This interview took place at the Balmoral Hotel, Princes Street, Edinburgh. I recognise the street outside of the hotel suite - the North Bridge. Jo Murray uses the Balmoral quite a bit even although her mansion is only two miles away. She finished the last Potter novel while staying at the Balmoral, and duly signed a large ornament in the suite to that effect. The staff then had to remove the artefact before it could be stolen! She still writes whilst in cafes in Edinburgh - I have seen her in one in the Grassmarket, and she was recently seen in a large cafe in Bruntsfield Place, sitting at the back.

http://www.stereoboa...t/view/161731/9 The above is a link to an interview with Roger Daltrey where he is still expressing an interest in working with Jimmy. I agree totally with Roger's comments about JP. "... In addition to new material from The Who, Roger Daltrey also revealed that he was looking to launch his 'Blues' album next year. Speaking about teaming up with a high profile guitarist to record an album of blues songs, Daltrey said. “I’ve always wanted to do something with Jimmy (Page). I mean, what the hell is he doing? It’s a waste of talent – he’s a genius. " The entire 30 minute interview is on the Who's official website.

Source:- www.gibson.com Nice tribute to the LZIII album, also touches on the theft of 'BlackBeauty' and the band receiving hostility from redknecks. Jimmy Page Goes ‘Country’: The Story of Led Zeppelin III <H2></H2>Ted Drozdowski|10.01.2010Led Zeppelin III often has been tagged the group’s “folk album.” But how folkie is a tune like the operatic “Immigrant Song” or the charging “Out on the Tiles” or the epic blues “Since I’ve Been Loving You” or the wailing “Celebration Day?” What the album – released 40 years ago on October 5 – actually represented was the band’s arrival at the height of their compositional powers and the apex of their ability to distill their primary influences (folk, rock and blues) into something grander that faithfully encompassed elements of all three genres. And to do that, they had to go “country” – or at least into the countryside. Until mid-1970 the group hardly had time to plan its moves. Less than two years in existence, Led Zeppelin had already made two albums and toured the U.S. – where Page acquired his storied “Number One” Gibson Les Paul Standard from Joe Walsh – five times, rising from clubs to arenas as their guarantees swelled from $1,500 to $100,000 a show. The modus operandi had been to grab their blues roots hard and hit the ground running, and it was only when they stopped in July for a five-week break in the action that Led Zeppelin III crystallized as something more. Before that the group had tried to record “Since I’d Been Loving You,” which appears in a pre-Led Zeppelin III live version on the Royal Albert Hall concert DVD, but couldn’t nail its radical shifts in dynamics and intensity in the studio. The acoustic “Friends,” inspired by Page’s tinkering with open C tuning, and “Immigrant Song” were also written, or at least ready to get crunched out in jams and on tape. But sometimes the vibe just isn’t right. Maybe, for Led Zeppelin in 1970, it was a matter of finding the right headspace. The group’s most recent tour of the States had been a challenge. On the plus side, they set attendance records wherever they traveled and grossed well over a million dollars at a time when concert tickets were about the same price as a fast-food meal today. But the minuses included conflicts between the police and Led Zeppelin’s counter-culture audiences in Baltimore, Vancouver, Pittsburgh and other cities. In Georgia and Texas, Plant and Page were taunted by rednecks when their bus stopped, and in Texas they were refused service at a restaurant because of their long hair and had a pistol pulled on them. Worse, in Canada, Page’s beloved three-pick-up 1960 Gibson Les Paul Custom Black Beauty was nicked at an airport and still has never been recovered. He’d played the instrument since his years in the Yardbirds. So when Plant suggested a July retreat to the ancient Welsh cottage Bron-Yr-Aur that he’d visited as a lad, he and Page packed up their families and headed to the country to find some peace. After 18 months on the road playing at teeth-rattling volumes, the tranquility of the unelectrified cottage was welcome. It also seemed to be a perfect segue for the music they’d been listening to, which included a big helping of acoustic open-tuning wizards John Fahey, Burt Jansch and Davy Graham. “That’s the Way” ended up becoming a turning point in the upcoming album’s direction. After Page and Plant mapped the song out at Bron-Yr-Aur it became a touchstone, dictating further acoustic explorations for Led Zeppelin III. Page developed the song in open G tuning, inspired by Muddy Waters and Robert Johnson, and that, in turn, fueled a search for new textures when they returned to the studio. When the song was recorded John Paul Jones shifted from bass to mandolin, and Page took turns at pedal steel and dulcimer. “That’s the Way” was actually the only song written during the idyll in the countryside, but, Page says, it opened up the approach that made Led Zeppelin III a landmark recording in the group’s history. Led Zeppelin were so pleased with the overall sound of the album as a collective work that they told their record company they would not release a single. That was nothing new, since the group’s conviction that they were an album band led them to refrain from spinning 45s from their first two discs’ set lists as well. But this time Atlantic Records issued “Immigrant Song” as Led Zeppelin’s first single despite the band’s wishes. It reached #16 on Billboard’s pop chart and included the line “The hammer of the gods will drive our ships to new lands.” Despite the awkward metaphor, Zeppelin fans adopted “hammer of the gods” as a description of the group’s music and the phrase was used by author Stephen Davis as the title of his biography of the band. Comparing tracks like “Friends” and “Gallows Pole” to the shimmering acoustic and electric layers of “Stairway to Heaven” and “The Battle of Evermore,” it’s clear that Led Zeppelin III was not only a masterpiece in its own right but a harbinger of even more creative compositions to come.

It just occurred to me that the man sitting with Jimmy at the table may be a bodyguard. There have been stories in the UK press about British males being mugged by the 'working girls' in Thailand. One guy in particular told of how he got robbed and ended up having to take a job in a bar to pay for his ticket home. As it will be well known locally that Jimmy is wealthy, maybe he felt he had to take security, because on this trip Ross was not with him. Just a thought. Edit:- I've taken another look at the video and I think that it may be the same guy who attended a funeral with Jimmy a couple of years back. That person at the funeral was security.

This clip only lasts 6 seconds. I've watched it over and over, and it does appear to be Jimmy - silver white hair in ponytail. He appears to be with his youngest daughter. he was obviously not wanting to be bothered when with the kids - understandable. From: boomnoise | 21 August 2010 | 157 views jimmy page tells pokes 'no! I'm with my daughter!' http://www.youtube.c...u/1/0Y-1VxY05Qk

Butts Butler who posted his video of Jimmy in Pattaya onto You Tube has had to add the following words underneath it: "*Please Note the Baby is Jimi Na Butler (not Jimmy Pages Thai Child as he doesn't have one for the People who call him and ask, true Story lol)"

http://www.pressdemo...nment?p=3&tc=pg Banker's dream fills Golden Gate Park with free music Kinky Friedman and his band, The Texas Jewboys, will be making their first appearance at the Hardly Strictly Bluegrass Festival in San Francisco's Golden Gate Park. By MICHAEL SHAPIRO THE PRESS DEMOCRAT Published: Thursday, September 30, 2010 at 3:00 a.m. Last Modified: Tuesday, September 28, 2010 at 5:31 p.m. A decade ago, San Francisco investment banker Warren Hellman had a wacky idea: he wanted to underwrite a free bluegrass festival in San Francisco's Golden Gate Park. "We had no idea whether anybody would show up," Hellman recalled from his office, with views of Angel Island. "And there were 20,000 people." The 10th annual Hardly Strictly Bluegrass concert, which has grown wildly since its inception in 2001, will take over Golden Gate Park from Friday, Oct. 1, through Sunday, Oct. 3 And Robert Plant, the voice of Led Zeppelin, will join other musicians even though he's not listed as part of the lineup.

Robert Plant and his PA leaving Morton's Steak House. Toronto, Canada - 16.09.10.

Source:- Asian Age 24 paintings of Tipu victory on British to be auctioned Sep 29th, 2010 - SARJU KAUL | A set of 24 paintings, which depict Tipu Sultan’s victory over the British at the Battle of Pollilur in 1780, will be auctioned by Sotheby’s as part of its Arts of the Islamic World next week. The set of paintings, which are made of ink and gouache on rice-paper backed with cotton, is estimated to sell for between £650,000 and £800,000 on October 6. A 17th century Mughal painted and dyed floorspread from Golconda, measuring approximately 500 cm square, is also on offer among other Mughal and Deccan linked objects at the sale. The floorspread, which was once in the collection of the Amber Palace, Jaipur, is estimated to sell for £100,000 — £150,000. The Tipu paintings, which were in Seringapatam until 1799 when Tipu Sultan was killed, are likely to have been produced by an Indian artist after the battle, which was fought during the Second Anglo-Mysore War (1780-1784). Tipu’s father Haider Ali was killed in 1782 and Tipu took over as the Nizam of Mysore and ruled for 17 years till his death in 1799. After the battle, Tipu had commissioned a mural to commemorate his father’s victory and it was installed in the Daria Daulat Palace in Seringapatam in 1784. The mural and the set of paintings to be auctioned depict Tipu and Haider Ali, wearing royal garments, riding elephants and surrounded by their army, French mercenaries and the Maratha troops, to go and face the British Army, which was crushed in the battle, one of the worst defeats of the East Indian Company at the time. The paintings fell into British hands when Colonel John William Freese acquired them after his appointment as commissary of stores at Seringapatam in 1802. His descendant, the 9th Earl of Lanesborough, sold the paintings in 1978 to a UK collector, who in turn sold the paintings in 1981 to the current owner, who remains unidentified. In 1983, the paintings were on exhibition for six months at the Tower House, Kensington, home of rock star Jimmy Page of Led Zeppelin. There are also notations on the paintings, suspected to have been made by a British officer who was either at the battle or had direct knowledge of the sequence of events. The paintings were probably originally part of two large scrolls approximately 7 feet by 30 feet and represent three-fourths of the original cartoon. Originally attributed to post-1840 by their military costumes, the paintings have undergone extensive tests and further research indicating that the English military uniforms as they now appear are misleading and revealing the actual date of production is likely to have been in a period shortly after 1780.

Hi Magic, Yes, the BL and the other five deposit libraries are supposed to receive a copy of everything published in the UK. That's why I looked through a couple of their databases and have found that while Genesis have fulfilled their obligation to a certain extent in the early years, they seem to have become lax. The books which have been submitted are of a pictorial type, so I don't see why there should be any problem with donating the JP book (from their point of view the cost of providing another six copies, but the law is the law!). I have sent two emails now, to no avail, but I am going to keep pursuing them till I get an answer. If all six deposit libraries received a copy, UK Zeppelin fans who couldn't afford to buy, would get reference access.

Knebby, would it not be the UK because I couldn't see a David Essex film being a big release in the US? (I saw it, it was unbearably corny:D )

I have had no response so far from Genesis, so I have emailed them again. I have also checked the database of the National Library of Scotland to see if Genesis have ever sent their pictorial books before, and it would appear they have done so in the past. For example, I found Max Scheler & Astrid Kirchherr (1996) 'Golden Dreams' Beatles – Pictorial Works'. "This edition is limited to two thousand five hundred copies signed by Max Scheler and Astrid Kirchherr". This was quite small though at 122 pages. There is another one, called 'Liverpool Days', again signed by the same authors. I have been onto the Integrated Catalogue of The British Library, searched for Genesis under 'publishers' and it shows up the books on George Harrison, David Bowie, John Lennon, George Martin, and Paul Weller. Now, you will see from one of my above posts that the British Library is absolutely obliged to receive copies of everything, and it looks like Genesis have been caught short in this respect, because there is a lack of their recent products. BTW, if any of you live within travelling distance of these 6 libraries, it is worth looking at their catalogues for Zeppelin material because they have books which are no longer in print. You are allowed to access the books, but not borrow, although there is usually an inter-library loan arrangement, whereby you can get a book transferred from one library to another. I'll get back to this thread if I get a reply from Genesis. Presumably they'll hate me if they have to print another six copies . I empathise with those of you who have ordered, and paid for the book, and were hoping to receive it this week. Why is everything involving Jimmy like pulling teeth?

I am not aware that the statute which I quoted would allow publishers to wrangle their way out of their responsibility on the basis of price. I'll be interested to see what excuse Genesis comes up with. I'll let everyone know. I found this on the National LIbrary Of Scotland website explaining the set-up with these deposit libraries. It looks like five of the libraries have to write and request a copy of items published, if one is not sent automatically. The British Library in London is different in that they get theirs automatically. I simply thought it was something worth looking in to, because if Genesis were required to provide a copy to each deposit library, it would mean that there would be a hard copy in these UK locations which fans could travel to. I'm not sure how many people would be willing to put their book on the web because they might ruin the binding and spine when scanning or photocopying. Also, they were the ones who paid a pretty high price to obtain the photos, so they're not obliged to share. Legal Deposit UK and Irish legal deposit libraries There are six legal deposit libraries in the United Kingdom and Ireland: The British Library, LondonNational Library of Scotland, EdinburghBodleian Libraries of the University of OxfordCambridge University LibraryTrinity College, DublinNational Library of Wales, AberystwythThe five libraries in Edinburgh, Oxford, Cambridge, Dublin and Aberystwyth are entitled to request free of charge a copy of everything published in the United Kingdom, providing they make a request in writing within a year of the date of publication. These libraries share the Agency for the Legal Deposit Libraries, which acts on their behalf in requesting materials that are due and which serves as the statutory depot for the receipt of material acquired in terms of the Legal Deposit Libraries Act 2003. The British Library has a slightly different privilege in that it is the responsibility of publishers to send a copy of their publications without a written claim being required. It has its own Legal Deposit Office: Legal Deposit Office The British Library Boston Spa Wetherby West Yorkshire LS23 7BY

I have sent an email to Genesis Publications today regarding whether they have to comply with the Legal Deposit Libraries Act 2003. If I get a reply from them, I'll report back.

I have been looking into the deposit library situation which I spoke about in my replies above. From the material that I found (printed below), I don't see why the deposit libraries would not get a copy if they so requested it. Therefore, the libraries which I noted above would be able to request a copy. I am going to email Genesis to ask if they will be complying with the legislation referred to below:- Legal Deposit Main points The National Library of Scotland is entitled by law to receive a copy of any work published in the United Kingdom, free of charge from the publisher. To obtain it, the Library should make a request in writing within 12 months of the date of publication, though the Library is also pleased to receive publications which have not been claimed. The law which entitles the Library to do this is the Legal Deposit Libraries Act 2003.All printed works are covered by this legislation, including books, pamphlets, single sheets, maps, printed music, journals and newspapers.Non-Print Publications: The Legal Deposit Libraries Act 2003 provides for supplementary regulations to be introduced to extend legal deposit to include non-print publications. At present, the Code of Practice for the Voluntary Deposit of Non-Print Publications, which has been in effect since January 2000, allows the legal deposit libraries to request a copy of certain categories of non-print publication.The need to deposit a book does not depend on its having been allocated an International Standard Book or Serial Number (ISBN) or (ISSN), but on whether or not it can be considered to have been published. A work is said to be published when copies of it are issued to the public. The place of publication or printing, the nature of the imprint and the size of distribution are immaterial. It is therefore the act of issuing or distributing to the public in the United Kingdom or the Republic of Ireland which renders a work liable to deposit.Publishers may choose to send deposit copies of their publications for the National Library of Scotland either direct to the Legal Deposit Team, or to the Agency for the Legal Deposit Libraries.Official registration of copyright is no longer necessary in the United Kingdom. When publications are supplied to the Library a receipt is issued to the publisher. This acknowledges delivery of the publication, but has no bearing on the ownership of copyright.Legal Deposit main page I advise those who have ordered a copy of their own, to buy cotton gloves (pharmacist shop) to use when looking at your book, because you do not want the acid or moisture from your hands discolouring the pages.

Source:- The Mail On Sunday Live Magazine www.dailymail.co.uk/home/moslive/article-1314911/Ronnie-Wood-The-secrets-success.html#ixzz10Zwxqd2t The secrets of my success: Ronnie Wood By Mike Pattenden 25th September 2010 'I've been sober six months now, and I'm lucky to be alive,' said Ronnie Wood Born in 1947, Ronnie Wood taught himself guitar as a boy in Yiewsley, west London. In the mid-Sixties he played in his first band, the Birds, before teaming up with Rod Stewart in the Jeff Beck Group and then the Faces. After the Faces disbanded in 1975, he became a full-time member of the Rolling Stones, and he has remained with the band ever since. He has also collaborated with everyone from David Bowie to Bobby Womack, in addition to being an accomplished artist. He has three children from two marriages. Bank with the favour bank. We do things on an exchange basis in the music business - it keeps the wheels turning. That's how I can get people like Slash, Flea and Kris Kristofferson on my album. Collaboration should be done through trades rather than charging each other a fortune. You scratch my back and I'll scratch yours. It's not what you steal; it's how you steal it. Songs are out there - they're waiting to be grabbed. I start with a phrase, musical and lyrical, words like 'I don't think so' and a nice riff. It rolls from there. It's an outlet for me, a form of release for ideas that would otherwise not get used. Better out than in, I say. Never stop learning. Always try and better your best. I tried to emulate my favourite guitar players, the old bluesmen like Blind Willie McTell and Big Bill Broonzy. I used to sit by the record player and copy Chuck Berry and the Beatles. You can never copy someone completely, so you end up developing your own style. I'm still working at it now. Have total belief in what you do. You can never set your sights too high, because you'd be surprised by what you can achieve. That's how I got going. I played washboard in my brother's skiffle band when I was nine and ended up working with legends such as Jimi Hendrix, Eric Clapton and Bob Dylan. Trust has to be earned. There are people who will always try to take advantage of talent and a name. You want to trust them, but it doesn't always work out. I've often been too optimistic with my expectations down the years. Some ventures I've been involved in had huge potential but went sour. So sift through the offers and take good advice. 'In a band you have to respect each other's needs. That's one of the secrets of the Stones' durability,' said Ronnie (above with Charlie Watts, Keith Richards and Mick Jagger, left to right) Nothing else matters as long as the vibe is right. In the late Seventies I lost £200,000 flying my mates in the New Barbarians around the U.S. in a Boeing 727. I made sure everyone got looked after but we never released a single song. I didn't care about the business side of it, because we were boys having a good time. In a band you have to respect each other's needs. That's one of the secrets of the Stones' durability. Charlie (Watts) has his jazz between Stones commitments; Mick (Jagger) has his solo albums. You have to respect people's space and be able to live with the people you work with, especially on the road. The music is the easy bit. Living like a Rolling Stone is much harder. Everything about them is massive: the tours, the attention, the razzmatazz. It's one big extravaganza, but it can also be a golden prison. Whatever will be, will be. I go with the flow and I'm aware that I've been blessed. Looking back at some of the scrapes I've been in, I realise I've led a charmed life. I could have died or ended up in jail on more than one occasion - I've brushed up against Mafia types and lawmen and somehow come out unscathed. I'm from Gypsy stock and I think it gives me a nomadic outlook. It's hard to tie me down for long. I need the freedom to indulge my creative urges. You need a special mindset to cope with big world tours. I can adapt very easily and I enjoy the gang mentality of being in a band. Every great band needs a great frontman. I had the good fortune to work with two in Rod and Mick. They both knew exactly how they wanted to be portrayed and they always knew what they wanted from a song. Yes, they get most of the adoration, but they have to work for it. If you have to, never be afraid to stand your ground. You can't have bad vibes, but a bit of creative tension is always a good thing. The Stones thrive on it. By dealing with everyone's issues you can move on, get something nailed down. A bit of honesty is good, but you have to play things shrewdly. I can be blunt, but sometimes you need to stroke each other. It's a team effort in the end. In the Stones none of us is as strong individually as we are collectively. A bit of humour goes a long way. I'm a diplomat by nature. I help find the middle ground. I crack a joke and use humour to help resolve potentially vicious situations quickly. It gets things in perspective and helps everyone to see that things aren't as bad as they seem. I'm always the middleman in the Stones. I helped Keith and Bill (Wyman) patch things up, and when Mick and Keith fell out it was me who got them talking again. When all else fails, time heals. I didn't see much of my kids when they were growing up. They understand now, but there were a few bridges to repair down the years. Booze is great; sobriety is greater. When I was drinking my playing was good, but not concentrated. I see everything with greater clarity now; I have more peace, and it's brought with it greater dexterity with the guitar and the paintbrush. Alcohol was inspiration, but it turned me into a grumpy old man. I've been sober six months now, and I'm lucky to be alive. I've lost a lot of mates down the years: Keith Moon, Jimi - they were dropping like flies at one time. I was always able to pull back from the edge; those guys carried on going until they went over it. Embrace your pressure valve. You need some form of release or you'll end up murdering someone. I'm lucky to have two means of expression in music and painting, and I'm a better person for them. For that reason, rock 'n' roll will never die. The music survives because you need that release. I'm comfortable with my age and comfortable in my skin. I don't think I look 63 and I certainly don't feel it. I intend to keep rocking. 'I Feel Like Playing' is released on Eagle Records on September 27

SuperDave, You are right about the book's price tag being an obstacle. There is no way the local libraries would even think about stocking this item. Apart from anything else, we are undergoing draconian public spending cuts here in Britain. You couldn't loan this book out, because you certainly wouldn't get it back:). The 'deposit' libraries which I referred to in my above post, are half a dozen or so reference only libraries in Great Britain which are entitled to receive, free of charge, a copy of every thing published in the UK whether that be books, magazines, journals, newspapers. The publishers have a time limit of a couple of years in which to submit a copy of everything published. If they don't supply a copy in the subscribed time limit, in theory they can be taken to court. Of course, the libraries do not have the resources to do so. My view is that if a copy of something you want is not submitted with the time limit, write to the publisher informing them that they have failed in their obligation under the relevant statute . Examples of such reference libraries are The British Library in London, Oxford and Cambridge University Libraries, The National Library of Scotland and Queen's University, Belfast. I think that a couple of members on here are academic staff, and would know the position regarding the photobook better than I would.

I wonder if there will be a party for the release of the book, or if JP will give another press interview? As for asking your librarian, the half-dozen or so 'deposit' libraries in the UK are entitled to receive a copy of every book that is published in Britain(but not obliged to accept). However, that may not extend to picture biographies - I simply don't know.

Herewith a link to an article in Pattaymail about the fundraising evening at Jamsons' pub. There are quite a few photos of Jimmy. http://www.pattayamail.com/895/features.shtml#hd1

Here's a link to a posting on the Les Paul forum from a fan who got his photo included in Jimmy's book:- http://www.lespaulforum.com/forum/showthread.php?t=166941

I'm just happy that the list wasn't compiled by Rolling Stone magazine.

Thanks very much. This is great. Spot on accurate as usual:superman:

Source: www.gibson.com/lifestyle Gibson.com's Top 50 Guitar Solos: Full List, Readers Poll Revealed 09.24.2010 With today's announcement of the Top 10 Guitar Solos of All Time (JOHN, PUT LINK HERE), another Gibson.com Top 50 list is in the books. Below, check out the full rundown of all 50 solos that made the list. (You can get more information on each of the entries here: #50-41, #40-31, #30-21, #20-11 and #10-1.) Plus, take a look at the readers poll and the guitarists who scored multiple entries further down the page. We'd like to send out a special thank you to every fan who voted in the poll, as well as musicians Bart Walsh (David Lee Roth) and Jeff Cease (Black Crowes), and Gibson.com's entire editing and writing staff. This is how the full list turned out: 1. "Stairway to Heaven," Led Zeppelin (Jimmy Page) 2. "Eruption," Van Halen (Eddie Van Halen) 3. "All Along the Watchtower," The Jimi Hendrix Experience 4. "Hotel California," Eagles (Don Felder, Joe Walsh) 5. "Comfortably Numb," Pink Floyd (David Gilmour) 6. "Free Bird," Lynyrd Skynyrd (Gary Rossington, Allen Collins) 7. "Layla," Derek and the Dominos (Eric Clapton, Duane Allman) 8. "While My Guitar Gently Weeps," The Beatles (Eric Clapton) 9. "Johnny B. Goode," Chuck Berry 10. "Bohemian Rhapsody," Queen (Brian May) 11. "Crazy Train," Ozzy Osbourne (Randy Rhoads) 12. "Cause We've Ended as Lovers," Jeff Beck 13. "Sweet Child o' Mine," Guns N' Roses (Slash) 14. "Hot for Teacher," Van Halen (Eddie Van Halen) 15. "Since I've Been Loving You," Led Zeppelin (Jimmy Page) 16. "November Rain," Guns N' Roses (Slash) 17. "Mr Crowley," Ozzy Osbourne (Randy Rhoads) 18. "Whole Lotta Rosie," AC/DC (Angus Young) 19. "Like a Hurricane," Neil Young and Crazy Horse 20. "Sultans of Swing," Dire Straits (Mark Knopfler) 21. "Texas Flood," Stevie Ray Vaughan and Double Trouble 22. "One," Metallica (Kirk Hammett) 23. "Cortez the Killer," Neil Young and Crazy Horse 24. "Rock Around the Clock," Bill Haley and His Comets (Danny Cedrone) 25. "Sweet Jane" (live), Lou Reed (Steve Hunter, Dick Wagner) 26. "Purple Rain," Prince and the Revolution (Prince) 27. "Heartbreaker," Led Zeppelin (Jimmy Page) 28. "Jessica," Allman Brothers Band (Dickey Betts) 29. "Machine Gun," Jimi Hendrix 30. "Crossroads," Cream (Eric Clapton) 31. "Time," Pink Floyd (David Gilmour) 32. "Are You Experienced," The Jimi Hendrix Experience 33. "Race with the Devil," Gene Vincent (Cliff Gallup) 34. "Don't Believe a Word," Thin Lizzy (Brian Robertson) 35. "Purple Haze," The Jimi Hendrix Experience 36. "Besame Mucho," Wes Montgomery 37. "Sympathy for the Devil," The Rolling Stones (Keith Richards) 38. "Blue Sky," Allman Brothers Band (Duane Allman, Dickey Betts) 39. "My Sharona," The Knack (Berton Averre) 40. "Marquee Moon," Television (Tom Verlaine) 41. "Hitch a Ride," Boston (Tom Scholz) 42. "The End," The Beatles (Paul McCartney, George Harrison, John Lennon) 43. "Whole Lotta Love," Led Zeppelin (Jimmy Page) 44. "Train Kept A Rollin'" (live), Aerosmith (Joe Perry) 45. "Highway Star," Deep Purple (Ritchie Blackmore) 46. "Dirt," The Stooges (Ron Asheton) 47. "Off the Handle," Rory Gallagher 48. "The Great Curve," Talking Heads (Adrian Belew) 49. "The Messiah Will Come Again," Roy Buchanan 50. "Beat It," Michael Jackson (Eddie Van Halen) Gibson.com Readers Poll Top 25 Guitar Solos Although the readers poll and the overall list agree on the greatest guitar solo in music history (along with many of the other choices), there are some notable differences. For instance, solos by Terry Kath (Chicago), Marc Bolan (T. Rex) and Lindsey Buckingham (Fleetwood Mac) failed to make the final cut. And, boy, you guys sure love your Allman Brothers, don't you? No less than one-fifth of the readers poll consists of Allman tracks even more than that if you count Duane Allman's work on "Layla." 1. "Stairway to Heaven," Led Zeppelin (Jimmy Page) 2. "Free Bird," Lynyrd Skynyrd (Allen Collins, Gary Rossington) 3. "Blue Sky," Allman Brothers Band (Duane Allman, Dickey Betts) 4. "Layla," Derek and the Dominos (Eric Clapton, Duane Allman) 5. "Eruption," Van Halen (Eddie Van Halen) 6. "Whole Lotta Rosie," AC/DC (Angus Young) 7. "In Memory of Elizabeth Reed," Allman Brothers Band (Duane Allman, Dickey Betts) 8. "20th Century Boy," T. Rex (Marc Bolan) 9. "Sweet Child o' Mine," Guns N' Roses (Slash) 10. "Rude Mood," Stevie Ray Vaughan and Double Trouble 11. "Hotel California," Eagles (Don Felder, Joe Walsh) 12. "Comfortably Numb," Pink Floyd (David Gilmour) 13. "November Rain," Guns N' Roses (Slash) 14. "Back in Black," AC/DC (Angus Young) 15. "Whipping Post," Allman Brothers Band (Dickey Betts, Duane Allman) 16. "Since I've Been Loving You," Led Zeppelin (Jimmy Page) 17. "Machine Gun," Jimi Hendrix 18. "Crossroads," Cream (Eric Clapton) 19. "Let There Be Rock," AC/DC (Angus Young) 20. "Statesboro Blues," The Allman Brothers Band (Duane Allman, Dickey Betts) 21. "Keep Yourself Alive," Queen (Brian May) 22. "25 or 6 to 4," Chicago (Terry Kath) 23. "All Along the Watchtower," The Jimi Hendrix Experience 24. "Heartbreaker," Led Zeppelin (Jimmy Page) 25. "Landslide," Fleetwood Mac (Lindsey Buckingham) and "Dreams," Allman Brothers Band (Duane Allman) (tie) The Top 50 Guitar Solos: Repeat Offenders Some guitarists' soloing greatness can't be contained by one entry (or even three!). Check out these repeat offenders on Gibson.com's Top 50 Guitar Solos of All Time: Jimmy Page: 4 ("Stairway to Heaven," "Since I've Been Loving You," "Heartbreaker" and "Whole Lotta Love") Jimi Hendrix: 4 ("All Along the Watchtower," "Machine Gun," "Are You Experienced" and "Purple Haze) Eric Clapton: 3 ("Layla," "While My Guitar Gently Weeps," "Crossroads") Eddie Van Halen: 3 ("Eruption," "Hot for Teacher" and "Beat It") David Gilmour: 2 ("Comfortably Numb" and "Time") Duane Allman: 2 ("Layla" and "Blue Sky") Dickey Betts: 2 ("Jessica" and "Blue Sky") Randy Rhoads: 2 ("Crazy Train" and "Mr Crowley") Slash: 2 ("Sweet Child o' Mine" and "November Rain") Neil Young: 2 ("Cortez the Killer" and "Like a Hurricane")

Source:- www.gibson.com If Paul Rodgers is going to record solo material and then do a solo tour, fat chance that he'll get back together with Jimmy. I was kind of hoping that they would. Bad Company to Close Shop? Michael Wright| 09.24.2010 In a new interview with the Southwest Times Record, Bad Company singer Paul Rodgers hinted that the band he helped found in 1973 might be nearing the end of the road. "After this Tulsa show, there will be no further plans for Bad Company beyond dates in Japan," said Rodgers. "I'm working on new solo material in the studio, and I've got a solo U.K. tour planned later, so I'm just seeing how it goes." "We aren't saying never - we never want to say never," the 60-year-old singer continued. "We aren't putting Bad Company to bed, as they say, but the band definitely is something that will be placed onto the back burner." When asked about recent rumors about having been asked to replace Steven Tyler in Aerosmith, Rodgers said, "I love Joe Perry; he's a great guitar player up there with the Jimmy Pages and Jeff Becks of the world. And I love Steven, too. He's a fantastic frontman, and stepping into that slot would be a difficult scenario. Those five guys together is (sic) just fantastic." Bad company will play their final scheduled North American tour date at The Joint inside the Hard Rock Hotel & Casino in Catoosa, Oklahoma on October 7.

Maybe Jimmy's new website will go live to tie in with the publication dateB) .