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Light and Shade: Conversations with Jimmy Page [Format Kindle]

Brad Tolinski
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Descriptions du produit


Chapter 1

Jimmy Page discovers the guitar, becomes a local legend, goes to art school, and helps usher in the British blues boom.

“There was a fight almost every time we performed . . .”

It is an old, old story, the heartbeat of many an ancient myth. A young man of humble background stumbles upon a mysterious talisman, the mastery of which would change the course of his life. The boy embarks on a lengthy journey, during which his skills, strength, and mettle are tested to determine his worth. He ultimately unlocks the awesome power of the talisman, leading to great glory for himself and, often as not, a reordering of the cosmos. So it was with Jimmy Page, founder of Led Zeppelin and one of rock’s greatest guitar legends.

On Sunday, January 9, 1944, James Patrick Page was born to parents James and Patricia in the London borough of Hounslow. The family stayed in the area for nearly a decade, until the noise from nearby Heathrow Airport prompted them to move to the quiet suburb of Epsom, in Surrey. Or, as Page dryly remarks, “When the jets arrived, the family left.” It’s here that the real story begins.

“The weirdest thing about moving to Epsom was that there was a guitar in the house,” Page told British journalist Charles Shaar Murray in 2004. “I don’t know whether it was left behind by the people before, or whether it [belonged to] a friend of the family’s—nobody seems to know how it got there.”

It would be a stretch to suggest that Jimmy’s discovery of a mysteriously discarded guitar was an act of divine providence. However, it is indisputable that a man whom millions would one day call the King led Page to realize that his destiny was linked to his mastery of that gift guitar: Jimmy has stated that Elvis Presley’s recording of “Baby Let’s Play House,” featuring the slicing, reverb-soaked rockabilly licks of guitarist Scotty Moore, was one of many key tracks that inspired him to get serious about music. “I heard that record and I wanted to be a part of it,” he explains. “I knew something was going on.”

At the age of thirteen, Page learned to tune his guitar from school friends and to strum some rudimentary chords from some local players, but beyond that he was largely self-taught. He learned by ear how to play songs from recordings by British skiffle sensation Lonnie Donegan and early American rockers like Presley, Eddie Cochran, and Gene Vincent.

Impressed by his dedication, Jimmy’s dad bought him an acoustic sunburst Hofner President f-hole guitar, which resembled the big Gibson guitars played by his heroes Moore and Chuck Berry. In little over a year, Page was already good enough to perform two songs on the BBC-TV program All Your Own, a talent show for teens hosted by Huw Wheldon. Videos of the 1958 performance show the precocious Page bopping with confident enthusiasm while playing the novelty song “Mama Don’t Allow No Skiffle Around Here” and Leadbelly’s “Cotton Fields.”

Soon afterward, Page bought his first solid-body electric guitar, a three-pickup 1958 Resonet Grazioso Futurama, which resembled the sleek Fender Stratocaster guitars favored by rock stars such as Buddy Holly. He continued to hone his craft while playing with a series of local Epsom bands, and in 1960 he caught the eye of music manager Chris Tidmarsh, who sought to recruit him for a gang of rockers called Red E. Lewis and the Red Caps, whose very name was a tribute to Jimmy’s heroes, Gene Vincent and the Blue Caps.

Page remembers those early shows as being fun but rowdy. “I was still in school, so we would only play on weekends,” he says. “But it was an eye-opening experience. There was a fight almost every time we performed. It wasn’t like the fights you have these days, where people get shot, stabbed, or killed. It was more like violent sport. Basically, the first guy to hit the floor lost, and that would be it. But I had to learn how to keep my head down and play though all kinds of situations.”

Several months after Jimmy joined the Red Caps, Tidmarsh, who changed his name to Neil Christian, fired Red E. Lewis and made himself the band’s singer. He renamed the band Neil Christian and the Crusaders and aggressively hit the road, playing up and down the English club circuit.

A big part of the group’s popularity was the boy wonder Page, who was able to replicate the popular sounds of the day with his newly acquired orange Gretsch Chet Atkins Country Gentleman. From the high-energy rock and R&B of Chuck Berry and Little Richard to slower instrumentals like Santo and Johnny’s “Sleep Walk” to whatever was in the Top 20, Jimmy could play it all, and do so with flair.

While the shows were always exciting, the living conditions, pace of the performances, and tough travel itineraries were emotionally and physically punishing. For the next two years, Neil Christian and the Crusaders lived out of the back of their van and in the clubs they headlined at, sleeping on floors or on top of their instruments.

One night in the summer of 1962, Page collapsed after a gig. He was diagnosed with a form of mononucleosis, and soon thereafter he gave his notice.

Jimmy’s introduction to the entertainment business had been rough-and-tumble, but there was no doubt that, by the age of eighteen, he had become a polished guitarist, mature beyond his years. His reputation had grown to such an extent that, even while he was in the Crusaders, he had been asked to play on a 1962 recording session with two of England’s most respected rock musicians: bassist Jet Harris and drummer Tony Meehan, both of whom played with one of Britain’s biggest bands, the Shadows. The song they recorded was “Diamonds,” an instrumental composed by Jerry Lordan, and it became a number-one smash in the UK charts in early 1963. It was also during this period that UK blues harmonica virtuoso Cyril Davies approached Page to join his influential R&B All-Star Band. But after his experiences with the Crusaders, Jimmy was wary about becoming a touring musician.

While recovering from his illness, Page began to consider his prospects. He loved playing guitar, but his time in Neil Christian’s band gave him second thoughts about making music his career. He had been doing a lot of painting and drawing in his free time and decided to take a prediploma course at Surrey’s Sutton Art College. For the next year and a half, Jimmy diligently pursued his formal studies, but perhaps just as diligently, he continued to play the guitar.

Page began spending his evenings haunting the small but growing London blues-club scene, jamming at places like London’s Marquee Club and Richmond’s Crawdaddy Club. The British blues boom was in its embryonic stages, but he was already well versed in the music of the American South. His interest had been piqued years earlier by his beloved rockabilly, but local R&B buffs and record collectors fanned the flames.

Just as he had devoured the licks of Gene Vincent guitarist Cliff Gallup and Ricky Nelson guitarist James Burton, Page greedily consumed the solo and rhythm styles of blues players like Hubert Sumlin, Elmore James, and Memphis Slim guitarist Matt “Guitar” Murphy. During his time in the Crusaders, Jimmy attempted to incorporate his new passion into the band’s repertoire, but the music did not sit well with the mainstream ballroom-dancing crowds that constituted its main audience.

The times were changing, however, and a year or two later, British music fans began taking greater interest in black American sounds. In the north of England, the Beatles were having great success playing songs from Motown’s dance-oriented R&B catalog. But in the south, a small and devoted group of musicians took to studying and performing the raw electric blues released by Chess Records and other Chicago-based labels. In 1962, harpist Cyril Davies and guitarist Alexis Korner opened a new Thursday residence at the Marquee Club with their band Blues Incorporated. The gigs became a meeting place for hipsters and musicians who enthusiastically embraced the music of Muddy Waters, Howlin’ Wolf, and other Chicago blues greats. Soon, Jimmy was invited to lead a band that performed at the Marquee during the interval between the headliner’s sets.

During that period, Page realized the extent to which he was still passionate about the guitar. While he pondered his future, fate intervened when he was invited to play on several more recording sessions. Soon he began to think that a career as a studio guitarist might be a good way to earn a living without having to tour.



You started playing the electric guitar when it was still a relatively exotic and unusual instrument. What inspired you to pick it up?

Like many young people of the era, I loved the guitar-driven rockabilly of Elvis and Gene Vincent. It’s amazing to me now: The guitar parts were so subdued, but I was so engrossed that they seemed very loud—right up there. I just used to listen to my music, and in my mind, I would go back through the cone of the speaker into a world of my own. I would pretend that I was sitting in the studio with these artists and engineers and we’d study the echo and how the music was created. I might’ve been deluding myself, but I thought I could tell the difference between the recorded sound of one particular session from another and what was being applied. Certain echoes and reverbs seemed earth-shattering. Now when I listen to those same records, all of those effects are way in the background, but that’s how hard we studied these records, and that’s how hungry we were. All of us—Eric Clapton, Jeff Beck, and our contemporaries—went through the same process. Those early rock and blues records grabbed us hard.

When did the blues come into the picture?

It didn’t take me long to notice that some of my favorite Elvis songs, like “Hound Dog” and “Milk Cow Blues,” were originally written and recorded by blues performers. We began to discover people like Arthur Crudup, who wrote Presley’s hit “That’s All Right.” So in this way, bit by bit, you start understanding a much bigger musical picture. You discover that music is a tapestry that unfolds.

I started going back to the source of his music through a friend of mine that was a record collector. He had an amazing stash of blues albums, and he was very generous about letting me listen to them. No one was really playing the blues on the radio or in clubs yet, so it was still an underground thing; records were very hard to find.

It’s not hard to see why I gravitated to rock and blues. I was a guitarist and it was a very guitar-centric music. If you were a guitarist at that time, your appetite was voracious for Chuck Berry and all the blues that was coming out of Chicago.

The fact that the blues dealt with sex and the devil must have also made them attractive to a young guy.

When I heard those songs for the first time, they really did send chills up my spine. They still do.

What saved the day was that there were other people that just really loved rock, blues, and R&B, and they also began collecting these obscure records. Soon a whole network formed of people who would swap and trade music. They’d lend you a record so you could work out certain solos. None of us really had any money to buy all of these rare imported albums, but it all built up. It was a very, very important period.

Besides record collectors, who were some of the other heroes who brought the blues and rock to England?

Well, you would have to mention Alexis Korner and Cyril Davies, who had a band called Blues Incorporated. Alexis played acoustic guitar and Cyril was an amazing electric harp player, and back in the early sixties they would host these regular blues jams on Thursday nights at the Marquee Club. It was the only thing like that in London at the time. The Rolling Stones played there before they became famous, Clapton would be in the audience, and I would regularly participate in jam sessions that would happen between sets.

Alexis also brought blues artists like Muddy Waters and Sonny Boy Williamson to England for the first time, which was incredible.

Was the Marquee a big place?

I guess it held a couple hundred people. It seemed very big at the time to me, I’ll tell you that! [laughs] It was a big gig for me.

I remember one night Matthew Murphy came to play the Marquee. The place was packed, because we all loved his playing. We were all psyched and ready for him to rock out, and he looked at us and said, “Naw, man, I just want to play some jazz.” Everybody just groaned. It was very funny.

What kind of music were you playing at that time?

I was trying to play like Matt Murphy! [laughs] I think I was also playing some Freddy King.

Was the release of Robert Johnson’s King of the Delta Blues Singers in 1961 a significant event in the UK?

It was significant, but it took a little while to get around the grapevine. But, believe me, there was a grapevine. That’s how we heard about Freddy and Albert King, Robert Johnson, and a number of other country bluesmen.

What did you think of your white, blues-playing contemporaries at that time? Did you like the Stones, the Animals, and the early Yardbirds, or did you think they were jive for trying to play black music?

There was no real snobbery; we were all trying to do our own take on the blues at that time. I had heard about the Stones from the recording engineer Glyn Johns. I was working as a session musician at the time, and he would rave about them. I finally went to see them, and I was really impressed. They really had the Muddy Waters groove dead-on. Brian Jones in particular was playing very authentically.

A milestone in the development of British blues was when Sonny Boy Williamson actually played and recorded with Eric Clapton and the Yardbirds. Clapton, who was in the band at the time, has said it was a real education for him, but he didn’t think it turned out well. Again, what did you think of their collaboration?

When I first heard about it, I thought it was really exciting. I mean, no one really expected the Yardbirds to sound like a Chess band, but I thought they did a really credible job. They had their own take on the blues, and there’s nothing wrong with that. There was just so much going on at that time, and everyone was just trying to push the music further.

Revue de presse

“An effective, comprehensive account in the guitarist’s own words of his life and music….Keep a copy near the records – and your guitar.” – Rolling Stone

“Brad Tolinski’s Light & Shade: Conversations With Jimmy Page sheds serious light on this poorly understood, enigmatic musical genius.” – Boston Globe

“A highly engrossing story.  Light and Shade is simply an excellent rock ’n’ roll read.” – New York Journal of Books

“An incredible account of one of rock music's most interesting careers, and a detailed look into the works of Jimmy Page. Tolinski demonstrates a special ability to elicit insightful, in-depth responses to his musical inquires and the result is far more revealing than average question and answer interview sessions. This may be the most probing and enjoyable explication of Page's career ever written….A vivid, immensely interesting and enlightening yet candid history of a genius and a giant. Light and Shade is by far one of the best books on the subject related to Led Zeppelin and a portrait of a figure of immeasurable musical and cultural importance.” –

“A compelling oral biography… The level of personal trust and the generous access that Page afforded Tolinski is evident throughout the book’s content and in its tone. It’s page after page of Page—a classy, thoughtful gift for rock fans.”
- SMOKE Magazine

“By shining a light on the shadowy Page, Tolinski has created a must-have for any Led Zeppelin fan or guitar player.” – Publishers Weekly

“This book shows the serious artistic side of Jimmy Page.  A must-have item for rock music collections.” – Booklist  

“This is the most comprehensive & compelling collection of interviews, insights & historical anecdotes of one of Rock and Roll's premier guitarists, songwriters and producers ever compiled.  A fascinating must-have for Jimmy Page fans like myself.” – Slash

Light & Shade illuminates the haunted genius of Jimmy Page in an original and completely satisfying way.  The conversational dynamic between the author and the subject reveals a wealth of info about the man, the music, and the magick.”
Kirk Hammett, Metallica
“Jimmy Page…the one and only!  From mild to wild, Jimmy sez it all.  This fine work will rock you!” – Billy Gibbons, ZZ Top

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Commentaires client les plus utiles
5.0 étoiles sur 5 Super 22 novembre 2014
Par R. Marie
Format:Broché|Achat vérifié
If you are a fan of Jimmy Page or Led Zeppelin you will love this insight into the creative genius of Jimmy Page.
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Commentaires client les plus utiles sur (beta) 4.5 étoiles sur 5  182 commentaires
42 internautes sur 43 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Wish more music bios were like this 28 octobre 2012
Par Enjoying the Ride - Publié sur
I picked this book up the first day it was on sale, based on some reviews in Guitar Aficionado. I'm about half way through and am not disappointed at all.
Instead of a typical rock musician bio that details tours (throwing TV's out the hotel window, nailing groupies, etc) and provides little more than paraphrased reviews of earlier songs, this is a book that would appeal to the guitarist and/or true fan of Page. I loved the duo interviews with Page and Beck or Page and Jack White; Page's words on which guitar/effect he used for which song or album; or his interest in the occult, production methods, and musical influences.
It would be nice if all music bios were like this (I'm thinking of Keith's autobiography from several years ago which, while fun to read, was very little on the stuff that would be of interest to the guitar/musician fan).
So have fun with this book. Keep it on your music bookshelf.
And if you don't have a 58/59 Les Paul yet (or even a dragon-styled telecaster) after reading this book you just might!
28 internautes sur 29 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Collection of interviews 1 novembre 2012
Par aaron grogan - Publié sur
Format:Relié|Achat vérifié
This was a good read. As a serious Jimmy Page fan, I have read all of these interviews in Guitar World Magazine over the years, but its nice to have them in a collection. Sadly, cant give it 5 stars because its just music interviews. Until Mr Page decides that more than 2500 people need to know his story, we wont get the real truth. Jimmy only has one authorized biography - the 2500 copy variety - but until we get more, this one will do as a wonderful collection of information on his music. Sadly, not much is mentioned of in through the out door era. Highlites include an interview with Paul Rodgers about The Firm, and Jimmy talking extensively about Zeppelins current projects (remasters and DVD)
18 internautes sur 18 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Itch-scratcher for Fervent Zep Fans ... 23 octobre 2013
Par DACHokie - Publié sur
Format:Relié|Achat vérifié
Laughably maligned by critics for most of its active career, a revision of Greek mythology may now include a 13th slot for the band on Mount Olympus as they are arguably the Zeus of rock and roll music (sorry Elvis, you had the mojo and the hip-swing, but didn't bring the lightning and thunder). While Zeppelin's career may have been relatively short-lived, it still managed to burn an indelible, mysterious mark in modern music history that is largely kept alive by its introverted, immensely talented and equally mysterious mastermind, Jimmy Page. Tabloid-like tell-alls aside, LIGHT AND SHADE gives Page a platform to speak somewhat openly about his musical life before, during and after Zeppelin ... a satisfyingly light meal for fans, but few others.

Guitar World magazine's Editor-in-Chief, Brad Tolinski, provides a book's worth of material that mainly includes transcriptions of his interviews with Page over the years. Straight-forward and somewhat narrow in scope, Page doesn't reveal too much more that is already known or widely speculated. LIGHT AND SHADE is organized in chronological chapters that chart significant periods in the musician's life. The chapters open with the author's summary of the period being discussed and are supported with Q and A transcriptions that allow Page to elaborate. The interviews are fairly safe and it appears clear that Tolinski took great care in avoiding issues that may have irritated Page or made him defensive. LIGHT AND SHADE is obviously a book written by a fan, for fans. But, considering Jimmy Page's reclusive/guarded nature, I can't fault Tolinski as he got the man to speak rather openly about his musical career (not to mention Tolinski surely wants to ensure future Page interviews). So, the Q and A involves a lot of softball questions that are safely aimed in the direction Page wants them to go. The only "out-of-bounds" topic approached was the discussion of Page's interest in the occult, but the manner in which the interview is conducted appears quite contrived and more of a platform for Page to put the "stories" to rest under his own direction (as it consumes a complete chapter). Page's mysterious aura is obviously enhanced by his speculated association/interest in the occult and while many could care less about this part of the man's life (like me); there are those who do take interest, thus covering the topic is probably needed to validate the book.

Most of LIGHT AND SHADE is dedicated to music and while Page yearns to be known for his entire body of work (from Yardbirds to the Firm and even his collaboration with David Coverdale) it is hard to avoid the elephant in the room ... Led Zeppelin. The conversations about Zeppelin obviously dominate the conversations and Tolinski effectively puts his musical knowledge to use and gets Page to openly delve into the mechanics of the band's sound and production. The interviews convey the enormous sense of pride Jimmy Page has for the band, the quality of music it generated and it's place in history. This is an aspect of the book that should shine for those who are musicians and not just casual fans of the band's catalogue of songs. While I enjoyed these parts of the book the most, many of the Zeppelin-themed discussions are more back-and-forth "technobabble" (specific chords, effects, production techniques, etc.) between two knowledgeable people that might not be too interesting (or understandable) to others. Page does not elaborate too much on his drug use, nor does he gush about (or refute) the raucous tales of touring that have contributed to the band's legacy ... it's mostly about the music. Some chapters are enhanced with interviews of others who have collaborated with Page over the years (Jeff Beck, Paul Rogers of Bad Company and the White Stripes' Jack White) and there are sections that specifically address the guitarist's equipment (a plus for fans who are musicians), his ten "best" songs and even his style (elaborate discussion on the astrological symbolism of Page's stage attire).

I found LIGHT AND SHADE to be relevant from the perspective that I am a guitar player and Jimmy Page's music has shaped that way I approach the guitar, from playing technique to effects. While the book sheds some light on the man behind the music and his years after Zeppelin, it is best served to others like me or rabid fans eager to consume any product associated with Led Zeppelin.
14 internautes sur 15 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 A glimpse into the genius of the fabled rocker 3 novembre 2012
Par Man of La Book - Publié sur
Light & Shade: Con­ver­sa­tions with Jimmy Page by Brad Tolin­ski is a non-fiction book which is a com­pi­la­tion of inter­views the author did with the famed and pri­vate gui­tarist. Mr. Tolin­ski is the edi­to­r­ial direc­tor of Gui­tar World, Revolver and Gui­tar Afi­cionado magazines.

Light & Shade: Con­ver­sa­tions with Jimmy Page by Brad Tolin­ski shades some light (pun intended) on Jimmy Page, mostly known as Led Zeppelin's gui­tarist, his career, life and pro­fes­sion. Through hours of inter­views we get a glimpse into Page's life and aspects of his life which he has had much influ­ence (fash­ion, mag­ick and more).

I'm sure that if I wanted to know more about Led Zep­pelin I could find an almost unlim­ited amount, all writ­ten by other peo­ple and maybe with a coöper­a­tion of the band. Even though the band is leg­endary, the mem­bers of the band rarely let the pub­lic into their pri­vate life which is why I chose to read this book.

In the inter­views which com­pro­mise Light & Shade, Page talks about his early career, becom­ing one of England's most admired ses­sion gui­tarist, to his work with The Who, Clap­ton, The Kinks, The Yard­birds and of course Led Zep­pelin. The inter­views con­tinue past the Led Zep­pelin era into other projects which Page was involved in. It was sur­pris­ing to learn from the book how pro­fes­sional the mem­bers of Led Zep­pelin were. Page & Bon­ham were at the top of their game before even start­ing the band, they didn't hang out socially (unless on tour) and enjoyed each other's com­pany as pro­fes­sion­als and musi­cians. I also never real­ized that Jimmy Page, Jeff Beck and Eric Clap­ton were long­time friends.

The col­lec­tion of inter­views with Page is com­pre­hen­sive and gives the reader a glimpse into the genius of the fabled rocker. Some of the sub­jects (drugs for exam­ple) are glossed over by Page, but Tolin­ski turns to other inter­views so the reader can get the com­plete pic­ture and under­stand­ing of the artist. My favorite, as always, are the anec­dotes and insights which make rock his­tory and are the back­bone of such books.
6 internautes sur 6 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Right, respectful tone 19 décembre 2012
Par Movie Buff - Publié sur
In Zeppelin's 70s heyday, Jimmy Page was a mysterious enigma: aloof, dangerous. Ever see that video w/ him and Plant, elegantly wasted, utterly bored, effortlessly above it? The rock star's rock star who could back it up on stage, on record, and on rumours, the ones known (drugs, decadance, sex) hinted at those much darker (drugs, decadance, deals with the devil, etc.)
Here, several decades later, Page joins in conversations with an interviewer who knows his stuff and finds just the right tone and approach to draw out Jimmy's insight on inspiration, influences, technique, production, professionalism, relationships and so on. Tolimski and Page fill in the outline of the early life/early bands, session work, the Yardbirds, the formation of Led Zeppelin, the songs, albums and tours, the end, and the aftermath (which has really been quite fascinating: the solo projects, the Firm, the reformations and reunions). Page doesn't exactly ignore his well-known interest and involvement with the occult, but his responses are pretty guarded and occasionally simply cut off. His personal life: girlfriends, wives, children, gets even less mention. But then, it's none of our business, is it?
This book is a very enjoyable read and the subject is truely a genius, a musician and composer on a par with the classical boys (Ludwig van, etc.) only working in the rock era and all that entails. Led Zeppelin's music is 'in color' as Prince once put it and this book is a great companion to the listening.
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