Tuesday, May 29, 2012

Jimi Hendrix and Leonard Nimoy with Chuck Dunaway

Jimi w Leonard Nimoy by Doctor Noe

Jimi w Leonard Nimoy, a photo by Doctor Noe on Flickr.Noel Redding, left, Leonard Nimoy, center, and Jimi Hendrix,second from right, in Ohio not long before the guitar hero’s death in 1970.
This is about the meeting between the great Yiddishist, Leonard Nimoy aka Spock and the Master of the Stratocaster, Yiddel Mitt'n Fiedel aka Jimi Hendrix.

I've had this pic in my collection for some time, given to me by ace Hendrix historian David Pearcy. It chronicles a meeting in Cleveland on March 26th, 1968. The night before Jimi was already in town and played at Otto's Grotto jamming with local band Good Earth. The Experience played two shows on the night of the 26th, and Leonard Nimoy was in attendance. Later on, they met at the club and talked for hours. They even continued on to Jimi's hotel room and talked again until 2 or 3 a.m.

The man who put these two giants together was Cleveland radio veteran Chuck Dunaway. Here's how he tells it in his memoir:

"Two days before the phone call from Joe, I had made a fashion-show appearance at Higbee's department store with Leonard Nimoy of "Star Trek" fame. The night before the fashion show, Jerry Hall, the local promotion man for Nimoy's label and an old friend from Texas, had arranged for the three of us to have dinner together, even though I had nothing to do with picking music for the station.

"Nimoy and I hit it off, talking politics for hours after dinner in his hotel room. At the fashion show, I told Nimoy of the Time magazine article. Leonard said he had heard of Hendrix, and decided to stay in Cleveland another day, joining me at the Hendrix 'impromptu' guest shot with the local band. So we met Jimi at the club that night and the three of us began talking politics. We were all on the same wavelength, wanting to see the end of the war in Vietnam."

Only recently, in an interview with the LA Times' Hero Complex blogger Geoff Boucher here.

Nimoy recalls what that meeting was like (at 10:24 on the YouTube video):

"I was promoting a recording in Cleveland and [Chuck Dunaway says,] 'Hendrix is in the next room – he heard you were here and he wants to meet you.' I thought about it for a nanosecond, and I went to break some bread with him. He was a true genius – a great, great artist. A tragic end."

Jimi died on September 18th, 1970. He would have been 70 next November 27th.

Friday, May 25, 2012

Mick Taylor – Return of the Boo-Ga-Wee

Mick Taylor shows off that awesome jazzy-bluesy slide work on "You Shook Me" at the Iridium Jazz Club, NYC ~ May 12, 2012 ...

... with that sweet soul section of Hamish Stuart, guitar; Wilbur Bascomb, bass; Max Middleton, keyboards; Jeff Allen, drums; Arno Hecht, sax – the meandering Stone lays down a groove at they club that Les built, or at least made famous.

Mick burns on that Les Paul with the Bigsby vibrato. That, and the fact that Max Middleton is sitting there at the keyboard playing "You Shook Me" makes everything quite appropriate indeed.

"You Shook Me"

When he assays "Can't You Hear Me Knocking," it's more than a snippet, less than epic-length. A punch in the face with a licorice stick of slide goodness.

"Can't You Hear Me Knocking"

I had this to say about MT on my Flickr page:

Jimi & Mick Taylor GW March 1988 P. 33
Jimi & Mick Taylor GW March 1988 P. 33

Three of the four photos on the page (two of Jimi and Keith, two Jimi with Mick Taylor) were indeed stills from the Maysles' unreleased footage. There is a fourth one by photographer Ethan Russell. I blogged on this on Rock's Backpages …

My friend Tom Graves in Memphis calls Mick "one of the best slide players to ever walk the planet."

No lesser light than Keith Richards says that the Mick Taylor era – with a dash of Gram Parsons – was the best the Stones had to offer.

... and speaking' of those bad boys, it's funny that this recent article (May 3, 2012) is in the New York Daily News. My picture was in the NY Post, I mean a picture of me ... not a picture I took:


My sister Anna and I went to see the Stones at Madison Square Garden sometime in the mid-seventies, or maybe it was the Nov. 1969 MSG concert – I am not sure now. We moved up to the front row — in those days you could do that; note the absence of a guard rail and phalanx of beefy mofos. That's us on the lower left hand portion of your screen. We got doused by Mick and made the front page of the New York Post.

PS, I love this bit from the interview with Mick in the Daily News:

Mick Taylor: The best musician ever to play with the Rolling Stones returns
Guitarist plays Iridium

By Jim Farber
May 3, 2012
Since his departure, Taylor has worked with the band periodically, adding bits to “Tattoo You” in 1981 and even recording overdubs for last year’s re-release of “Exile on Main Street,” which includes his sole songwriting credit (“Ventilator Blues”). But he remains cagey about rumors he’ll rejoin the Stones on a proposed 50th anniversary tour next year. “I don’t know,” is all he’ll say.
In the meantime, Taylor just collaborated with Ron Wood on a song for “CSI: Miami.” And he plans to continue the rambling life of the journeyman musician he’s enjoyed for over three decades. It’s a role that allows him to indulge his truest love: the blues. “It all comes back to the blues,” he says. “Ultimately, that’s where we all go for nourishment and for warmth.”

Only way I know to close out this blog about Mick is with another video. He really burns on "Blind Willie McTell," a Bob Dylan tune.

"Blind Willie McTell"

Wednesday, May 16, 2012

Jimmy Page – Magnificent Obsession

NOW HERE'S THE THING about how FaceBook works. We are having this fine discussion of Jimmy Page's axology, so I reach over to my copy of Guitar World October 1988, "The Resurrection of Jimmy Page" issue – I believe it was the last issue I edited, in fact, before moving out to LA – and here is a piece of a great seminal interview with the man by Bud Scoppa with Max Kay:

GW: What was your primary guitar at that stage [early session work days]?
PAGE: A Les Paul Custom – the one that got ripped off over here. The "Black Beauty," I think they called it. It's the one that has the frets pretty far down. I had it re-fretted anyway, so the frets were higher. Yeah, most of the session work was done on that, using a Burns amplifier, and then also I had a Fender Super Reverb. …

GW: When did the Marshall enter your life?
PAGE: I was producing John Mayall and Eric Clapton for Immediate Records and that's the first time I saw [laughs] and experienced that. I thought it was fabulous but I couldn't have one of these – not in the studio environment that I was working in. 'Cause the volume and such wasn't quite the thing.


GW: What about the wah-wah?
PAGE: [noticing Guitar World's special issue on JIMMY PAGE opened to the spread on his guitars] ...

   ...   I see you've got a picture of [the Danelectro] here. They did a great job [on the issue], didn't they?I had no idea at the time that that's what they were doing. Anyhow, that's the one that I used for the slide part – the Danelectro. And I've always used that [for slide], actually.

GW: You also used the Danelectro during the "Atlantic Fortieth Anniversary" show, as I recall.
PAGE: "Kashmir" was done on that, anyway initially – the recording of it.

GW: So your primary axes are still the '58 Les Paul Standard, the Danelectro and the Telecaster with the B-String Bender –
PAGE: And the '60 Strat.


GW: … Does the setup of the album ("Outrider")'s two side – the rockers and the blues songs – follow the chronology of the recordings?
PAGE: No, it wasn't done like that.

GW: It was just a free-for-all, then.
PAGE: Not quite a free-for-all. A very controlled free-for-all

GW: I'm just trying to understand the specifics of your process.
PAGE: It fascinates you, doesn't it, this process?

GW: Yeah, it does. What could be more fascinating than an artist's creative process?
PAGE: I don't see how the creative process with me is any different than it can be with anybody else, really. I wouldn't think so. I mean, as far as the initial spark goes, anyway.

GW: Well, I understand that the initial spark just arrives – but then you have to direct, refine and focus it.
PAGE: Mmm, of course, absolutely. And I wouldn't think that was any different with anybody else, either. Well, Maybe so.

WITH THAT, Page was off to LAX to catch a flight back to London, but not before sayingh, with optimum magnanimity, "See you in the fall, I guess." While loading up my notes and tape recorder in the now-empty hotel room, I spotted the bag, still packed with burgers and fries, on the floor beneath the chair where Page had been sitting. He'd been too polite, or too self-conscious, to eat in front of me. Oh Well – they'd feed him on the plane. But it wouldn't be Burger King.

Pagey in 2009 – photo by © Noe Gold


This Note inpired by ...
Led Zep "Heartbreaker" – ...like a steam roller rolling over a chicken coup.
a thread on FB:
By Greg Martin
8 May, 2012 at 10:15 ·

When this kicks in, it's like a steam roller rolling over a chicken coup. This still fires me up today, Jimmy's solo is over the top. Wonder what he was using on this track? Les Paul or Telecaster, Marshall or Supro amp? We want to know
 – Perry Margouleff!

Led Zeppelin - Heartbreaker
Led Zeppelin - Heartbreaker Copyright - 1969 Atlantic Records
"Heartbreaker" is a song from English rock band Led Zeppelin's 1969 album, Led Zeppelin II. It ...

Greg Martin I always said Page's solo was like a "Slinky" coming down the steps, it's too cool!

Bruce Reed I think he had switched to the LP/Marshall setup at this time

Perry Margouleff Call me and we can talk.

Doug TheSubstitutes Ginther ‘58 Les Paul Standard and Marshall 100-watt amps Vox electric 12-string and a Vox solid-state amp.

Kim Shaheen I have this album on 4 track, not the 8tr cartridge, an actual 1/8-inch tape reel. LZ II actually has a name. I've never seen it mentioned but it's called "The Only Way to Fly."

Jim Gaines I'd be willing to bet on the LP. This month's Guitar World has a cover story featuring Joe Walsh where he tells about the James Gang touring with LZ right before the first album hit big and his flying to NYC to sell Page one of his 59s for 1200 dollars.

Wade Daffron I'm thinking Tele through Supro.

Bruce Reed

Chris McElrath I agree with Wade Daffron.

Bruce Reed Tele through Valco (Supro) on 1st album, then it's a whole new ballgame!

Jim Gaines Before I forget, it's the LP that became Page's Number One, according to Joe.

Chris McElrath For one thing, he is getting some insane behind-the-nut bends that I have never been able to come close to approximating on anything besides a Telecaster, because there simply isn't enough space between the string and the headstock wood to push down on the string that far unless you are playing a six-on-a-side, Fender-type headstock. Just my wild guess. ...

Wade Daffron I'm sure many of y'all have done this already, but it's really worth the time and trouble to seek out some of the old Yardbirds bootlegs (on vinyl!) and you will certainly hear the genesis of Page's early Zep sound.

Wade Daffron Oh man, Mr. McElrath, I never thought about that! That's genius! I know exactly what you mean about reaching up there and pushing those strings. Teles are also good for rolling the volume knob for that pedal steel sound, of course.

Greg Martin I still have "Yardbirds: Live At The Anderson Theater" and "Little Games" on Vinyl, bought them when they came out. I bought the Anderson Theater LP for a $1 at Grant's Department Store in Louisville, after Page had it pulled off the market. They had a pile of them in 1972. I also have the new "Glimpses" box set.

Wade Daffron Oh my, that's some good stuff right there. I'm gonna have to go look and see what I've got for sure. I know I have some kind of box set, and some others. Some people are amazed when I play them the Yardbirds' version of "Dazed & Confused." They're like, "So, Zep did a cover version?" Oyyy....

Chris McElrath Yeah Wade, I love and own all kinds of different guitars, but at the end of the day I am and always have been a tele man, so I do admittedly have a bias in that direction. But seriously, that section of Page's solo from about 2:08 to 2:14 just SCREAMS Telecaster to me. But I have been wrong a time or two in my life. ...

Greg Martin Here's the genesis of "Dazed And Confused," it's listed as "I'm Confused" on the Yardbirds Anderson Theater LP.

The Yardbirds - Dazed And Confused (1968)
The Yardbirds are an English rock band that had a string of hits in the mid 1960...

Wade Daffron I gotta learn how to upload pics. I just found my copy of "Yardbirds-Last Rave-Up in L.A." It's a THREE-record set (456 of 1,000) on Glimpses Records. Nice, full-color cover and liner notes by "D.S. Cole" (?!). BTW – Nine-minute version of "Dazed And Confused."

Greg Martin Actually, here's the true genius of "Dazed And Confused":

Jake Holmes - Dazed and Confused
Dazed and Confused was written by the folk-rock singer Jake Holmes and released ...

Wade Daffron Holy cow! I had no clue! Great find! I just hope there's not a William Shatner version floating around somewhere...

Greg Martin LOL! Not that I know of, Wade. As far as know, Jake was the inspiration.

Wade Daffron Hey, if you don't mind, y'all (there I go again) check out my most recent post and see if I'm on to something, or need to be put out to pasture. THANKS!

Greg Martin ‎........and the inspiration for "Whole Lotta Love"?

Small Faces - You Need Loving

Wade Daffron Everything I know is wrong. I thought I had read/seen/heard all there is, but I am being schooled seven ways to Sunday!

Greg Martin I absolutely love Jimmy Page. No matter what inspired what, Led Zep and Jimmy are one of the big reasons I wanted to play Guitar in the '60s. I still aspire to learn something from the master himself anytime I can. Thank God for youtube! :)

Nancy Woods Stairway to Heaven was always one of my faves ... that song will take you to another place.

Greg Martin Yep, that one and a little organic help in the '70s took me to another dimension a few times. :)

Wade Daffron I think there's some good "lost" Page stuff-like "I Can't Quit You, Baby" on Coda, and ESPECIALLY "Prison Blues" on the Outrider solo album. I swear, that song has the most sizzling guitar work I've ever heard!

Wade Daffron Hope it's not a "Wet Willie". Dixon. "Keep On Smiling!"

Gregg Hopkins Not the wet one.

Noe Gold Mr. McElrath, the "nut job" theory is a bit of alright!

Mac Whiteside Sounds like an LP at the first, not positive though, then the Tele fer the leads, it just cuts too good ... ditto on the bends ... could we all be right? Always thought he used the Tele on the first couple of albums ... corrections please.

Noe Gold Think the Tele was main ax ...
... but ...

The Yardbirds - Dazed And Confused (1968)

   ... and yet ...

From the man himself Mr. Jimmy Page
Jimmy Page talks about his #1 Les Paul.

Visit www.authenticzeppelin.com


Photo copyright © 2009 By Noe Gold - All Rights Reserved or I will kill you.

"It Might Get Loud" Filmmakers 6-19-19

I took this at an intimate press conference for the movie. Watch for my story on fandango.com -- I'll update here when it posts.