Here is an excerpt from the Wall Street Journal's online review of the book:- "... Fast forward a few years and you come to another watershedLed Zeppelin's 1975 tour of the U.S., which in retrospect signified the peak of the band's brand of heavy rock. Given their status as bona fide rock gods, Led Zeppelin toured in their own private jetthe Starshipcomplete with deep purple shag carpets and a waterbed. Quickly, the next few months became notorious in rock history for their eye-watering mix of heavy rock, testosterone, drugs, booze, sex and money. In part, this was due to the depth of the tour coverage, since the band's management had invited a media entourage along in order to win over what had previously been a negative press-pack. (Interestingly, the Stones went down a different route and cut back on press access, especially after the notorious "Exile On Main St." tour, with Mr. Jagger realizing that they needed to clean up their public persona if they were to thrive as a corporate unit.) The run up to the tour was in itself bizarre, with bassist John Paul Jones threatening to quit the band to become choirmaster at Winchester Cathedral. But after taking some time off at manager Peter Grant's suggestion, he rejoined the band, which went on to record their sixth and arguably best album, "Physical Graffiti," containing tracks such as "Kashmir"a classic riff and singer Robert Plant's favorite of all the band's songsand "Trampled Under Foot." The tour began in a cold Chicago in January 1975 and ended five months later in London, which was struggling in the midst of an economic slowdown. While Mr. Davis supplies a good description of the tour's ups and downs, he wasn't given much access to the main players, so the interviews with Mr. Plant and guitarist Jimmy Page are quite short, with Mr. Page noting ruefully "that nothing lasts forever." As a result, while interesting, this account is probably one for long-term Zep fans...."

No surprise about Django being at number 1. I was glad to see one of Jimmy's influences, Bert Jansch, in the top ten. 10. Richard Thompson Folk-rock legend Richard Thompson has such a wide musical vocabulary, his fingers might be the only ones capable of being able to work their way through 1000 Years of Popular Music. Most often relying on a hybrid picking technique – in which he plays bass and rhythm with a pick and plucks out melodies with his fingers – Thompson conjures what sounds like a full orchestra from a solitary acoustic guitar. Starting out in English folk group Fairport Convention, then forming a duo with his then-wife Linda Thompson, and going solo in the early ’80s, Richard has worked through a remarkable depth of styles – from middle age musical relics and traditional folk tunes to bluesy workouts and Britney Spears covers. His acoustic masterpiece, however, might be the haunting fingerstyle ballad “1952 Vincent Black Lightning,” a tingling epic that so perfectly exhibits Thompson’s many talents when showcased in one of his outstanding live performances. – Bryan Wawzenek 9. Andrés Segovia Long considered a foundational pillar of 20th century classical guitar, Andrés Segovia was universally celebrated for his modern-romantic repertoire, his immense catalog of classical transcriptions for the guitar, and his extremely emotive and expressive performances. Segovia was unmatched in his ability to coax an endless phalanx of tones from his guitar, and his mastery of intricate chord phrasings was unparalleled. Born Andrés Torres Segovia on February 21, 1893 in Andalucia, Spain, Segovia studied with various flamenco players in his youth, as well as at the Paris Conservatory in 1915. His musical preference and style, however, would evolve away from flamenco and more toward expressive art-music. Segovia’s fingerstyle incorporated a combination of fingernails and fingertips, which produced a sharper sound; this technique is preferred by a majority of modern classical players. Segovia was also an early devotee of nylon strings over gut strings because of nylon’s superiority in maintaining stable intonation. – Sean Patrick Dooley 8. Bert Jansch Scottish folk guitarist and singer songwriter Bert Jansch achieved international prominence with folk group Pentangle in the late ’60s and quickly became revered by critics and musicians. None other than Jimmy Page said of Jansch’s solo debut album: “I was absolutely obsessed with Bert Jansch. When I first heard that LP I couldn’t believe it. It was so far ahead of what everyone else was doing.” His distinctive clawhammer technique, liberal use of unusual chords and love for bending strings slightly sharp and flat give his style a sound all of its own. But he remains a massive influence; just ask Johnny Marr: “He completely re-invented guitar playing and set a standard that is still unequalled today... without Bert Jansch, rock music as it developed in the ’60s and ’70s would have been very different.” Neil Young recently brought Jansch out on tour and but for health issues Jansch would be a worldwide household name. Miss out on Jansch at your peril. – Andrew Vaughan 7. John Fahey There wouldn’t seem to be any straight musical line connecting Mississippi Fred McDowell, Appalachian murder ballads, Bela Bartok and Balinese gamelan music, but in his brilliantly iconoclastic career, steel string great John Fahey found those kind of connections and made them sound stunningly natural. With masterful fingerpicking technique, a bold, swooping approach to slide work, some uncanny string-bending ability, and his own inimitable way of having a solo line jump forward, Fahey was a consummate player and a unique stylist. Fahey is sometimes heralded as a guitar “primitivist” because when he began recording in the ’50s and early ’60s, he focused his talents on reviving and celebrating the folk, blues and old-time sounds of traditional American music. But he was never merely a revivalist or a traditionalist, and while “primitive” might aptly describe his proudly un-hip artistic sensibility, it doesn’t begin to describe the fearsome dexterity he brought to the instrument. – Chuck Crisafulli 6. Adrian Legg Steve Vai calls him “Uncle Adrian” and Joe Satriani just says, “He’s simply the best acoustic guitar player I’ve ever heard.” Londoner Adrian Legg has more technique in one finger than most of his peers have in all 10 and spent a large part of his career writing about acoustic playing for various guitar publications. His website is a wealth of information for anyone seeking expert advice and tips. Legg plays alternating bass fingerstyle and uses every technique under the sun from multiple hammer-ons to exquisite use of harmonics, banjo-peg retuning and single or double-string bending. But that’s just part of the picture; he’s also a terrific and off- the-wall entertainer, a witty raconteur and compelling performer and writer. – Andrew Vaughan 5. Tommy Emmanuel Emmanuel is one of those rare guitarists who possesses so many incredible qualities, he’s almost impossible to define. All you can do is stand in awe of his massive talent. He seemingly can move from one extreme to another, stylistically as well as technically, with amazing ease. His talents seem best displayed with his solo acoustic work, where his thumbpick and three-finger approach is simply without peer, but he is also a fantastic electric player, and a wonderful entertainer as well! What I love also is how Tommy can be pure “flash” and excitement, but he can also turn on a dime, and play with warm and sensitive emotion. He can handle some of the most complex guitar arrangements with pure ease and passion, and few can ever duplicate what he can do in terms of playing several parts at once on the guitar. Truly a master guitar player of epic proportions! – Arlen Roth 4. Robert Johnson One of the all-time guitar greats, the bluesman to top all bluesmen might be the most influential guitarist in music history. Seemingly all players praise this king of the six-string, whose amazingly complex technique and soulful delivery continue to amaze more than 70 years after his death. When Rolling Stones axeman Keith Richards was first introduced to the long-gone musician’s recordings, he reportedly asked, “Who is the other guy playing with him?” Of course, it was just Johnson on the recording. “I was hearing two guitars, and it took a long time to actually realize he was doing it all by himself,” Richards said. But Johnson was just as admired by his contemporaries, who marveled at not just his skill, but his versatility to play country, jazz and slide guitar. Johnson was so good, a rumor developed that he sold his soul to Satan in exchange for his musical prowess. How many guitarists can claim a legend like that? – Bryan Wawzenek 3. Michael Hedges It’s one thing to be a remarkably accomplished instrumentalist – it’s another thing to almost completely reinvent the way in which your instrument is played. The classically trained Hedges was pioneering in his approach to the acoustic guitar, using hammer-ons, pull-offs, harmonic slaps, alternate tunings and more to create a whole new vocabulary of sound for the instrument. In fact, there are still plenty of Hedges admirers valiantly trying to figure out how in the world he could pull bass lines, lead lines, moving chords and percussion parts all at once out of a single guitar. Hedges would loom as a guitar giant on technique alone, but the music he created was also extremely beautiful and deceptively playful (he wasn’t above slipping the lick from “In-A-Gadda-Da-Vida” into an otherwise delicate melody). Hedges died in a car accident in 1997 at age 43. He remains a deeply missed talent whose exceptional music stands as an artistic challenge and a soulful inspiration to anyone who picks up a guitar. – Chuck Crisafulli 2. Chet Atkins Inspired by Merle Travis, Chet Atkins took fingerstyle guitar to new heights. As a live and session player in Nashville, he had no equal. Atkins would pick a bass line with his thumb on the lower strings and fingerpick melodies and harmonies with his other four fingers. The intricate way he did this, seemingly so effortless, influenced thousands – from Scotty Moore, Eric Johnson and Lonnie Mack to Mark Knopfler, Eric Clapton, George Harrison and Albert Lee – but none could ever duplicate Atkins’ dexterity or musicality. He also understood the changing music industry and moved into production early on, working on Elvis, among others for RCA. His adoption of strings in country music refined the Nashville sound and country music’s ’60s crossover success. But it was as a picker that Atkins really defined himself and felt happiest. Knopfler called him the best guitarist in the world. – Andrew Vaughan 1. Django Reinhardt Belgium-born Jean “Django” Reinhardt was one of the earliest prominent jazz musicians in Europe, and he will forever reside on the very top-tier of the pantheon of great jazz axemen. Born to a musical family on January 23, 1910 in Liberchies, Pont-a-Celles, Belgium, Reinhardt’s youth was spent in various Gypsy encampments near Paris. He started playing violin, guitar and banjo at an early age – the earliest recordings of Reinhardt are from 1918, and he’s playing banjo – and by his teens he was supporting himself entirely through his music. Reinhardt’s lifelong wizardry on the acoustic guitar was all the more amazing considering the horrific burns he received over much of his body, including his left “fret” hand, when his home went up in flames. The third and fourth fingers of his left hand were partially paralyzed, yet after rehabilitation he was able to adjust his playing style to use his two good fingers predominately and his damaged fingers to make chords. A number of Reinhardt compositions remain jazz standards, including “Djangology,” “Swing 42,” “Minor Swing” and “Nuages.” – Sean Patrick Dooley

SAJ, Therefore, it's a case of caveat emptor. The only thing is that the images appear to be described as 'rare', rather than 'unpublished'. Perhaps that is a way of getting round their having been previously seen publicly?

Sturie, Thanks for sharing your story and video with us:) .Do you take your wife out often in public?. Security stepped in pretty sharpish. Love the bit about her telling Maureen Plant that Robert is sexy.

I found a review of the Davis book on another site http://www.metalunderground.com/reviews/details.cfm?releaseid=4291 . I have copied a part of the review below which will give you an idea of some more of the book's contents. "... Three months (Jan-Mar) in 1975 are covered. Davis captures the alcohol and drug use, but also opens up the reader to the injuries, sickness, and voice issues (specific to Plant). Not one show went off without a hitch; you get the impression that if you saw a great Zeppelin show during this time period it’s because you saw them multiple times or were very lucky. In between shows Bonham was buying cars for cash despite not having a driver’s license, Page was found in NYC Mexican restaurants discussing crowd control with writer William Burroughs (this happened more than once), and Robert Plant was often recovering from his illness of the week. Almost every show during this time is documented in this book, including the set, how Plant’s voice sounded, and how many knives were confiscated at the door of the venue (twenty in Baton Rouge). The depiction of the band and details are honest; there are the girlfriends and groupies as well as the unread fan mail that is laughed at when suggested the band would read these letters...."

Source: http://www.examiner.com/beatles-in-national/look-here-unseen-photos-from-final-lennon-recording-sessions-to-be-auctioned:- The following lot will be offered for auction on November 3rd by Cameo Auctioneers. Lot 50 - JIMMY PAGE - 5 rare 35mm B & W negatives taken by Philip Townsend outside the British Museum and in his studio in 1964 with Carter Lewis and the Southerners.

Good connected-up thinking SAJ. When I looked through Stan's website, he came across as having real integrity in terms of his music - a bit of a character, in fact. Definitely from the Golden Age of Rock and Roll, as Ian Hunter once put it! By the way Stan, if you read this, sorry about using the photos from your site. It's just we get a bit excited about this kind of thing!

SAJ, I looked up Stan Urban's own website, and in his bibliography he is saying it was in the seventies that he jammed with Robert and Jimmy. However, when I looked up the pictures category of the site, I found photos of him and Robert from 1978, and one of him with Jimmy from 1984. SAJ, there is an email address on his site if perhaps you want to contact him for more details.

Source: Gulf News I've underlined the relevant part of the text. Local News An 'Urban legend' for rock fans Posted on » Wednesday, October 27, 2010 A LEADING Rock & Roll pianist will take to the stage for two Bahrain performances next month. Denmark-based musician Stan Urban is gearing up for the gigs that will be held at the Upstairs Downstairs restaurant in Adliya on Thursday, November 4, and Saturday, November 6. The Scottish-born multi-instrumentalist specialises in 1950s rock and journeys down the musical path began at a young age when he acquired a piano accordion and started doing imitations of his hero Little Richard in a high pitched treble. He became an overnight sensation and landed a position fronting The Mystery Men aged just 13. The early 1960s saw Urban tour in a number of bands and he also gained acclaim for his performances as American icon Gene Vincent's accompanying pianist. His talent took him to Hamburg where he was a resident pianist for numerous outlets and other live entertainment venues. It was during this time that earned a slot as a support artist for a Chuck Berry concert in Berlin. During the 70s, Urban spent his days soaking up the sun in Ibiza, playing the piano to holiday makers and locals alike at a local bar and jamming with rock legends Jimmy Page and Robert Plant. Urban's performances will take place at 9.30pm on November 4 and at 9pm on November 6. The shows are free to diners. Free transport is also being laid on from the Dilmun Club to Upstairs Downstairs - and back. Contact Upstairs Downstairs on 17713093 for more information.

Austrian-zeppelin, I have put a post on the 'Private Function For JP's book' thread which gives details from previous gallery visitors on finding the place. If you do attend on the 4th and/or the 5th would you please share with us here any photos/exhibition details. Thanks.

Jimmy is only no. 17 in the list. I would have put him in the top ten, but then again, I am ever so biased. At least, two female acoustic players have made it on to the list today. 20. Ry Cooder It was quite an experience working with Ry on the film Crossroads, but I was a deep fan of his long before that. He is a multi-faceted musician, who has introduced our culture to many sides of world music we may have otherwise not been witness to. He is a master fingerpicker, slide guitarist and innovator who always stays true to his roots, no matter where they may be coming from. Moving smoothly from rural blues, jazz, country, Tex-Mex, Cuban and Hawaiian music, his mastery of many styles and techniques has made him a true guitar legend and icon! – Arlen Roth 19. John Martyn British singer-songwriter Martyn was blessed with a propulsive sense of rhythm and the ability to sound at once laid-back and optimistic. His track “Solid Air” was written to give emotional support to his friend Nick Drake, who was going through a breakdown at the time, while “You May Never” was covered by Eric Clapton on Slowhand in 1977. Martyn was also a pioneer of looping, and a proponent of cheekily entertaining and occasionally bawdy stage banter. Sadly, Martyn passed away in January 2009 at age 60. – Peter Hodgson 18. Paul Simon He gets a lot of praise for his genre experimentations and songcraft, but Paul Simon’s guitar playing often goes under-praised – perhaps because it is so perfectly suited to his songs that people think about the song as a whole and not the components. But Simon’s cascading, fingerstyle guitar (owing a debt to British picker Davey Graham) certainly is a key to his musical success, especially on those spare, early Simon & Garfunkel folk songs. – Bryan Wawzenek 17. Jimmy Page Page’s acoustic playing is characterized by an adherence to traditional British folk styles more than the firey blues licks that dot his electric work. Led Zeppelin tracks “The Rain Song” (DGCGCD) and “That’s The Way” (C#F#C#F#A#C#) are virtual textbooks on how to creatively use alternate tunings, as is “Wonderful One” from Page and Plant’s No Quarter (also in C#F#C#F#A#C#). Page explored wide stretches in standard tuning on “Take Me for a Little While” on the self-titled Coverdale and Page album of 1993. – Peter Hodgson 16. Merle Travis The list of Hall of Fame-caliber guitarists who point straight to Merle Travis as a major influence on their playing styles is quite long and includes such legendary pickers as Chet Atkins, Scotty Moore and Earl Hooker, just to name a few. With a style that fused elements of jazz, ragtime, swing, blues and boogie, Travis was a master at harmonics, chord progressions, key changes, slides and bends. His ability to deftly switch back and forth between fingerpicking and flatpicking was unmatched. Easily one of the most influential and emulated guitarists. – Sean Patrick Dooley 15. Pete Townshend Obviously Mr. Townshend has done pretty well for himself wielding an electric guitar, but among the arsenal of The Who’s secret weapons, Pete’s distinctively muscular acoustic work has the power to both seduce and kick ass. Just think of the wrist-rattling strum to “Pinball Wizard.” The Who-Diddley beat of “Magic Bus.” The aching intro to “Behind Blue Eyes.” And the beautiful acoustic chords at the heart of much of The Who By Numbers. The smashed electrics get all the attention, but Pete’s inventive approach to the acoustic earns him high honors. “I’ve got a Gibson without a case” indeed. – Chuck Crisafulli 14. Kaki King At the ripe age of 31, Kaki King has already been hailed as a fingerstyle virtuoso on par with such giants as Michael Hedges, Alex De Grassi and Leo Kottke. Employing a percussive technique partially rooted in her background as a drummer, King elicits sounds from her guitar in ways that bring to mind a master painter working with an array of colors. Recent albums have seen her crafting beautifully melodic soundscapes using her strikingly original acoustic gifts. – Russell Hall 13. Joni Mitchell One of the best of the Laurel Canyon, Troubadour singer-songwriter scene of the early ’70s, Mitchell is not only a gifted writer but also an accomplished acoustic guitarist who overcame a physical defect to develop a style all of her own. Childhood polio left her with a weakened left hand and she was unable to play regular chord shapes. Musically gifted, she dealt with that setback by working in alternative tunings that gave her the sound she was looking for. – Andrew Vaughan 12. Doc Watson A major force on the mountain music scene in the ’50s, Doc Watson eventually shifted away from electric guitar to playing almost exclusively acoustic in 1960 just as the American folk music revival was really taking off. Watson’s major breakthrough happened thanks to his captivating and critically acclaimed performance at the Newport Folk Festival in 1963. A master flatpicker with speed to burn on the fretboard, Watson helped pioneer the lightning quick lead runs so prevalent in modern bluegrass guitar. – Sean Patrick Dooley 11. Leo Kottke Leo Kottke, the king of the 12-string, burst on the pop scene in ’69 with the trailblazing album 6- and 12-String Guitar. Whether working in jazz, pop or blues he became an in-demand picker for a slew of artists like Los Lobos, Emmylou Harris and Rickie Lee Jones. Kottke is a natural virtuoso and his ability to use that famous syncopated picking style to such beautiful effect in any style makes him one of his generation’s most important players. – Andrew Vaughan

I've copied here a couple of reviews from Google Maps because they give information from previous visitors to the gallery as to how to get there. "i went to the elms lesters painting rooms to see the adam neate exhibiton. you literally walk up denmark street, then you'll see it down a small alley. the gallery itself is small but nice and has a ground floor and then steep stairs to an upstairs exhibition space. it looks like its normally quite quiet but when i went the artist was there so we had to que. o/a nice building and the location isn't too bad. travel: tottenham court road tube then walk down charing cross road, down denmark street and its opposite down a slightly dingy alley." " Lovely art gallery that can be a bit tricky to find - off Charing Cross Road. Once you find it (down a dingy alley way) you then have to press a buzzer to be let in. Has a ground floor gallery then up a small narrow winding staircase is the upper gallery. Often showcases up & coming & established street artists & the staff will quite happily fill you in on what the current exhibition is about / what the artist was aiming for etc. Well worth checking out their website to see what is currently being exhibited & take a visit." Here a photograph taken from the same site to help any of you making your way there.

This is from Elms Lesters website JIMMY PAGE by JIMMY PAGE 5 - 6 November 2010 11am - 6pm Elms Lesters is proud to host Genesis Publication's book launch and accompanying photographic exhibition JIMMY PAGE by JIMMY PAGE. The limited edition book is Jimmy Page's first official published work and the definitive photographic autobiography of one of the world’s most iconic guitar players. As well as signing every copy of the 2,500 edition, Page has personally chosen every one of the 650 photographs, written the accompanying captions and helped design the magnificently luxurious binding. After two years of sifting through thousands of photographs to produce a final and definitive edit that includes a mixture of iconic portraits, rare and unseen images and photographs from Page’s own archive, the photographs represent the most significant moments in his career: from a schoolboy with a rock-a-billy quiff through his extensive work as a session musician; from The Yardbirds through Led Zeppelin, ARMS, The Firm, Outrider, Coverdale & Page and Page & Plant; playing with The Black Crowes, Roy Harper, P Diddy and performing with Leona Lewis at the closing ceremony of the 2008 Beijing Olympics. The exhibition will represent the work of more than 70 different photographers including some of the greatest names in rock photography – including Ross Halfin, Neal Preston, Kate Simon, Gered Mankowitz, Dominique Tarlé, and Pennie Smith. Gallery opening hours on Friday 5th and Saturday 6th November will be from 11.00 - 6.00pm Admission Free

Further to Ady's posting of the 24th, here are more details. First of all we've had Johnny Rotten advertising butter, then Iggy Pop flogging insurance and, now this ....... Source: www.utalkmarketing.com Motorhead reworks classic 'Ace of Spades' for new Kronenbourg ad Oct 26, 2010 Global rock giants Motörhead have created a slowed down version of their signature track, 'Ace of Spades' as the focus point for a new integrated advertising campaign for premium lager brand Kronenbourg 1664. Launching this week, it's 30 years to the week since the track was first released, and had been specially re-written by the band for the lager campaign. Elements encompass TV, a short-film documentary, a print campaign and a social media outreach with a branded Youtube channel. Created by BBH the ethos is rooted in the idea that Kronenbourg 1664 is a beer with a lingering complexity that deserves to be savoured slowly. The idea will be brought to life through a series of unique musical experiments where artists are commissioned to re-write and record a slowed down, chilled out version of one of their most famous fast tracks. The centre piece ad, which will appear as a 60-second TV execution, was shot in a French bar and shows patrons relaxing and chatting while Motörhead plays the new version of the song, with founder member and lead singer Lemmy on harmonica rather than his familiar electric bass guitar. An accompanying film documentary charts the the process of the band re-writing the track in the studio. All film assets will be housed on youtube.com/kronenbourg1664 and the track is being made available for download at k1664.co.uk. "Showing Motörhead performing a memorably different version of their legendary 'Ace of Spades' track as they enjoy Kronenbourg 1664 is a powerful and innovative way to deliver the core advertising message that Kronenbourg 1664 is a beer that is brewed to be enjoyed slowly - in any circumstances," said Senior Brand Manager - Kronenbourg 1664 at Heineken UK, Lucas Bergmans. The TV campaign will be supplemented by a series of product-focused national newspaper advertisements which will aim to reinforce Kronenbourg 1664's positioning as a premium French beer with a rich flavour and provenance that is fully appreciated when savoured slowly.

I am wondering if any women will make it on to the list. Joni Mitchell is the obvious one that springs to mind.

What I am loving about Gibson's list is that it is getting our members involved in a discussion, and I am discovering some guitarists I wasn't aware of. 30. John McLaughlin As part of the Guitar Trio with Paco de Lucia and Larry Coryell (who was replaced by Al Di Meola), McLaughlin performed dazzling feats of speed and precision, laced with firey passion carried over from his innovative jazz fusion work with the Mahavishnu Orchestra. In Shakti in the ’70s, he played a unique Gibson acoustic with two tiers of strings and a scalloped fretboard. McLaughlin’s music is constantly evolving, with recent works including the guitar/synth-driven Floating Point, and Five Peace Band with Chick Corea, Vinnie Colaiuta, Kenny Garrett and Christian McBride. – Peter Hodgson 29. Jorma Kaukonen Even as Jorma was first making the psychedelic San Francisco scene as a member of Jefferson Airplane, his fingerstyle approach to the electric hinted at his musical secret: the guy’s a stone-cold Piedmont blues-style, fingerpicking wizard with an abiding passion for gospel tunes, old-time music and pure, country blues. Through the years, Jorma’s masterful takes on “Hesitation Blues” and the songs of Reverend Gary Davis have inspired countless players to dig deeper into their roots music. On last year’s solo album, River of Time, he proved that his fingerwork is as deft and daunting as ever. – Chuck Crisafulli 28. Nick Drake Drake’s orchestral approach to acoustic guitar involved a wide variety of unorthodox open tunings and various capo placements, but the key to unlocking his innovative works is to listen to his picking patterns. He was a master of striking each string at a different volume, sometimes as part of a cascading arpeggio and sometimes within a single strike. Listen to Fruit Tree for a beautiful example of the expressiveness and complexity he could coax from his guitar. – Peter Hodgson 27. Paco de Lucia No guitarist has done more to popularize modern flamenco guitar than Paco de Lucia has. A child prodigy, the gifted Spaniard mastered traditional flamenco techniques by his mid-teens, and went on to incorporate elements of jazz, salsa and bossa nova into flamenco’s deep roots. His work with jazz greats John McLaughlin, Al Di Meola and Larry Coryell at the turn of the ’80s – especially on the legendary album, Friday Night in San Francisco – remains essential for any student of acoustic guitar. – Russell Hall 26. Son House Eddie “Son” House changed my life the first time I heard him play. I had never heard Mississippi Delta blues played with such stark intensity and poetic grace at the same time. His intense slide playing, rhythmic power and searing vocals display what the blues is really all about, and he represents the very beginning of that unique legacy left by artists such as Robert Johnson, Charley Patton, Skip James and many more, who followed in his revolutionary blues footsteps. His “Death Letter Blues” alone is enough to convince you of his sheer power! – Arlen Roth 25. Buddy Miller A soulful artist and versatile musician, Buddy Miller has worked with everyone from country great Emmylou Harris and R&B legend Solomon Burke to alt-country hero Lucinda Williams and rock god Robert Plant (not to mention his brilliant solo records and work with his wife Julie). Counting earthy production and clever songwriting among his many talents, Buddy might be at his best when he’s coaxing soothing tones from an acoustic guitar. Every single detail is there for the benefit of the song – never to show off. In doing so, he proves that he’s one of the best. – Bryan Wawzenek 24. Stephen Stills Perhaps because Stills has created some of his finest work in collaboration with other gigantic talents, it’s sometimes too easy to forget what a phenomenally talented guitar player he is. The beauty and grace of “Suite: Judy Blue Eyes” alone is enough to rank him with the finest, but there’s also been tremendous range in his acoustic work, which can touch on country, blues, folk, Latin, and rock and roll influences while always sounding like no one but Stills. – Chuck Crisafulli 23. Martin Simpson Martin Simpson sailed through the ’70s as the most prodigiously talented folk guitarist in Britain. He turned professional at just 15 and went on to work with everyone form Richard Thompson to Martin Carthy and the Albion Band. His jazz-influenced work with June Tabor is legendary. Equally at home with country blues, American styles as well as traditional English folk numbers, and he remains one of the most exquisitely tasteful masters of the non-electric axe in the business. – Andrew Vaughan 22. Phil Keaggy Phil Keaggy is capable of both incredible speed and beautiful grace on either acoustic or electric guitar. Blending classical and Celtic influences, he is able to create an almost harpsichord-like sound with his bare hands while simultaneously coloring his chords and melodies with slides and harmonics, all while appearing almost completely effortless. Keaggy makes it look easy, whether he’s picking out a simple chord melody or unleashing two-handed tapping flourishes and ringing harp-like open string licks. – Peter Hodgson 21. Bob Dylan Had anyone better epitomized the image of the troubadour musician, voice and guitar at hand to lament, protest or woo at will? Back before Dylan strapped on an electric he was the archetypal new breed of acoustic musician – attacking the instrument with a rock and roll fire – less concerned with technique than sound. In those days he played a vintage Gibson Nick Lucas acoustic, his instrument of choice on those legendary folk masterpieces on Another Side of Bob Dylan and Bringing it All Back Home. – Andrew Vaughan

Daily Mail Keith Richards: 'How I nearly died falling 7ft out of a tree' By Ben Todd Last updated at 4:58 PM on 26th October 2010 Keith Richards has revealed he nearly died after falling out of a tree while on holiday in Fiji. The star fractured his skull when he fell from the tree whilst on holiday with wife Patti Hansen, 54, Stones bandmate Ronnie Wood, 63, and his ex-wife Jo Wood, 55. At the time, reports had claimed the tree was 40 feet high - but Richards insisted it was no more than 'seven feet.' Near Fatal: Keith Richards leaving the Ascot Hospital in Auckland, New Zealand, following brain surgery in 2006 And writing in his autobiography Life, which came out 25 October, Richards, 66, revealed he did not think anything of the accident until two days later when he developed a headache while on a sailing trip. ‘Forget any palm tree. This was some gnarled low tree that was basically a horizontal branch. ‘It was obvious that people had sat there before because the bark was worn away. And it was, I guess, about seven feet up.’ Richards, who had earlier been swimming, told how he decided to climb out of the tree when it was lunchtime. There was another branch in front of me and I thought I’ll just grab hold of that and gently drop to the ground. ‘But I forgot my hands were still wet and there was sand and everything on them and, as I grabbed this branch, the grip didn’t take. ‘And so I landed hard on my heels, and my head went back and hit the trunk of the tree. Hard. And that was it. It didn’t bother me at the time.’ Unbeknown to Richards at that time, he had just fractured his skull. Two days later, he wrote how ‘a blinding headache’ came on whilst they were on a boat trip. He explained: ‘I found out later I was lucky that the second jolt happened. ‘Because the first one had cracked my skull and that could have gone on for months and months before being discovered, or before killing me. It could have kept on bleeding under the skull. ‘But the second blow made it obvious.’ Richards was given a record-breaking £4.6million advance for his memoirs.

You are welcome Danny. I put the details of the private function on another thread. Remember that it takes place on the evening of Thursday 4th, with the general viewing on the 5th and 6th. The Traffic Taliban are all over the place! You could maybe get a photo of Halfin with his fake tan and dyed hair:D. Perhaps Jimmy might spot Misses Big Dan, fall in love at first sight and run away with her BTW, your boy has done us all proud with his military service, and he is a good looking lad too.

Thanks Sam

From Genesis' Publications website:- Jimmy Page Talks About His New Genesis Limited Edition In the latest issue of the bi-annual arts magazine, Lid, Jimmy Page talks about his new limited edition book, Jimmy Page by Jimmy Page.With a portfolio of photographs from the book and contributions from photographers Michael Zagaris and Kate Simon - author of the acclaimed Genesis limited edition Rebel Music - the interview, by the book's photo editor Dave Brolan, sees Jimmy go into more depth than ever before about the making of this ground-breaking limited edition. 'It makes sense that Jimmy would work with Genesis on a book of this magnitude because they are the most civilised publisher on the planet. Catherine and Nick are lovely people who are as devoted to their craft as Jimmy is to his. Their books are printed on the finest papers and made by craftsmen of the highest calibre. Jimmy was thorough and focused in orchestrating the creation of this book... he's a hard-working artist.'Lid is available to order from the website [www.lidmagazine.net] but we've printed a short extract from the interview below as a taster How did you become involved with Genesis Publications? Jimmy Page: I had actually bought one of their George Harrison and Ravi Shankar books so I was aware of the quality that they strove for. I had seen some of their catalogue so I fully understood the pure quality that was their benchmark - the printing, the binding, and everything else. Dave Brolan: This is quite unlike any other book though. Jimmy Page: I rather like to try something that somebody else hasn't done before, even if it's of epic proportions which, quite clearly with the amount of photographers and images that were going to need to be trawled in, this was going to be quite something Dave Brolan: It's entirely appropriate that you should choose to do a photographic book as the camera was there right at the beginning of your musical career and is always present in one way or another. Jimmy Page: I liked the idea of doing something from the first shot where I was involved with music, curiously enough taken when I was a choirboy, by the choirmaster who was an amateur photographer... The whole point here is that it's a life in music and so I can see I'm really living it, the way that I was living it. Considering this starts off properly in 1958 or whatever with the Tony Busson pictures, it's a bunch of kids that have got this rock & roll ethic in their dreams you know? Although those dreams don't necessarily translate beyond a front room in somebody's house, it's living that sort of dream their own way and you can see this attitude, I love those photos Dave Brolan: There were thousands of pictures for you to consider, how was the experience, seeing your life from a visual, rather than your more familiar musical point of view? Jimmy Page: Well, I'll be perfectly honest, as you're collating the photographsthere does come a point where you say, 'Well I think I've finished for the day,' because, you know, I'm starting to look...(laughing) Well, you're aging in front of your eyes and of course people don't normally go through that so intensely.Dave Brolan: How did you decide to caption some of the images? Jimmy Page: the story behind a picture can sometimes be a little disappointing rather than just looking at it and enjoying it for what it is and making you own conclusions, and I certainly apply that to listening to music too. I don't really want too much imagery around it, I don't want to see videos with music, I want to hear what was going on in the studio, the creative process. So I intentionally kept the written information minimal. There was a lot of reflection and thought about the captioning but I really honed it down so that it didn't become boring to read it again the second time around. It's setting the scene. Dave Brolan: Overall, do you think the book achieved what you set out to do, your original idea of a career in photographs? Jimmy Page: What I was trying convey was the whole gathering of time and living, very passionately, my role in music, what became a career in music. And this illustrates all of that so in those terms it's a success.

Hi Laura, Would you let us know exactly what the documentary is about? Is it purely about Zeppelin? When is the projected date for transmission? Will you be interviewing any of the three remaining band members, road crew or management?

I have posted this in the 'Other Bands/Music' forum because so many non-Zep artists are featured in the list. It will be interesting to see how far up the list Jimmy features when Gibson publish the remaining musicians this week. Gibson.com's Top 50 Acoustic Guitarists of All Time 10.25.2010 Electric guitarists get all the glory - stacks of amplifiers, arenas full of fans, that big, big sound sending shockwaves through adoring crowds. Meanwhile, the acoustic players of the world are the sensitive souls, playing delicately and carefully in their unamplified corners of music history. The best acoustic guitarists have quietly made innovative sounds and amazing tunes that have altered how people think about the guitar. Well, Gibson.com thought it was high time that the most legendary of acoustic players finally got their due. In tribute to these masters of the guitar, Gibson.com is counting down the Top 50 Acoustic Guitarists of All Time - as voted on by Gibson's editorial team, writing staff and, most importantly, you, the readers. Today, we reveal #50-#41 on the list. Check back each day this week, as we unveil 10 more acoustic guitarists, with the Top 10 arriving on Friday morning. 50. Mississippi Fred McDowell An acoustic blues genius, McDowell is perhaps the foremost example of the North Mississippi sound (although he's often associated with the Delta players). Whether picking or sliding (he first used a pocket knife and a beef rib bone), the bluesman crafted droning, hypnotic wonders that would influence the likes of R.L. Burnside and The Rolling Stones (who covered "You Gotta Move"). Although he declared on the title of his 1969 album, I Do Not Play No Rock 'N' Roll, he was friendly with the rockers he inspired, and even taught Bonnie Raitt his slide technique. – Bryan Wawzenek 49. David Lindley It would seem to be an immutable law of nature that if an object in our universe has strings on it, David Lindley can make some amazing music with it – either on his own or in somebody else's band. While often recognized for his distinctive slide work, a true measure of Lindley's musical genius is in the way his expressive, flawlessly understated acoustic playing has elevated the music of such varied folks as Jackson Browne, Linda Ronstadt, James Taylor, Rod Stewart, Dolly Parton and Bob Dylan. – Chuck Crisafulli 48. Arlen Roth Roth may just be the whole world's guitar teacher. In between working as a solo artist and with such legends as John Prine, Art Garfunkel and Phoebe Snow, he founded Hot Licks where his video lessons taught millions how to play. Meanwhile, his Complete Acoustic Guitar book remains an invaluable resource. Roth was also instrumental in performing and directing most of the guitar scenes in the blues-inspired film Crossroads. Check out Drive It Home, his 1998 all-acoustic album. Plus, Roth continues to share his expertise on Gibson.com. – Peter Hodgson 47. John Hammond It's hardly surprising that John Hammond has been called "the white Robert Johnson." For four-plus decades, Hammond has, like many itinerant country-blues artists before him, played acoustic guitar with a fast-fingered finesse that leaves audiences marveling at his technique. Like Johnson, Hammond sometimes gives the impression he's playing two guitars simultaneously – one holding down the bass line, and the other delivering fiery rhythm work and solos. No artist has devoted himself more fully to keeping country-blues alive in its purest form. – Russell Hall 46. Duane Allman Although primarily known as an electric slide master, Duane Allman began by learning the acoustic blues on his brother Gregg's acoustic guitar, and he never forgot his roots. Check out the instrumental "Little Martha" from the Allman Brothers Band's Eat a Peach, a beautiful duet with Dickey Betts, for an example of Allman's acoustic prowess. His resonator-driven rendition of "Come on in My Kitchen" with Delaney and Bonnie is also well worth seeking out. – Peter Hodgson 45. Brownie McGhee Brownie McGhee was always one of the most influential country blues players of the "true" blues era, and along with his long-time partner Sonny Terry, created some of the most iconic tunes and guitar parts ever. He always displayed great sophistication, playfulness and humor with his playing, and was unquestionably an important innovator in acoustic blues guitar. His wonderful playing, smiling face and incredible voice left an indelible mark for all of us to love forever! – Arlen Roth 44. Rik Emmett To the casual fan, Triumph was known for their hard-driving rock and visually stunning concerts, complete with lasers, explosions and about a gazillion lights. But for Rik Emmett, the driving force behind Triumph, the music always reigned supreme, and despite their reputation as a hard rockin' band, a jaw-dropping classical acoustic piece from Emmett was always right around the corner. When he eventually, thankfully, left the constraints of Triumph, Emmett was finally able to really stretch his acoustic/classical guitar legs, and it's been nothing but an absolute joy to behold. – Sean Patrick Dooley 43. Bryan Sutton Bryan Sutton first gained notice as a member of Ricky Skaggs' Kentucky Thunder country/bluegrass band and quickly earned his reputation as a flatpicking virtuoso in his mid-20s. He's since gone solo, releasing his own records and becoming a top-flight session guitarist in Nashville. He's collaborated with an amazing array of bluegrass (and other) musicians from Dolly Parton and Doc Watson to the Dixie Chicks and Béla Fleck. Sutton has been named the guitar player of the year five times by the International Bluegrass Music Association. – Bryan Wawzenek 42. Martin Carthy Martin Carthy's intricate but percussive fingerpicking style, use of unusual tunings and fascinating interpretations of traditional material made him a folk legend in London in the early '60s. Paul Simon was heavily inspired by Carthy's arrangement of "Scarborough Fair" and musicians acknowledge Cathy as a master. Now a master craftsman, he continues to ply his trade with consummate ease, picking perfection and not a little inspiration. – Andrew Vaughan 41. Eric Clapton Old Slowhand earned his bones playing electric blues-rock in the '60s, but a whole generation of fans mostly knows Eric Clapton as an acoustic player. That's due to his 1992 Unplugged album (which earned him an armload of Grammys) and the subsequent blues release From the Cradle. The man formerly known as God proved his divine talents translated brilliantly when stripped down – his tasteful solos and clever licks shining through on Robert Johnson covers or a reworked version of "Layla." – Bryan Wawzenek 40. Albert Lee When Albert Lee is reeling off impossibly speedy country licks on an electric guitar, it's quite obvious the guy deserves to be considered among the most heroic of guitar heroes. But when Lee turns his talents to an acoustic, it becomes strikingly clear that, beyond heroics, he is quite simply a virtuoso of the instrument. There aren't many who can play faster, but the brilliance of Lee's acoustic playing is in its tastefulness and melodicism – every Lee solo seems to tell a beautiful story. When Emmylou Harris, the Everly Brothers, Dolly Parton and Eric Clapton have needed some killer acoustic support, they've called in Albert. – Chuck Crisafulli 39. Tony Rice In terms of stylistic innovation and influence, Tony Rice is to bluegrass music what Jimi Hendrix was to rock and roll. In addition to furthering the idea of the flatpicked acoustic as a lead instrument in bluegrass, the 59-year-old Rice almost single-handedly introduced an improvisational jazz-guitar component into the music. Manzanita, The Tony Rice Unit's 1979 debut album, remains a prime touchstone for bluegrass flatpickers to this day. – Russell Hall 38. Al Di Meola Di Meola combines the technique and precision of a progressive rock or shred guitarist, with the passion and rhythm of a flamenco musician. An already intimidating presence on electric guitar, when he switches to acoustic he leaves no one standing. He reached particularly lofty heights with Paco Di Lucia and John McLaughlin on the live Guitar Trio album Friday Night in San Francisco. His work features many world music influences filtered through jazz and Latin styles, and his technique ranges from elegant and restrained to the almost impossible. – Peter Hodgson 37. Scotty Anderson Scotty just might be the finest technical guitar player in the world. He can do things with his picking hand that are not done by anyone else! I first discovered Scotty in the mid-'80, and quickly documented this magnificent musician for a Hot Licks video, and the sheer breadth of his abilities began to unfold. He seems to never run out of creative ideas, and does it so effortlessly it just leaves you speechless. His work on acoustic and electric guitar is equally impressive, showing no signs of "slowing up" on an acoustic. If you haven't yet, you must be sure to check out the "King of the double- and triple-stop." – Arlen Roth 36. Steve Howe With the possible exception of Jimmy Page, it's likely no rock guitarist inspired more young players to try their hands at classical-style guitar in the early '70s than Steve Howe did. "Clap," the sprite acoustic instrumental Howe penned for the 1971 disc, The Yes Album, split the difference between ragtime and country blues, and was unlike anything a "rock" guitarist had previously recorded. "Mood for a Day," the flamenco-tinged instrumental Howe wrote and played on Yes's Fragile album, is today considered a classic, and rightly so. – Russell Hall 35. James Taylor It was readily apparent from just the intro to James Taylor's song, "Something's Wrong," on his self-titled debut album, that Taylor was a wonderful acoustic guitar player. The song's intro is a bluesy-classical take on the holiday hymn "What Child is This" – Taylor's finger-picking reveals an educated musician so comfortable with his craft that he makes the difficult sound breezy and subtle. Because of Taylor's warm and inviting vocals, it's sometimes easy to overlook his prowess as an acoustic player. – Sean Patrick Dooley 34. Jerry Reed One doesn't acquire the nickname "Guitar Man" without having some serious chops on the fretboard. A big fan of both Merle Travis and Chet Atkins, Jerry Reed was a dazzling guitarist with a unique fingerstyle of playing. Amazingly, Reed fancied himself more of a songwriter than a picker, and it was Atkins who actually convinced Reed to include instrumental numbers on his albums. Chet was not too proud to say that Reed was a better fingerstyle player than himself, and that, alone, speaks volumes. – Sean Patrick Dooley 33. Bill Frisell Bill Frisell has been called the Miles Davis of acoustic guitar in the sense that, in his hands, the instrument can take on many guises. Though long considered one of jazz guitar's preeminent stylists, Frisell defies categorization, as his work ranges from Americana to progressive folk to country music and beyond. Artists as diverse as Marianne Faithfull, Elvis Costello and Ginger Baker have enlisted him for their own albums, while Frisell's solo discs contain some of the most eclectically brilliant acoustic work of our times. – Russell Hall 32. Clarence White Clarence, who was a great influence on yours truly on electric guitar with his innovative Parsons/White B-bender invention, helping to define my string-bending, was actually just as important as an acoustic picker. His work with the Kentucky Colonels, and with his brother Roland White, exhibits some of the most sensitive and delicately phrased bluegrass picking ever recorded. His influence it still felt in many of today's finest acoustic pickers. There's no question that Clarence White, along with Doc Watson, certainly led the way for the acoustic guitar to finally "step out" in Bluegrass music! – Arlen Roth 31. Neil Young It seems like there have always been two sides to Neil Young – sonically speaking. There are the brash, squealing electric workouts and there are the intricate, emotive acoustic tunes. With an acoustic guitar in hand, Young's delivered some of his most beautiful and soulful recordings, from the legendary folk-rock of Harvest to the country-infused Prairie Wind. Young might forgo the frenzied distortion when he unplugs, but he never comes up short on passion. – Bryan Wawzenek Votes for the Top 50 Acoustic Guitarists of All Time were included from Michael Wright, Bryan Wawzenek, Andrew Vaughan, Sean Dooley, Arlen Roth, Russell Hall, Ted Drozdowski, Paolo Bassotti, Dave Hunter, Peter Hodgson, Chuck Crisafulli and the Gibson.com Readers Poll.

Faint shades of Sabbath in Ozzy's addled brain The Independent on Sunday (London); Jul 4, 2010; Simon Price; p. 62 Considering all he's been through, Osbourne makes a decent job of resurrecting the old hits Rock Ozzy Osbourne Leas Cliff Hall FOLKESTONE One unshakeable fact emerges as I revisit Ozzy Osbourne's back catalogue while the train rolls on towards Folkestone: I bloody love Black Sabbath. It's all too easy to caricature Sabbath as pseudo-mystic dumbos, a Led Zeppelin for CSE kids, all upside-down crosses and Aleister Crowley, but find the footage of their early TV appearances and you'll see a straightahead, speed-freak, gonzo garage rock band, essentially a British Stooges, right down to their "motor city" origins. When they came into their own, however, was when they killed the speed and locked into a sludgy, dinosaur-footed groove, like a diplo-docus wading to its slow death through the La Brea tar pits, as exemplified by "Sweet Leaf", sampled by the Beasties, Buttholes and countless others. Sabbath exuded a specifically working-class strain of youthful nihilism, mistrustful of the treachery of the adult world, cynical about the employment conveyor belt, concerned only with making the rent, smoking weed and waiting for the apocalypse: "Hole in the sky, take me to heaven ..." And, in the forlorn, woe-is-me voice of Ozzy Osbourne, those sentiments had the perfect vehicle. Taking the Ozzy Osbourne of 2010 seriously, however, is a challenge. It wasn't The Osbournes that blew Ozzy's gravitas: he'd already done that himself with his campy 1980s persona. But since that series, he's become a nationally treasured, substance-damaged jester, shouting "Sharooonnn!" in novelty greetings cards, rerecording "Changes" - Sabbath's suicidal end-of-relationship lament - as a soft-centred Father's Day gift, and appearing in the Beeb's appalling patriotic montage before England's World Cup humiliation. He's got some ground to reclaim, and no mistake. And, to my mild surprise, the old man makes a decent fist of it. For starters, either I'm going blind, the make-up's thick, or the lighting's sympathetic ... or he really is looking relatively lean and healthy. Corpse-like pallor, black nail varnish, smudged eyeliner, maniacal grin: this is the Ozzy you want to see. Admittedly, he does that doddery, confused walk familiar from his family's reality show. Admittedly, the guy sitting side-stage with the laptop, advancing the lyrics line by line for Ozzy's autocue, is a vital member of the crew. Admittedly, his slurring speech is difficult to decipher, besides a repeated "I can't hear you!" which, at his age, might be a genuine cri de coeur rather than showbiz banter. But his charisma is so strong it's ridiculous, and that voice is as magnificently mournful as ever. Taking the stage in a diamante-sleeved cape for "Bark at the Moon", he hurls bottles of mineral water into the crowd. Immediately, someone sprays the contents back at him, whereupon he roars "Let's 'ave a fuckin' war!", and retaliates with a whole bucketful, a stunt he repeats three times. Solo hits such as "Shot in the Dark" and "Mama I'm Coming Home" are all very well, but I'm here for the Sab stuff, and tonight we get Beavis & Butt-Head favourite "Iron Man", "Fairies Wear Boots" (one of the brilliant Sabbath songtitles) and an encore of proto-punk anthem "Paranoid", whose opening line "Finished with my woman cos she couldn't help me with my mind" is a great blues lyric, never mind heavy metal. It matters little that I'm not hearing it performed by original Sabbath personnel, nor even by long-time sidekick Zakk Wylde. Ozzy has easily as much right to these songs as Tony Iommi, who sullied the band's reputation in the 1980s by putting out "Sabbath" albums featuring just one original member: himself. These days, Oz is backed by three tattooed longhairs of above average competence, and a drummer whose riser, hilariously, is half the height of the room. And they're perfectly adequate. What's a guitarist anyway, except a hired hand? He promises more songs if we "go wild", and I'd have sold my soul for "War Pigs" (if only to bellow along with legendary non-rhyme "Generals gather in their masses/Just like witches at black masses ..."), but the lights come up, so Folkestone must have failed to go wild enough for Ozzy's liking. Then again, maybe he just didn't hear us.

Ozzy 's regrets at show The Express 02 August 2010; EDITED BY LIZZIE CATT WITH LISA HIGGINS, DANA GLOGER AND JACK TEAGUE HIS family became reality television's most famous stars but Ozzy Osbourne now says he regrets appearing in the hit show. While he acknowledges MTV's The Osbournes revitalised his career Ozzy now thinks it was harmful to his family and says it's unlikely that he would ever repeat the experience. The 61-year-old singer, who starred in the show alongside wife Sharon and children Jack and Kelly from 2002 until 2005, says: "The kids couldn't handle it and my wife couldn't handle it - she had colon cancer. "On the one hand the show was phenomenal but on the other hand I had to watch my family suffer." Recalling the surreal experience of having his home turned into a television set he adds: "You go to bed one day and you wake up and the world's completely different. Everywhere there's cameras, you get attacked by the things." Despite the cost to his family the singer remains proud to have been involved in what he considers ground-breaking TV. "We invented a new form of television, " he insists. "We started the ball rolling for these new shows now. But would we do it all over again? I don't know. I don't think so." The Black Sabbath star was speaking as he re-ignited his feud with rival rocker, Iron Maiden frontman Bruce Dickinson, who dramatically clashed with Sharon back in 2005 during an Ozzfest event in San Benardino. "You know what? Unbeknown to me at the time he was going on stage every night and slagging me off and that really wasn't fair, " Osbourne now explains. "He needs a psychiatrist if he does that, he's nuts. It's an irresponsible thing to do."

SAJ, I wanted to help get your Ozzy thread off to a flying start. Did you know that Ozzy does a column in the UK Sunday Times entitled 'Ask Dr Ozzy'? The ST do caution readers that Dr Ozzy is in no way medically qualified;). Here is an example from the October 17 2010 edition:- Ask Dr Ozzy The Sunday Times (London); Oct 17, 2010; p. 13 Full Text: (Copyright © Times Newspapers Limited 2010) 'The good thing about being Dr Ozzy is that I sometimes get the chance to save lives. So count yourself lucky -- under no circumstances suggest to your girlfriend that she should get a boob job' Dear Dr Ozzy My husband has bought a hot tub and put it in our garden, but I refuse to get in it as I've heard horror stories about the water becoming a breeding ground for germs. He says I'm worrying too much, and spends half the weekend in there. What's your opinion? Betty, Portsmouth You're both right. There's nothing better than being outdoors in a hot tub on a crisp October evening, drinking a nice glass of something cold. But if you don't maintain it properly, it can turn into a swamp, with algae, frogs and God-knowswhat-else floating in there. Even though it's shiny and blue, with pressure jets and mood lighting, a hot tub is still basically a big boiling cauldron of chemicals. The worst is when you have a party and a bunch of hairy blokes climbs in. Another thing with hot tubs: you gotta watch the heat. I used to get blasted on cocaine, feel my heart pounding, then try to calm down by jumping into 900-degree water. Once, my head almost exploded. But if your husband cleans his new toy regularly -- he can even sign up for a maintenance service -- there's no reason you shouldn't take a dip. It might even improve your love life. I wish my girlfriend was better endowed. Would it be rude to suggest a boob job? I'd pay for it. Stan, Cheshire The good thing about being Dr Ozzy is I sometimes get the chance to save lives. Stan, count yourself lucky, 'cos that's what I'm about to do: under no circumstances bring this up with your girlfriend. If I made this suggestion to Sharon, the Osbourne crown jewels would end up halfway up my esophagus. To be honest, I wouldn't blame her. I mean, imagine if the situation was reversed, and your girlfriend asked you to get an enlargement of your own? How would that feel? If it's that important to you, dump the girl and find yourself a Page 3 model. I'm a 28-year-old virgin (ouch). I recently met a girl and we tried to make love, but I couldn't 'finish'. She accused me of indulging in solitary pleasures and wearing the big chap out. Is this possible? We tried again in the morning but I couldn't even achieve match fitness. Chris, Reading This could just be nerves, Chris. Also, if you were drinking before your first attempt, that might have stopped you from reaching the fireworks ceremony. Then again, maybe you are "wearing the big chap out" -- you don't exactly seem to be denying it, do you? So my advice to you is calm down, don't drink beforehand, and cut out the five-knuckle shuffles. I keep getting a build-up of debris in my belly button. It freaks me out, especially in the shower, when the fluff looks like a black spider crawling down my front. Gary, Iver Heath, Bucks Where's this fluff coming from? What are you wearing under your shirt -- a shag-pile carpet? The first thing I'd suggest is washing more (ie, more than once a year) and using a cotton-wool bud. Maybe you've got a really big belly button? So why not put it to good use? After you've cleaned out the fluff, try keeping a pack of mints in there or something. That should stop debris building up. And mints always come in handy. I keep hearing humans need to drink eight glasses of water a day. This can't be right, can it? Billy, Leicester I tried drinking eight glasses of water a day for a while, and my bladder felt like a red-hot cannon ball. The way I look at it is: if you eat lots of fruit and veg, you'll get water from your food. On top of that, drink till you're not thirsty any more -- which means if you lose water from exercise, you'll be thirstier and need to drink a bit more. That's what animals do when they go to a watering hole. We ain't different. My wife keeps nagging me to get a pedicure. Is this really something men get done these days? What's wrong with a few jagged toenails? I'm a bloke. Pete, Merseyside You have two choices: get nagged, or give in. If it's any consolation, I'm the Prince of Darkness and I've had more pedicures than hot dinners. Think of your pedicurist as more or less the same thing as a "chiropodist". I'm at the point now where I quite like getting a good old foot pruning. Ozzy was talking to Chris Ayres Do you have a question for Dr Ozzy? Email him at askdrozzy@sunday-times.co.uk Warning: Ozzy Osbourne is not a qualified medical professional. Caution is advised SURGERY NOTICE BOARD Thanks to Jane, a Dr Ozzy reader who emailed to say how her brother handled a malodorous co-worker (Marie, Stoke-on-Trent, October 3). She says: "My brother turned to his colleague, lifted his arm, sniffed his own armpit, smiled and said, 'Well, it isn't me.' This did the trick."