventually used in Zeppelin. In addition to those ideas, I wanted to add acoustic textures. Ultimately, I wanted Zeppelin to be a marriage of blues, hard rock and acoustic music topped with heavy choruses -- a combination that had never been done before. Lots of light and shade in the music

    Influence

    Page's past experiences both in the studio and with the Yardbirds were very influential in contributing to the success of Led Zeppelin in the 1970s. As a producer, composer, and guitarist he helped make Led Zeppelin a prototype for countless future rock bands, and was one of the major driving forces behind the rock sound of that era, influencing a host of other guitarists.[12] For example, his sped up, downstroke guitar riff in "Communication Breakdown" is cited as guitarist Johnny Ramone's inspiration for his punk-defining, strictly downstroke guitar strumming, while Page's landmark guitar solo from the song "Heartbreaker" has been credited by Eddie Van Halen as the inspiration for his two-hand tapping technique after he saw Led Zeppelin perform in 1971. Page's solo in the famous epic "Stairway to Heaven" has been voted by readers of various guitar magazines, including Guitar World and Total Guitar, as the greatest guitar solo of all time, and he was named 'Guitarist of the Year' five years straight during the 1970s by Creem magazine.

     
  11. ledfree

    ledfree Senior Member

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    I know the author went in to a lot of detail of page's Les Pauls and some of his other equipment. There must be more info on his other major guitars i.e. The Danelectro rumour has it changed or rewinded pick ups. His ESD1275, again rumour as it, to be wired like a Les Paul?

    Still a mine of information.:)
     
  12. BOBBO

    BOBBO Banned

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    Jimmy Page info Part 3

    Effects
    For the recording of most of Led Zeppelin material from Led Zeppelin's second album onwards, Page used a Gibson Les Paul guitar with Marshall amplification. During the studio sessions for Led Zeppelin, and later for recording the guitar solo in "Stairway to Heaven", he also used a Fender Telecaster. He also used a Danelectro DC-59, mainly for slide guitar parts. He usually recorded in studio with a Vox AC30, Fender, and Orange amplification. His use of the Sola Sound Tone Bender Professional MKII fuzzbox ("How Many More Times"), slide guitar ("You Shook Me", "Dancing Days", "In My Time of Dying", "What Is And What Should Never Be"), pedal steel guitar ("Your Time Is Gonna Come", "Babe I'm Gonna Leave You", "Tangerine", "That's the Way" and for effect at the very end of "Over the Hills and Far Away"), and acoustic guitar ("Gallows Pole", "Bron-Yr-Aur Stomp") also demonstrated his versatility and creativity as a composer.

    Page is famous for playing his guitar with a Cello bow, as on the songs "Dazed and Confused" and "How Many More Times". This was a technique he developed during his session days, although strictly speaking he was not the first guitarist to use a bow, since Eddie Phillips of The Creation had done so prior to Page.[10] On MTV's Led Zeppelin Rockumentary, Page said that he obtained the idea of playing the guitar with a bow from David McCallum, Sr. who was also a session musician. Page used his Fender Telecaster and later his Gibson Les Paul for his bow solos.

    On a number of Led Zeppelin songs Page experimented with feedback devices and a theremin. He used a Wah-wah pedal but not always in the traditional way of rocking it back and forth as done by Jimi Hendrix and other contemporaries; instead, he put it fully forward in the treble position to get a sharper tone.


    [edit] Music production techniques
    Page is credited for the innovations in sound recording he brought to the studio during the years he was a member of Led Zeppelin.[13][14] During the late 1960s, most British music producers placed microphones directly in front of amplifiers and drums, resulting in the sometimes "tinny" sound of the recordings of the era. Page commented to Guitar World magazine that he felt the drum sounds of the day in particular "sounded like cardboard boxes."[13] Instead, Page was a fan of 1950s recording techniques; Sun Studios being a particular favourite. In the same Guitar World interview, Page remarked, "Recording used to be a science", and "[engineers] used to have a maxim: distance equals depth." Taking this maxim to heart, Page developed the idea of placing an additional microphone some distance from the amplifier (as much as twenty feet) and then recording the balance between the two. By adopting this technique, Page became one of the first British producers to record a band's "ambient sound" - the distance of a note's time-lag from one end of the room to the other.[15]

    For the recording of several Led Zeppelin tracks, such as "Whole Lotta Love" and "You Shook Me", Page additionally utilised "reverse echo" - a technique which he claims to have invented himself while with The Yardbirds (he had originally developed the method when recording the 1967 single "Ten Little Indians").[13] This production technique involved hearing the echo before the main sound instead of after it, achieved by turning the tape over and employing the echo on a spare track, then turning the tape back over again to get the echo preceding the signal.

    Page has stated that, as producer, he deliberately changed the audio engineers on Led Zeppelin albums, from Glyn Johns for the first album, to Eddie Kramer for Led Zeppelin II, to Andy Johns for Led Zeppelin III and later albums. He explained that "I consciously kept changing engineers because I didn't want people to think that they were responsible for our sound. I wanted people to know it was me."[13]

    In an interview he gave to Guitar World magazine in 1993, Page remarked on his work as a producer:

    “ Many people think of me as just a riff guitarist, but I think of myself in broader terms... [A]s a producer I would like to be remembered as someone who was able to sustain a band of unquestionable individual talent, and push it to the forefront during its working career. I think I really captured the best of our output, growth, change and maturity on tape -- the multifaceted gem that is Led Zeppelin.[7] ”


    [edit] Post-Led Zeppelin career
    Led Zeppelin disbanded in 1980 following the death of drummer John Bonham at Page's home, The Old Mill House at Clewer in Berkshire. Page made a successful return to the stage at a Jeff Beck show in March 1981 at the Hammersmith Odeon.[16] Page appeared with the A.R.M.S. (Action Research for Multiple Sclerosis) charity series of concerts in 1983 which honoured Small Faces bass player Ronnie Lane, who suffered from the disease. A 1984 video of a London A.R.M.S. concert was released featuring two songs from Page's work on the Death Wish II soundtrack, featuring Steve Winwood on vocals, and an on stage jam of "Layla" reunited Page with Yardbirds guitarists Jeff Beck and Eric Clapton. The Madison Square Garden show featured vocals by future The Firm vocalist Paul Rodgers (formerly of Free and Bad Company). During the tour Page looked extremely thin and frail.[citation needed] According to the book “Hammer of the Gods,” Page reportedly told friends that he'd just given up heroin after 7 years of use.

    In 1981 Page joined with Yes bassist Chris Squire and Yes drummer Alan White to form a supergroup called XYZ (for ex-Yes-Zeppelin). They rehearsed several times, but the project was shelved. Demo’s of the sessions have turned up on bootleg and they reveal that some of the material showed up later on other projects, notably The Firm's “Fortune Hunter” and Yes songs “Mind Drive" and “Can You Imagine?” Page would later join Yes on stage in 1984 at Westfalenhalle in Dortmund, Germany, playing “I’m Down.”

    Page next linked up with Roy Harper for an album (“Whatever Happened to Jugula?”) and occasional concerts, performing a predominantly acoustic set at folk festivals under various guises such as the MacGregors, and Themselves. In 1984, Page recorded with former Zeppelin vocalist, Robert Plant as The Honeydrippers, and with John Paul Jones on the film soundtrack “Scream for Help.” He also teamed up with Paul Rodgers of Bad Company and Free fame to record 2 albums under the name The Firm. The first album was the self-titled “The Firm”, followed by “Mean Business” in 1986. Popular songs included the commercially successful “Radioactive,” and “Closer,” which employs a horn section to subtle effect. The cover version of “You’ve Lost That Lovin’ Feeling” featured vocals by Paul Rodgers but was never released as a single. The album peaked at #17 on the Billboard’s Pop Albums chart.

    Various other projects soon followed such as session work for Graham Nash, Stephen Stills, Box of Frogs, the Rolling Stones (on their 1986 single “One Hit (to the Body)”), and Robert Plant, a solo album “Outrider,” a collaboration with David Coverdale in “Coverdale-Page.” In addition, he also collaborated with director Michael Winner to record the “Death Wish II” and subsequent “Death Wish 3” soundtrack, released in 1982 and 1985 respectively. Several of these albums Page recorded and produced at his own recording studio, The Sol in Cookham, which he had purchased from Gus Dudgeon in the early 1980s.

    The surviving members of Led Zeppelin re-formed in 1985 for the Live Aid concert with both Phil Collins & Tony Thompson filling drum duties. However, the band considered their performance to be sub-standard with Page going on stage heavily intoxicated[citation needed] and let down by a poorly-tuned Les Paul. They were one of the few Live Aid acts to refuse permission for their segment to be included in the 20th anniversary DVD release of the concert. In 1986, Page reunited temporarily with his Yardbirds bandmates to play on several tracks of the Box of Frogs album “Strange Land.” Led Zeppelin also re-formed for the Atlantic Records 40th Anniversary show on 14 May, 1988. Page, Plant & Jones, as well as John Bonham’s son Jason closed the 12-hour show. The band has also played together at various private family functions.

    In 1990, a Knebworth concert to aid the Nordoff-Robbins Music Therapy Centre and the British School for Performing Arts and Technology saw Plant unexpectedly joined by Page to perform “Misty Mountain Hop,” “Wearing and Tearing” and “Rock and Roll.”

    In 1994, Page reunited with Plant for the penultimate performance in MTV's "Unplugged" series. The 90-minute special, dubbed Unledded, premiered to the highest ratings in MTV's history. In October of the same year, the session was released as the CD No Quarter: Jimmy Page and Robert Plant Unledded, and in 2004 as the DVD No Quarter Unledded. Following a highly successful mid-90s tour to support No Quarter, Page and Plant recorded 1998's Walking into Clarksdale.

    Since 1990, Page has been heavily involved in remastering the entire Led Zeppelin back catalogue and is currently participating in various charity concerts and charity work, particularly the Action for Brazil's Children Trust (ABC Trust), founded by his wife Jimena Gomez-Paratcha in 1998. In the same year, Page played guitar for rap singer/producer Puff Daddy's song "Come with Me", which heavily samples Led Zeppelin's "Kashmir" and was included in the soundtrack of Godzilla. The two later performed the song on Saturday Night Live. A live album and tour with The Black Crowes follow in 1999. In 2001 he made an appearance on stage with Limp Bizkit frontman Fred Durst and Wes Scantlin of Puddle of Mudd at the MTV Europe Video Music Awards in Frankfurt, where they performed a version of Led Zeppelin's "Thank You
    In 2005, Page was awarded the Order of the British Empire in recognition of his Brazilian charity work at Task Brazil,[18] made an honorary citizen of Rio de Janeiro later that year, and was awarded a Grammy award.[19]

    In November 2006, Led Zeppelin was inducted into the UK Music Hall of Fame. The television broadcasting of the event consisted of an introduction to the band by various famous admirers, a presentation of an award to Jimmy Page and then a short speech by the guitarist. After this, rock group Wolfmother played a tribute to Led Zeppelin, playing the song "Communication Breakdown".[20][21]

    In 2006, Page attended the induction of Led Zeppelin to the UK Music Hall of Fame. During an interview for the BBC for said event, he expressed plans to record new material in 2007, saying "It's an album that I really need to get out of my system... there's a good album in there and it's ready to come out" and "Also there will be some Zeppelin things on the horizon".[citation needed]

    On 6 January 2007, Page was featured at #19 on Channel 4's The Ultimate Hellraiser, a countdown of music's top 25 who "lived the rock 'n' roll lifestyle". The show's reason for featuring Page was almost exclusively attributed to the groupies who toured with Led Zeppelin. In addition, many of John Bonham's shenanigans (for example driving a motorcycle down a hotel corridor) were blamed on Page.

    On 2 December 2007, Contacmusic.com confirmed that Page was "Too traumatised for Zeppelin reunion" until now. He states in the article, "After John Bonham's death I spent 15 years not even wanting to think about Led Zeppelin. But I also have difficulty thinking it's all over. Now at least one concert is planned and I'm incredibly happy about that."

    On 10 December 2007, the surviving members of Led Zeppelin, as well as John Bonham's son, Jason Bonham played a charity concert at the O2 Arena London.

    On 7 June 2008 Page and John Paul Jones played alongside the Foo Fighters at Wembley Stadium.

    On 20 June 2008, Page was awarded an honorary doctorate by the University of Surrey, for his services to the music industry.[22]

    For the 2008 Olympics, Jimmy Page, David Beckham and Leona Lewis represented Britain during the closing ceremonies on August 24, 2008. Beckham rode a double-decker bus into the stadium, and Page and Lewis performed Whole Lotta Love, representing the change in Olympic venue to London in 2012.[23]

    September 5 (2008) marks the Toronto premier of the music documentary "It Might Get Loud", featuring Jimmy Page, along with Jack White (of the White Stripes and The Raconteurs) and The Edge (of U2). The website is here
     
  13. fjminor

    fjminor Senior Member

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    I think Jimmy was more influenced by Eddie...see @ 1:44 in the video....:dude: - remember this is in 1966....:wow:


    Here is another video of Eddie using the bow to whip the singer into shape see @ 1:54...:lol::dude:
     
    Last edited by a moderator: Apr 23, 2017
  14. JimmyAce2006

    JimmyAce2006 V.I.P. Member

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    Now that pic is special! The question is which one is the 58 and which one is the 59? What year is the red one? 73? Seems like I knew that at one time.

    Looks like the 59 is the one on the right with the cover off the bridge pickup.......?
     
  15. Saiko

    Saiko Senior Member

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    Both of his Les Pauls are '59. Gibson confirmed this when they copied #1 for the 2004 model. #1 was thought for a while to be a '58 due to a single misprint in a magazine but Page and Gibson have always said that #1 (the left burst in the photo) and #2 (the one to the right) are both '59s. His red LP is actually a late '69 or early '70 LP that was resprayed. It would have to be considering he had this guitar in 1970. He only used it a couple times however until 1973 so a lot of people think it was a '73 but it would have to be a '69 or '70. I find it odd that #2 and #3 are labeled like that considering I have seen him use #3 more than #2. I suppose #2 was a backup for #1 however so he didn't use it much.

    Now he uses #2 more since his backup for #1 is the Gibson custom authentic they made for him. Oddly enough when they sent the first 25 guitars of the Custom Authentic series to him to be played and signed, they told him to pick his favorite to keep. He picked it without looking at the serial #. It just happened to be #1 of the series. He also has another exact copy of #1 aside from the one Gibson did but it was done by someone else, not Gibson and he also has that to back up #1.
     
  16. JimmyAce2006

    JimmyAce2006 V.I.P. Member

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    Yeah I just read that link with all the info on his guitars. You can tell by the coloring that the #1 is on the left. Do you mean the first 25 guitars he signed for the 2004 Signature guitar? I have heard there were 26 from a couple of web sites, but Gibson says 25.
     
  17. Saiko

    Saiko Senior Member

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    Yeah, I meant 25, I dunno where I got 50 from. I guess because a lot of custom runs do 50. I will edit it to fix that. Perhaps the 26 thing came because Gibson was planning on giving him one that was not numbered, but he chose #1 for himself after playing all 25.
     
  18. greebs

    greebs Member

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    Remember Willie and the Poor Boys? When I first heard These Arms of Mine, I thought it was The Firm.
    Great Page solo on that one.
    Also watching Stairway from Earls Court, I wonder if Ledfree was right on the rewiring of the EDS1275. He uses the top pickup switch when he's soloing which would normally be for the 12 string, not the 6 string.
    Since I don't own one, I could be wrong.
     
  19. TnT~55

    TnT~55 Senior Member

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    cool thread. I've read all of the stuff from different places, it's nice to have it all in one place.
     

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