An analysis about Jimmy's seacrets

Hindenburg, 1936.

Led Zeppelin icon Jimmy Page is widely considered to be one of the greatest and most influential guitarists of all time - read this one source. He was/is my greatest ideal - my enjoyable playing style is from him.

"Page isn’t only praised for his brilliance for creating guitar riffs and his varied style, but he’s also the mastermind behind Led Zeppelin’s sound both as a record producer and songwriter. His mastery in music turned the band into unquestionably one of the best bands in rock history."

True. But after the fourth album, no more swinging, no going, no dick (the biggest dick = band's name)

There’s no doubt that the Led Zeppelin legend has a long story to tell if he were to publish a memoir. With an exceptional music career that’s known for its longevity as well as its success, fans would

 "immediately jump on the idea of a Jimmy Page autobiography". 

Oftcourse.

"Unfortunately, Page himself doesn’t agree with this idea for a specific reason. Let’s look at the time when the guitarist candidly opened up about having a book about his life as well as his reason for keeping it unpublished until he dies."

I know those reasons - e.g. copyright violations and Satanism.

And there will be some so called Lori Maddox. She was, amazingly, just 14 when she met Page, though Page did what he could to keep the relationship hidden. Even in the "swingin' Seventies" this kind of thing could put you in jail. But with no TMZ or Us Weekly, Page got away with it. He eventually dumped Maddox for the of-legal-age Bebe Buell.

American journalist Ellen Sander has described life with Led Zeppelin as “like being inside cages at a zoo where you get to smell the shit first-hand". 

The same was said by Matti Laipio, a promoter employed by a Finnish record company, but that Page was a good guy, the only one of them.

"Since the Led Zeppelin icon belongs to that minority, Jimmy Page was asked a question about one of his previous statements regarding his future autobiography during a 2015 interview with Channel 4 News. When the interviewer suggested the possibility of him not wanting a memoir because he’s afraid of being sued, the rocker confirmed this truth but cleared the misunderstanding in his statement."

Jimmy Page with 17 year old Cameron Crowe
for Led Zeppelin’s and also Cameron’s first Rolling Stone
 cover story.

"In his own words, Page made it clear that he had a good reason for his decision to publish a memoir after he passed away. Apparently, the musician wants to release a book posthumously due to the possible legal problems he can face but not because he fears being sued."

Actually, it's pretty fucking much the same thing. The charges are read in court.

Jimmy Page stated that he has to wait "until he dies so he can deliver a real story since he wants to be able to freely express himself in his memoir without the possible restrictions. It seems like the rocker doesn’t want to restrain himself for the sake of just releasing a memoir and made a clever move by postponing it until his death."

According to Page’s statement about his autobiography all will be opened:

It went this kind of ways:

“I said what I would do is do a book to be released or published posthumously. That’s what I said. I said that for good reason because I wouldn’t just want to get caught up in legal wranglings. I just wanna be able to do a book, say what it was, and then let it be released. That’s all. So, I don’t want to get bogged down in any details of unpleasantness or whatever. I just want to tell the real story.”

I need your story, Jimmy.

Otherwise,

Frank Sinatra also refused the biography "too much of a thing - you don't want to remember."

B.T.W.

Perhaps part of same type of causes and violent crimes.

Yes I can do

Distorted electric guitar

Jimmy Page with bow in1969.
the photo by Chris Walter

The Kinks are refuting a new BBC Radio 2 documentary that once again alleges the long-debunked myth that Jimmy Page played on their 1964 hit, You Really Got Me.
He has never say that he didn’t play on the track You Really Got Me.
Yes, he played just on that track, among other things.

We know  that Jimmy Page played lead guitar on The Who's Bald Headed Woman.
It explained how Jimmy Page ended up on lead for The Who´s Bald Headed Woman. Those the fuzz-pedal sounds, which droning throughout is played by Page.
The reason being, he owned the only fuzz box in the United Kingdom at that time.
Perhaps the first sucht this kind of Fuzz used by Jimmy Hendrix in America.
(today I have a similar one)

They did it in Iceland

I think ‘Immigrant Song’ was great. Having been to Iceland, where we wrote it, I could understand exactly how it caught me musically and the agitation of the music too. It was smooth, cool.

At radio station Q107 in 2010, Robert Plant shared the reason why this song The Immigrant Song (1970) meant so much to him.

We weren’t being pompous … We did come from the land of the ice and snow. We were guests of the Icelandic Government on a cultural mission. We were invited to play a concert in Reykjavik and the day before we arrived all the civil servants went on strike and the gig was going to be cancelled. The university prepared a concert hall for us and it was phenomenal.

Plant in Chris Welch's book his 1994 book Led Zeppelin, reflecting on the now iconic trip to Iceland.

The response from the kids was remarkable and we had a great time. ‘Immigrant Song’ was about that trip and it was the opening track on the album that was intended to be incredibly different.

I also like to play and sing this piece.
But why are there two completely different versions of it?
That the another version of The Song find from the remastered Zeb's III album.

Yes, you were the best

On this day in 1965,
John Mayall released the single Witch Doctor
on Immediate Records, where page was a producer

Jimmy Page recently told Uncut magazine why Led Zeppelin were the greatest band,

What I mean is: when you talk about a band as a collaborative musical unit, we were the best. ..

I am not talking about one or two genius songwriters, and everyone else tagging along. I am talking about a collection of musicians who are each at the top of their craft in their own right. In Led Zeppelin, we were exactly that.

 Page recently revealed who ruined the Led Zeppelin reunion:

It’s really hard to say something like that and not sound conceited, but over the years, a lot of other musicians have told me they thought we were the best. I’m not talking about record sales or concert attendance, although I think we can hold our own with anyone.

Led Zeppelin guitarist Jimmy Page revealed that he rejected a distortion pedal that was given to Jimi Hendrix in a new interview. Page rejected the Octavia used on Hendrix’s classic hit Purple Haze.

One own comment: still I use the Octavia pedal, when we 're playing with this hard song Purple Haze.

It was a pivotal moment for my sound. I met this guy called Roger Mayer at a gig in Surbiton. He worked for the Admiralty and he was a boffin, really, into his music. He asked me if I needed anything for my guitar. He came over to my house one day and I played him a song with electric distortion and said, ‘I want to find a way to sustain it.'

Jimmy continues:

Mayer went away and came back with this box with an on/off switch – that meant you could control the distortion. It was phenomenal. When I started taking it to sessions, the other guitarists were blown away. The blood drained from their faces – but the guys doing the arrangements loved it.

Then there were Mayer’s “other box,” some modulator.

It was difficult to control in the studio from the guitar, so I said it wasn’t for me.

Read Page’s full remarks about the distortion pedal and Jimi Hendrix at Uncut Magazine.

Here comes the sun

They did not steal Stairway To Heaven's chords
- appeals court rules
Led Zeppelin have triumphed in a long-running copyright dispute after a US appeals court ruled they did not steal the opening chord's theme in the song Stairway To Heaven.
Led Zeppelin's Robert Plant and Jimmy Page gave evidence at a 2016 trial.
The British rock legends were accused in 2014 of ripping off a song called Taurus by the US band Spirit.
Taurus was written in 1968, three years before Stairway To Heaven. Now, the 9th US Circuit Court of Appeals in San Francisco has upheld a 2016 trial verdict that found Led Zeppelin did not copy it.
The end.
Stairway To Heaven is sad song but it regularly appears on lists of the greatest rock songs ever written, and the case has been one of the music industry's longest-running and closely-watched disputes.
I'm tired of it.

Led Zeppelin singer Robert Plant and guitarist Jimmy Page, who wrote the song, could have faced a bill for millions of dollars in damages if they had lost.
The Spirit song was written by the band's singer/guitarist Randy California, who died in 1997. The case was brought by Michael Skidmore, a trustee for his estate.

By the way,
Singer Robert Plant and guitarist Jimmy Page use to talk to each other in the style, that they are the best in the world
- that's what they are (or were).

Man with the stage sparks

Jimmy Page gave us the way play guitar - 
but trully the spirit, the way to do it.
I see his influences everywhere.

I was in this magazine.

Albert Järvinen (25 October 1950 Iitti – 24 March 1991 London) was a Finnish guitarist. He was best known as the guitarist of the Finnish rock band Hurriganes. Pekka got his stage-name Albert from one of his idols, blues guitarist Albert King. He is also mine  (as well Jimmy Page).
And then.
Järvinen died during a Timo Kojo's band concert trip in London, UK, in the Spring of 1991, aged 40. The "official cause" of death was myocardial infarction.
But now we know. He was dry on drugs, maybe, but used a substitute - at an accelerating pace.
On the very last day of his life (at night) he met his old fellow Lemmy Kilmister.
I suppose that he got methadrine on his head, and (I suppose) he knew that it will be too much to him.
Järvinen is buried in Honkanummi cemetery.
b.t.w.

Heavy rock lost its one iconic figure in December 2015 with the sudden and unexpected death of Lemmy Kilmister.  They say that Lemmy was a force of nature and the very essence of heavy metal. Maybe, I didn't like.

An envious shit is talking

I thought it was unnecessarily loud. I liked some of it; I really did like some of it. But a lot of it was just too much. They overemphasized whatever point they were making, I thought.

They were very loud,

stay-at-home Eric Clapton is quoted as saying in Ritchie Yorke's Led Zeppelin: The Definitive Biography.
But they were better than you, ever never.

"I haven't heard Jake Holmes"

That was the infamous moment of my life when Dazed and Confused fell into the loving arms and hands of Jimmy Page. 

by Jake Holmes.
He recalled so in an interview with Will Shade.
Holmes opened for the Yardbirds' gig there at a Greenwich Village gig in August 1967.
As documented by Perfect Sound Forever magazine.
And what says Yardbirds drummer Jim McCarty. He described going to a record shop the next day to buy a copy of Holmes's album.

We decided to do a version, 

he said.

We worked it out together with Jimmy contributing the guitar riffs in the middle.

In fact, the path that leads from Holmes to Page is very well known, according to The Guardian.
When the Yardbirds broke up in 1968, Page brought the song to his new band, releasing it on Led Zeppelin's self-titled first album.
But although Holmes's contribution to the tune is often commented upon – and even dominates Dazed and Confused's Wikipedia page – Page is credited as the track's sole songwriter.
What says Jimmy?
In 1990, Musician magazine quizzed Page on the subject, asking if Holmes was the original composer.

I don't know about all that.

I'd rather not get into it because I don't know all the circumstances. What's he got – the riff or whatever?

I haven't heard Jake Holmes so I don't know what it's all about anyway. 

Page replied. 

Usually my riffs are pretty damn original.

Yes, usually.

Page,

now I want to take couple of the original rhythms, and put them in your song.

By the way, I never like it the end of your song ..Dazed and Confused.

I can't stand this teasing, I'm starting to crack
You're out to get me, you're on the right track
Secrets are fun to a certain degree
But this one's no fun cause the secret's on me

på min spellist Bonamassa

Efter Jimmy Pages bästa tid eller Stevie Ray Vaughans alltför tidiga frånfälle - finns här och där många människor som vill se Joe Bonamassa som den store förnyaren av elektrisk blues och den som skall föra detta amerikanska kulturarv vidare till en ny generation.
Joe Bonamassa har hunnit bli 41 år och är en mer än värdig representant med en öppen och eklektisk syn på musik.
Hans spell-idé överensstämde fungerar ganska väl med dom skivor som John Mayall gjorde tillexempel med Peter Green.
Det är heavy blues till han.
Jag var också ute efter att få in den där europeiska approachen, den lite mer sofistikerade bluesstilen, har Joe sagt så.
Jag såg han i Helsingfors i lördag.
Låtlistan:
King Bee Shakedown
Evil Mama
Just 'Cos You Can Don't Mean You Should
Self Inflicted Wounds
Don't Lie to Me (Albert King cover)
No Good Place for the Lonely
How Deep This River Runs
Breaking Up Somebody's Home (Albert King cover)
Slow Train
Mountain Time
Boogie With Stu (Led Zeppelin cover)
Last Kiss
Sloe Gin (Tim Curry cover)
Mainline Florida

One of the craziest

Photo: Brigette; www.ten-years-after.com.

They think that it is no less than one kind of shortage with the skill to play, if you used in fifths.

According to usually trusted sources, the cleverest musicians, this or that plank spanker he just cannot play on common chords.
Yes, they think so after 45 years later then Tony Yomi, Jimmy Page but also Alvin Lee and ... they began to use them by dual sound track structures.
I say, there is one track, by TYA, Working On The Road.
I've been practicing it for about 27 years.
(I´m able to use all the chords).

100 percent the best

Wes Montgomery.

Greatest Guitarists of All Time, 28. Eric Clapton, according to readers of Guitar World magazine.
Did I ever tell you, I never did like his guitar playing, really.
I see also..
And then,
position 49. Alexi Laiho, man from the Bodom´s area.
54. Jerry Garcia, too low.
82. Robert Fripp, is better.
90. Robin Trower, is better too.
96. Mark Knopfler, what a shame for his position.
100. Wes Montgomery, if only they could hear and understand what they have listened to.

If you can hear the sound of planets, of weeping

He didn´t look like old middle ages samurai but he played his fine
music of the spheres in 1967. Quitar played by a cello´s bow.
He was the bigger than other quitar-heroes, I have learnt lot from him - for music.
Did I ever tell you, I have never like it his spiritual hobbies.

Ta av dina hatter (fram för Roy Harper)

Sker i Tammerforshuset, is.
Konserten första hälften av blev tvungna att ta bort en manliga, i sina egna kommentarer injicerade viewer, och från publiken med tre bärare kraften.
Jag vet inte dessa danser. men när rock-manniskor ska spela en spelning, behöver inte skrika, enligt IL, särskilt när av biskopen talas.
Vad helvete.
Bandet Mulkvist har sin egen uppfattning, dags för en radikal, och det "kommer att väcka förargelse".
Från det här att "kommer att väcka förargelse" är inte långt borta från det faktum att en av de gamla spelare, vår vän, också en vän till Saku Kuosmanen, nu är han i frimurarna.

Musik förblir livet

Folkmusikern Bert Jansch (född 3 november 1943 i Glasgow, död 5 oktober 2011) gått bort efter en tids sjukdom.

Jansch var en musiker som inspirerat generationer av musiker, gitarr hjeltar lika som Jimmy Page samt yngre gitarrstjärnor som Johnny Marr från en band The Smiths.
Såväl har influerats av Bert Jansch, och mer moderna förmågor som José González och ASS, jämförs ofta med honom.
Jansch var en föregångare inom den lågmälda, brittiska singer/songwriter-traditionen, men, många sager, kanske framför allt för den speciella typ av gitarrspel som han fört vidare till en hel generation unga indiefolk-gitarrister.
Någon ska till och med ha sagt att Bert Jansch var i den akustiska gitarrens värld det Jimi Hendrix var i elgitarrens. Jag tycker om hans stilen.

He did it his own way

A guy in St. Louis, George F. Blackburn, changed his name to Led Zeppelin II,
Why?
According to STLtoday.com mr. Zeppelin said he had a childhood fascination with zeppelins, and has been a fan of the rock stars since seeing them live in concert in Chicago in the late 1960s. It has been a love affair with their music since. The "II" at the end of the name is after the band's second album, `Led Zeppelin II´.

They changed my life, forever, and that's my whole reason for doing this.

I reinvented myself, since I became Led Zeppelin, my life has improved a thousand fold.

Yes, this album exploded in my young consciousness, but still I have my own name.
Sure, this is the World´s best rock-album.

Btw. There are lot of stories what the name Led Zeppeling really means, and how the band got their new name. Bullshit.
It means just an enormous cock, in this context, the Leading cock.

He’s never out of tune

Roy Harper's is one of the great lost stories of English music.
Uncut's Editor´s letter by Allan Jones.

There was A lot of catching up to do when I interviewed Roy Harper for the feature in this month's issue. We've kept in touch, sometimes vaguely, rather more regularly recently, but I hadn't seen him for many years, one thing or another scuppering various plans to get together. With Roy fast approaching his 70th birthday, talk between us meandered around the subject of how he'd be remembered.
There was much laughter when it seemed to him that it might be for kissing a sheep. This was a story put about when people were wondering what had happened to him after he was hospitalised in the early '70s for what was eventually diagnosed as a serious degenerative condition.

According to Uncut´s feature, Roy Harper:
Very early on, Robert Plant, Jimmy Page and myself were listening to something one of us had done. I said “Jimmy, are you out of tune there?” And Robert flew at me: “What do you mean, is he out of tune? He’s never out of tune!” I thought shit, I’ve been really told off.
I told them not to worry about it and that I’d just listen again. So I listened to it again. It was out of tune, but at the same time, it wasn’t. !

There was an ethos about it that was completely on the ball. And it had taken Robert, just with a couple of words, to tell me that not everything is perfectly in tune, but it is if you listen to the context.

He was being very protective of Jimmy, but at the same time, it was a good lesson for me to learn. I took it as an educated thing from Robert. Both he and Jimmy were in a realm were those things had ceased to be the major concern. The major concern was the feel of the music.

And that is the real nature of rock’n’roll, the core of it.

I read this Umcut's new interview, I did enjoy but I cried.
Yes, like Roy did say:
`I need my own Good Friday.´

Roy´s fine lyric is hard sometimes, as they used to say, but he is the one easier as Peter Hammill, for instance

Belsazar’s Feast versus The Devil's Triangle

One has been observed and documented: I was listening to King Crimson’s Thrak yesterday, and I followed it immediately with Sibelius’ Finlandia/Tone Poems. I was taken aback by the numerous touchpoints;

According to Syzygus Fripp and/or Belew had to have listened to Sibelius around the time they were working on this at Peter Gabriel’s Real World studio in Bath.
And:

I wouldn’t be at all surprised if they put Sgt. Pepper’s Lonely Heart’s Club Band, Finlandia, and Peter Gabriel’s Melting Face album on random play in the disc changer.

I must say, without this composition Belsazar’s Feast (Op. 51), by Jean Sibelius (1865-1957) may we would´t never ever heard Fipp´s early magnum opus `Mars´ and opus called `The Devil's Triangle´. The first version of King Crimson played The Mars in every section end.
Mars played by the original King Crimson, based on a complex pulse in 5/4 time over which a skirling melody is played with an ancient Mellotron. he use of a gradually building rhythmic motif by Belsazar’s Feast and include also in `The Devil's Triangle´. Someone said, that it was an adaptation and variation on the Gustav Holst, english composer (1874 – 1934), piece Mars.
Btw. Hols is most famous for his orchestral suite The Planets.
But word of warning mainly rythm riff´s gestation of `Mars/The Devil's Triangle´ becomes clously Sibelius.
Word of warning II: planets are planets, and who has ears listen, there is such one (or two) kind of rythm and sound (The young Jimmy Page´s cuitar, in the tide of Zeb´ was near of real from cosmical spheres).

The Devil's Triangle (inc. I Merday Morn, II Hand of Sceiron, III Garden of Worm) is one kind of cult song.
I do´not why, my brother said it was an instrumeltal, wich filled tracks in the end of The album In the wake of Poseidon, 1970.

and then with brown tongue Belew, having been a consistent member of KC since 1981, what about him?
Did I ever tell you, I never like his face.

Above: Jimmy Page rockin’ with a violin bow solo. Photography: Yoshi

Sedät jaksaa kohkata - kuolostakin

Seurasin hieman Ronnie James Dion elämästä ja keskikertaisen uran vaikutuksesta käytyä keskustelua. Näistä oikein tiedä, kuuntelen pitkiä aikajaksoja klassista musiikkia, ja joskus se tuntuu vain että jään sille tielleni, ainakin nämä rockörkit tuntuvat hyvin kaukaisilta.

Dion ääni on ollut joskus 1970-luvun alkupuolella poikkeuksellisen vahva.
Ja Diosta on nyt ollut yllättävän paljon asiaa, monille merkinnyt paljon. Muistan, että hän lauloi mm. Rainbow-platalla Long Live Rock 'n' Roll, 1978, ei mielestäni mitään ihmeellistä, mutta siis nousi esiin Elf:n laulajana.
Hänhän korvasi Sabbathissa Ozzy Osbournen, joka twitteröi asiasta, mutta jo Liken Minä, Ozzy, otti periaatekannan:

Minulla ei ole mitään pahaa sanottavaa seuraajastani, sillä Rainbow'ssa aiemmin laulanut Ronnie James Dio on hieno vokalisti. Hän ei kuitenkaan ole minä enkä minä hän. Siksi olisin toivonut, että jätkät olisivat kutsuneet bändiä vaikka Black Sabbath II:ksi. Ei siinä sen kummempaa.

Tämä on kohtuullinen vaatimus - ja yleistettävissä, sillä maailmaa näköjään kiertää monta eri versiota vanhoista bändeistä: Barcley James Harvest, King Crimson, Floyd, Heep .. ym. , voimansa menettäneinä leipääntyneinä, mutta joskus myös henkisesti harhautuneina, esim. Page, Fripp.
Jos siis jotain aitoa metafyysistä ätmöstä on alkujaan ollutkin, näissä tapaukissa yleensä yhteinen nimittäjä ovat hallusogeeniset huumeet, meska ja koka, kama, jonka kanssa yksilön koko henkisen alkukuvan mojo on otettu förstkottina.
Yllättävän lyhyitä merkityksellisen luovan vaiheen jaksot ovat sitten olleetkin.
Otan toisen esimerkin Jethro Tull - jonka johtaja ja luovavoima, lähinnä filosofiaa vetänyt Ian Anderson oli pedantti, ja ajoin suorastaan hysteerisen tarkka, ettei roinaa vedetty, eikä kai paljon alkoholiakaan.
Bändin This Was -albumista, v. 1968, alkanut täyspanoin luovajakso ulottui ainakin albumiin Stormwatch, 1979. Tusina albumia.
Strawbs pystyi melkein samaan tasonsa säilyttäen. Ja taas suht' luomupohjalta.