Ed A
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Posts posted by Ed A
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*BIG PRICE DROP, MUST SELL! $3650.... email me at: goldtop57@optonline.net
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Excuse the not great audio quality, but hope you enjoy. I’ve loved this guitar will be sorry to see it go!
This is a 2018 VOS Custom Shop '57 Reissue Gibson Les Paul purchased new by me and sent to Tom Bartlett in Canada for conversion to a replica of Jimmy Page's #3 candy apple red Les Paul... Page had two identical looking candy apple red #3s in the '70s and one of them was originally a '50s goldtop with narrow binding like this R7 Reissue. I believe mine is the closest and best made #3 replica you will find anywhere!.. Fantastic sounding and playing '57 Goldtop reissue that Tom sprayed candy apple red over the gold just as Jimmy had done to his. Tom also removed the original Kluson style tuners and installed faded gold Grovers like Jimmy's. Other appointments done exactly as Page's are uncovered original double black Custom Buckers, black historic pickup rings, cream switch tip, original cream pickguard and switch ring and gold barrel knobs. All other hardware and plastics are original to the guitar. I changed out the original pots to my fave Dimarzio branded CTS custom taper pots, very similar in response and taper to original vintage Centralabs... The guitar already had the VOS treatment so it is NOT mint but in beautiful lightly aged condition. It has some nicks on the back and also small ones on the front and is beginning to lacquer check... SEE THE PICTURES IN THE REVERB AD OR EMAIL ME FOR CLOSEUP PICTURES... I swore I would never sell this guitar but Im looking to purchase a heavy aged Murphy Lab or Bartlett '59 Replica and this one has to go... Comes with original Lifton style reissue case and all case candy and original COA... Original pickup covers, tuners, pots and amber switch tip are in the case as well.... Plays and sounds great!!!...
$4900 (Priced higher on Reverb) INCLUDES SHIPPING TO CONTINENTAL USA ONLY.
Email me at goldtop57@optonline.netREVERB LISTING: https://reverb.com/item/80418219-jimm...
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I have a couple of these Univox 2X12 cabinets. Made in ‘71. The one on the right, I spray painted black back in the 70s like an idiot! These cabinets were made at the Unicord facility on Long Island, the same location where all imported Marshalls arrived from England before being distributed to the rest of the country. The Univox cabinets were likely on stage with Zeppelin because of Page’s close relationship with Tony Franks, the super tech wizard from Unicord. Franks is the guy that modded Page’s amps to KT88s on one of his visits to NY. -
On 9/23/2022 at 1:50 PM, Ana Pearce said:
So now the Hoodie has a place in my living room.
Wow! How great is that!
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That is WAY too freaking cool!!!… I think in the last photo Robert is saying ‘So what the hell do all these switches do!?’
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5 hours ago, Ana Pearce said:
So it's been a month since I came out of the shadows and it's been a great Rollercoaster ride..I'm just saying thank you! You guys now know who I am , and I found my old self back. I loved music and dancing , and I can love it again ! ❤️
Happy this has been a wonderful experience for you!… And thank YOU for gracing us with your presence here… this has been a great ride for us as well!
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Thanks Sam!!!
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5 hours ago, Ana Pearce said:
Yeah , well I dont see posts wanting RP back with his hip hugger pants and his tiny shirt lol..Oh wow I just said that..lol But I know that ain't going to happen..lol.
Nope that ain’t gonna happen!… and you’re not gonna wear your tunic and I’m not gonna wear my ‘75 tour shirt and split it in half LOL! But at least you could say that you saw Robert in ‘all his glory’… I would say you had quite the clear view!
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5 hours ago, Ana Pearce said:
Ed ,
What is it with people wanting me to wear the tunic. I myself like to keep the memory of the 18 year old me wearing the tunic than the me now wearing it..lol
Makes sense to me! Hey I think people mean well but some of the requests are a bit out there… comes with the territory now that you’re a celebrity lol!
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Agreed that Robert would never remember every show he’s done and the fans at those shows. But he likely would remember that clip of you from the movie. Totally agree that wearing the tunic to a Plant/Krauss concert and hoping for an invite backstage is a little much lol… But it would be nice if somebody pointed out this thread to him, I think he would smile.
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On 8/26/2022 at 1:17 PM, MackeyWilliams said:
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Hi Ana. If you don’t mind me saying so I would think the reason Robert pointed to you was because he was attracted to you! And the tunic made you stand out even further. And just as his performance was moving to you, your presence obviously moved him as well, enough to want to gift you with the tambourine!
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13 minutes ago, Ana Pearce said:
Yeah he was my boyfriend at the time..RP was my crush and he knew it. 😆
LOL!.... hope you dont mind the questions and respect your privacy if you cant answer... but this really is kind of mind blowing!... There were a LOT of us that had a crush on you LOL!... so did you go the first, second or last night?... and if you got a tambourine, guessing that you did meet Robert after the show? Had you met him already?
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Holy moly Ana!!!.... We've been wondering who you were for decades!!!... I was at that show too (if it was the last night 7/29)... What a great and memorable moment in the film, watching your reaction!... And please dont be offended, but I also always thought that the guy next to you had this look that said 'Wow, I just lost out to Robert Plant!'
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OK... we NEED to know... wondering if it REALLY is his original that was stolen in May '70 and returned to him by Perry Margouleff?... Quality of the pix isnt good enough to see if there is any sign or the two extra switches that were next to the original toggle....
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21 hours ago, Darth Hoek said:
So, I pre-ordered one of the Jimmy Page Dragon production run Telecasters for $1,399.99 from Musicians Friend to be delivered in July...I thought it was weird that the white production one was $2,400 while the what I will assume will be better selling dragon telecaster is $1,000 less. The dragon has non-guitarist man cave wall-hanger written all over it and they should sell a bunch of these. It was also odd that they were not calling it an American Telecaster in the descriptions I could find, in fact no articles I can find mention anything about where the production guitars will be made. Usually when a Fender is made in the US they put it right out there usually.
I wanted to know exactly what I was purchasing and where it was from, so I reached out to Musician's Friend to ask where it will be made. They got back to me and said the Dragon tele will be made in Mexico...I already have an American Standard Telecaster from the 90's and do not need something new but inferior.
So, I called in to cancel my order and I picked up an open-box Epiphone double neck for 1/2 the price!
I am surprised that the production dragon is made in Mexico, not that that is the hugest deal, but the quality, fit, and finish is lower in my experience with the Mexican vs. US Fender products. This seems like a big enough money maker that they could have charged $1,800 or so for the Dragon and made it in the US. Honestly, you can buy a sweet Telecaster made in Mexico for under $500.00 at the shop, and for half that a bit used...why the extra $900 for a dragon and JP signature sticker?
Now I am wondering, will the production run jimmy page white mirrored guitar be made in the US, and that is why it will be more expensive? Anyone? 4 or 5 little mirrors and some whitewash don't add up to $1,000!
Yes the production mirrored tele is USA and the dragon is MIM, which accounts for the price difference... I personally dont mind that the dragon is MIM, I have and have had a couple MIM roadworns that are silly good quality in terms of the lightweight wood and harder and thinner nitro that is not always seen on many USA models... but after hearing that the dragon is a sticker and not screen printed has me thinking of cancelling my pre order as well...
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10 hours ago, Googlywoogly1 said:
Actually in a 2014 interview Page stated that the You Shook Me solo was recorded on a Gibson Flying V guitar. Per Page:
It’s hard for people to believe, but I just used my Fender Telecaster for the entire album, except for one track. Somebody was trying to sell me a Gibson Flying V at the time. I don’t what made them think I could afford it, because I clearly couldn’t, but I asked them if I could just try it out. I brought it into Olympic and used it on “You Shook Me.” With those big humbuckers, it was so powerful you can hear it breaking up the amp in the middle of the song. I could’ve tidied it up, but I really liked hearing the amp really struggle to get the sound out. It’s really fighting through the electronics to get out of that speaker. I’m not sure what happened to the guitar. It might’ve found its way to Keith Richards or something, but I really don’t know.Well that is absolutely the first time I’ve ever heard that and that actually blows me away! But if I had to guess that is the flying V tracking throughout the entire song all of the slide parts and the rhythm Riffing and chording. Sounds very much like a neck humbucker. I still believe the solo is the telecaster overdubbed with the tonebender pedal. But very cool info!
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Yes I get it and I should clarify. When I said the Les Paul is a muddy mess I meant if you try to use it through the same tonebender petal. The toneBender is actually more suited to work with the telecaster. But as far as you not liking the tone as much that’s all good everybody has their own opinions about what we like and don’t like. As I said I love and play les pauls because that is the sound I dig the most.
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Well let’s agree to make this a discussion and not an argument. Although I’m not sure either one of us will see things the same way! First let me say that I am a Les Paul and humbucker lover. Been playing them since I first saw Zeppelin at the Nassau Coliseum in 1972. And although I own a telecaster Les Pauls are my weapon of choice. And the sound of the Les Paul through a vintage Marshall with no fuzz at all as Heartbreaker was done on Zeppelin II is my favorite tone of all time. But that being said I can’t agree less about single coil pickups not accepting fuzz boxes well. If you’ve ever tried a Les Paul through a vintage tonebender as I have you will never get what Jimmy got on Dazed and you shook me and how many more times on Zep I. It is the humbuckers that are too thick and muddy and the whole thing ends up like a muddy mess. But because single coils are thinner and brighter the telecaster was the perfect guitar to use with that pedal. And I’m not the only one that is of that opinion. Single coils are cleaner thinner and brighter than a humbucker. Now if you personally didn’t like the combination that’s fine. But in my opinion and many others that combination was fantastic although Jimmy only used it for the one album and up until March 69 live. Dazed and confused solo is the bridge pickup through the tonebender and I don’t think you can get a much more menacing tone than that! Sure playing that song like he did a couple years later live with the Les Paul and Marshall is a whole different thing and a wonderful trip, but the original stands alone. And how many more times solo that is the next pickup on the telecaster and an equally incredible tone. And you shook me solo is one of the most incredible recorded solos I’ve ever heard! That is the telecaster with both pickups on which is out of phase which normally would be quite thin and nasal as heard on early bootlegs when you don’t have the fuzz on. But click on the fuzz and you get what is on Zeppelin I. But I can’t make you like the tone and that’s OK! One last thing. When you say single coils don’t work with overdrive. Tell that to David Gilmour! Some of the best guitar tones ever recorded. Single Tone Strat played through Hiwatt amps set clean with heavy drive pedals in front. Just saying!
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On 11/12/2018 at 9:46 PM, gibsonfan159 said:
I know that guitar played a huge role in the development of the band, but I was never a big fan of the tone. Fender pickups always get too fuzzy through heavy overdrive and that sound was way too limited to the psychedelic 60s. Maybe that's why he switched over.
Huh? Hey no problem if you are not a big fan of the tone but your comment about fender pickups getting too fuzzy through heavy overdrive? Fender pickups are the perfect match for the tonebender fuzz used on Zeppelin I simply because they are much cleaner than Gibson humbuckers. They are anything but too fuzzy. And as much as I love the combination of the Les Paul and the Marshall that came later, Jimmy Page’s tone on that first album whether it was without the fuzz on Communication Breakdown or with the fuzz on Dazed was absolutely glorious! In my humble opinion of course. 😛
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Yup - he was/is a super sloppy player.
He often made mistakes and fluffed notes - the more so towards the end of Zep. It seems there were times that his picking hand, his fretting hand and his brain were all in different places at the same time.
But.
He gets away with it (generally), because for him the guitar is more about feel than technical ability. There are times you can hear he's playing beyond the limits of his technical ability, and sometimes it's awful and other times it strays into absolute genius.
From the beginning of Zeppelin up until the end of 1973 his playing did nothing but improve - the constant touring and constant playing did absolute wonders for fluidity and lyricism in his technique. After that the long lay-offs and the drugs & booze, and most importantly lack of practice didn't really do him any favours at all. He seems to have spent most of the latter years of Zeppelin relying on muscle memory and the many years of touring beforehand to carry his playing, and, yes he continued to have moments of genius, but the lack of proper practice translated into sloppines and lots more fluffs and mistakes and some out-and-out dreadful playing.
Technical ability isn't everything, but if you don't practice and don't play enough you get rusty. Complacency - the 'I know that so I don't have to practise it' attitude is death to progress as a musician.
You can see a similar curve in his playing throughout the Page/Plant project - at the beginning he was playing decently, but by 1998, after extensive touring his playing was finally almost back to his 1972/73 level. He's a great player, but as far as I can see he doesn't practice (enough) and this has held him back.
There's no doubt he was a great player - but I think he could've been so much better.
I have not read through this whole thread but this post above says it all and I totally agree. Plus you further spoke about his loose wrist versus scrubbing from the elbow later on which is a very telltale sign. But a sign of what I am not sure? Did his technique degrade because of lack of practice or did the drug and booze abuse actually affect his motor skills? I know I'm being technical here and only speaking of playing ability. But he did absolutely peak in 1973 and went downhill from there as far as ability and technique is concerned. That's not to say that he still didn't have creative moments of genius in later years.
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the guy playing the guitar said so, the guy running FOH monitors said so.
I should just give up, but alas I cant.... At about the 10:00 mark of Dazed (below), Jimmy clicks on the wah...
http://www.youtube.com/watch?v=N-iciKQ_A4A
Even BEFORE he clicks on the wah you can hear he's got quite a bit of gain going on... so then he clicks it on. That feedback that he struggles with for the remainder of the song has NOTHING to do with monitors or FOH!.. If you have ever cranked a Les Paul through a Marshall, or an Orange, or whatever amp he had going, with that kind of gain and kicked on a wah, that is the potential problem you can have... And I dont know if you love that ending solo but I personally do not find it close to the level of brilliance that he used to pull off... When you get into trouble like that on stage, you correct it.... turn the damn wah off!... or turn the gain pedal off... you do something!.... Again, Jimmy Page is my all time favorite, always will be, but to suggest he was brilliant from beginning to end at the O2 show seems like fan worship... He was great at times, and definitely not so great at times....
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Page got the tone he wanted so I will defer to him as to what sounds good.
Insofar as overprocessed, to what processing do you refer?
Regarding feedback, you are in correct.
Im incorrect about the feedback? Where are you getting this from? I dont wanna get too deep into 'Im a guitar player so I know what Im talking about', but its the truth.... Ive been playing for a zillion years with Les Pauls and Marshalls in stage situations and just like Jimmy does, I rely on my volume controls on the guitar to go from clean to mean... If you think that the distorted mud tone of the intros and stairway from the O2 sound good, well then your entitled... But Jimmy NEVER played those songs that way in the past. If he rolled down his guitar vols just a bit more he would of cleaned it up. I cant imagine that he wanted it to sound like mud, what I CAN imagine is that his focus isnt what it used to be... Ive already explained where the feedback is coming from in certain songs and I cant help you if you dont understand how that works...
Bottom line, yes I am fully aware that had they toured it is likely that Jimmy would have gotten more in a groove and had better nights... But these guys rehearsed this stuff A LOT beginning in the summer.... I think the ENERGY of the band and Jimmys playing was awesome!... And I am very thankful they did this... But I am not feeling the chills from head to toe from his soloing... A couple notes here and there (like that held note in Since), but for me too few and far inbetween...
I dont want to speak for LedZebedee, but by overprocessed, I believe he is referring to Jimmys use of drive/gain pedals in some situations that he didnt do in Zep especially from '72-'80... Best example, Dazed. The guitar is very heavy on the riff. I actually totally dig that, I have gotten it from the horses mouth that there was a conscious attempt in some cases to capture the feel of studio recordings, something they didnt care that much about in their prime... So I for one LIKE that Jimmy was trying to simulate the monstrous tone of the tele through the tonebender pedal on the first album.... BUT, if you are going to do that then you have to realize that when you click on the wah all hell is gonna break loose and not necessarily the best way... Again, it comes down to focus and control and something was off there...
Finally, I want to say that because I bring up negatives (thats what the poster was asking for) that does NOT mean that there werent positives... One can exist WITH the other!.... I was at the O2 show and it still stands as one of the best shows Ive seen...
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I have not read nor heard that the night at the O2 was planned and set out for Jimmy Page to have his greatest night.
For me it is a slippery slope to single out one band member and scrutinize his contribution after the fact. While Page's tone or approach on this particular night may not strike someone's preferences, it is beyond scrutiny that Page hit the mark for which he was striving for the band.
Insofar as his contribution as the guitarist, he clearly played with intention- leads and fills concise and not indulgent. Beautifully prepared and his craftsmanship superb.
The O2 has a history of being a bit** to mix great sound. The feedback had zero to do with Page's rig volume or settings- the front of house monitor guy couldn't hear so he pushed the levels. The sound check was done with an empty venue, a house full of bodies absorbs huge sums of sound waves. FOH guy was doing his job, he just missed it. It got really touchy when Page clicked in the wah and opened it up- the upper frequencies boost made the FOH squeal. The softer Page played the more the guy faded up the level and dammit.
With all due respect (and I really do not intend to be rude here) there are some things I dont agree with... The original poster asked for our impressions good and bad... So why is it a slippery slope to scrutinize after the fact?... This has nothing to do with preparation or whether Jimmy 'planned' to have a good night, it simply has to do with my opinion of the show itself and the celebration day release, so my opinion on Jimmy's playing that night remains....
But a couple things here you are just not correct about. I was not referring to front of house problems. God knows there were enough of those. But there is a big difference between feedback occuring due to front of house and monitor mix and a tough venue and those coming from your own rig.... Believe me the feedback you are hearing at the end of Dazed and at other times especially when Jimmy clicked on the wah is ALL his rig and nothing to do with FOH... He was letting his rig get away from him. He was not able to control the feedback caused from excessive gain eminating from his amps and/or pedals depending on the song.... What you do in a case like that is first and foremost, turn off the damn wah!!!.... Its not working for you so turn it off!... Roll down your guitar volume a touch... go over to the damn amp between songs and back off on the volume, etc... I get worked up about this because it is not that hard to do and its more of an indication that he is just not on top of it anymore.... If you thought he was fabulous from beginning to end, then fine, I have no problem with that.... But to me, everyone seemed to be most worried before the show about how Robert was going to pull it off, when in fact in my opinion Jimmy was the least consistent.
My Jimmy Page #3 Candy Apple Red Les Paul Replica
in Musician's Corner
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***SOLD!***