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there was a recent interview with beck where he said rod stewart and robert plant are the only vocalists that he likes and would want to be in a band with...........I was shocked at first,

but then it made sense.

It would take Beck working with someone like that to get me interested in him again. His playing now irritates me, his style and tone is somewhere between the old great Jeff and Pac Mac, I could do without the beeps and bloops. I think he tries too hard to be different and it gets messy. One thing is for sure nobody else sounds like him so I guess he succeeded.

I actually had orchestra pit tix when he last came through Denver and declined to go at the last minute after seeing clips from his recent shows on youtube. I knew I'd never be able to get into the show.

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I saw Jeff Beck a few times and most recently was a few years ago. I was front row center stage about three feet away from him the whole night. I love Jeff Beck, even his new weird electronic-ey stuff and that show may be the very best show I have ever seen. He played the same strat most of the night switching guitars for one song than back to the same strat and did things on the guitar I could not comprehend. I love Jimmy Page, but I don't get depressed from listening to him play because I could figure it out and play it; I get depressed from his amazing writing/production. I left the Jeff Beck show wanting to die because he did more on stage in 2 hours than every show I had ever seen combined and more than I or anybody I've known could do in a lifetime. It was fucking profound.

I saw Clapton on the Pilgrim tour and I wanted that 2 hours of my life back. Never in my entire life have I seen such a wanton display of inference towards the audience. That motherfucker phoned it in from someplace that sucked. I haven't liked much of anything he did since he got clean but this show was terrible. Words cannot describe how excruciatingly bad it was. Songs played by lackluster band and sang half-heartedly by a man who on that stage knew his best nights were all in the past. My complete and utter hatred of Eric Clapton is now fueled by is long winded diatribes about how the blues are sacred to him because he never knew his dad. Uuuggg, just shut up. He was a guy that never, ever took the kind of chances artistically that Beck and Page took. After Blind Faith it was all way, way too safe. There is a record from the 80's that Phil Collins produced that got shelved because teh label didn't like it. Do you think Beck or Page ever had that discussion? No. I haven't read his new Autobio, mostly because I think he is a pompus ass, but I'd love to hear how he views his career.

Edited by PJD
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It might be interesting for you guys that the late Jimi Hendrix wasn´t really fond of LZ and some other "new rock bands" (at that time, of course ;-)). He accused them of being insensitive and not understanding what blues is about. He admired Clapton though.

That was initially. By 1970 Hendrix had become an admirer of the band and LZ II was one of his fave albums.

He also adored Bonzo.

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I saw Jeff Beck a few times and most recently was a few years ago. I was front row center stage about three feet away from him the whole night. I love Jeff Beck, even his new weird electronic-ey stuff and that show may be the very best show I have ever seen. He played the same strat most of the night switching guitars for one song than back to the same strat and did things on the guitar I could not comprehend. I love Jimmy Page, but I don't get depressed from listening to him play because I could figure it out and play it; I get depressed from his amazing writing/production. I left the Jeff Beck show wanting to die because he did more on stage in 2 hours than every show I had ever seen combined and more than I or anybody I've known could do in a lifetime. It was fucking profound.

As a guitarist of more than 25 years this all makes sense to me. However I still can't get excited about music I have no desire to play regardless of it's difficulty. There are many players who play things I could never dream of pulling off and though I appreciate their obvious prowess and mastery their music does not interest me. If the music doesn't move me amazing technique doesn't matter.

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Jealous? Probably not. Clapton has experienced much success in his career. I see no good reason for him to be jealous of Zeppelin or Jimmy Page.

Clapton is such a blues purist that his scope of what the blues should sound like, or how one is to interpret the blues, is probably pretty narrow.

This is correct. It is well known that Clapton is/was angered that Page "ripped off' the old bluesmen that he (and other English blues/rock players) adored and worshiped by not giving the old guys credit. (Note that Page was not at Clapton's big guitar festival this year.)

Remember that Zep faced legal action for not crediting their blues sources on some of their early songs. Clapton, the blues purist, is upset at this slight, and not over any alledged "jealousy".

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I don't really think EC is a blues purist, I've never heard him specifically make that claim. To say he was angry with Zep may be a stretch but it wouldn't surprise me if he was disappointed with Jimmy for allowing credit not to be given when it was due. The worse part about Zep claiming those songs as their own was there really wasn't a reason to do it and it's not like those tunes were some long lost secret, damn near every band in the UK from Mayall to Savoy Brown had covered the same material just months before the first Zep albums were released. Unfortunately it happened and it will forever be a blemish on their record. I'm sure in hindsight they wish they wouldn't have let it play out that way and I've seen a few interviews where Jimmy has tried to place the blame on RP's lyrics but he is just as guilty as anybody. It really did put them under the microscope and had people trying to find miniscule similarities to other songs in their truly original work. All of a sudden Jimmy couldn't play G C and D without someone saying he stole everything in the key of G, the witch hunt became rediculous but it was of their own doing.

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I don't really think EC is a blues purist, I've never heard him specifically make that claim. To say he was angry with Zep may be a stretch but it wouldn't surprise me if he was disappointed with Jimmy for allowing credit not to be given when it was due. ............

I think that the "purist" question is interesting. Clapton certainly has payed effusive homage to the Blues originals who influenced him. Maybe it's partly a consequence of his paying such respect to them that those Bluesmen who are still alive and walking seem to enjoy sharing the stage with him. That... and also the fact that many seem to think that he has some soulful chops.

I'm trying to remember from his book whether he actually called himself a "purist." I'll have to check that. I do remember that he cited some type of "purist" sentiment as the reason he left The Yardbirds when they began getting driven by commercial interest.

Then again, he later left The Bluesbreakers for Cream. Good work, imho, but "pure?"

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No doubt he is deeply appreciative of the blues and it original practitioners but he's a smart guy and I don't think he's so pompous that he would claim to be a purist after spending a large part of his career dabbling in rock and pop. I think the purist tag is placed on him by mistaken fans and critics.

Edited by danelectro
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As a guitarist of more than 25 years this all makes sense to me. However I still can't get excited about music I have no desire to play regardless of it's difficulty. There are many players who play things I could never dream of pulling off and though I appreciate their obvious prowess and mastery their music does not interest me. If the music doesn't move me amazing technique doesn't matter.

Yeah, I should have clarified; i love Jeff Becks music and technique.

As for Clapton being a purist, I know he thought of himself as one in the early days; that's why he quit the yardbirds but I don't know when he dropped that ethos.

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This is correct. It is well known that Clapton is/was angered that Page "ripped off' the old bluesmen that he (and other English blues/rock players) adored and worshiped by not giving the old guys credit. (Note that Page was not at Clapton's big guitar festival this year.)

Remember that Zep faced legal action for not crediting their blues sources on some of their early songs. Clapton, the blues purist, is upset at this slight, and not over any alledged "jealousy".

Clapton lost a similar legal action for his direct rip off of "Give Me Strength" on 461 Ocean Blvd. Claims to have been jealous of George Harrison in his new book as well. Clapton is a great musician but seems like a hypocrite in many of his latest quotes. Perhaps it's better for him that he never spoke out much in the past. Don't buy his rubbish book! He needs a beer if you ask me!

Edited by B-Bender
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Yes they did. It was Whole Lotta Love on LZ II where they didn't credit Dixon for some of the lyrics taken.

I Can't Quit You and You Shook Me were credited to Dixon on the first album.

They were also hit on Bring It On Home, another Willy Dixon song performed by Sonny Boy Williamson.

Clic on the ''Preview all'' tab

http://www.amazon.com/gp/product/B000V670F...=dm_mu_dp_trk18

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I think EC is a purist at heart, however the demands of enjoying a nearly five decade career in popular music necessitated some diversification. I also believe left to his own devices he has a tendency to play it safe. EC is best within a band lineup that compels

him to higher heights. Regardless, the man can certainly play the blues.

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I don't really think EC is a blues purist, I've never heard him specifically make that claim. To say he was angry with Zep may be a stretch but it wouldn't surprise me if he was disappointed with Jimmy for allowing credit not to be given when it was due. The worse part about Zep claiming those songs as their own was there really wasn't a reason to do it and it's not like those tunes were some long lost secret, damn near every band in the UK from Mayall to Savoy Brown had covered the same material just months before the first Zep albums were released. Unfortunately it happened and it will forever be a blemish on their record. I'm sure in hindsight they wish they wouldn't have let it play out that way and I've seen a few interviews where Jimmy has tried to place the blame on RP's lyrics but he is just as guilty as anybody. It really did put them under the microscope and had people trying to find miniscule similarities to other songs in their truly original work. All of a sudden Jimmy couldn't play G C and D without someone saying he stole everything in the key of G, the witch hunt became rediculous but it was of their own doing.

What complete and utter bullshit! And your previous post about original ideas not being Jimmy's strength. Ridiculous! He has more original ideas as a producer alone than most musicians do in their entire careers. And as a composer- my god, even if you buy into the rip off conspiracy, there are classic songs on every record that are undeniably from nowhere but Jimmy's head. But once again someone has bought into the ripoff conspiracy as though every artist doesn't do it, and as usual it's a Clapton fan. Well, take a look at this study that I've made. This will quote a series of posts I made at the old board, BTW.

Clapton "disappointed with Jimmy for allowing credit not to be given when it was due"? Clapton was guilty of the same thing then, and he's guilty of the same thing recently. And here's the proof:

I'm sure that all of you have heard of Robert Johnson, and at least some of you will have heard of Skip James. Let's make a comparison of James' song 22-20 Blues, and Johnson's song 32-20 Blues

22-20 Blues by Skip James

Oh, Mr. Crest, Mr. Crest

How in the world you

Expect for me to rest?

Oh, Mr. Crest, Mr. Crest

How in the world you

Expect for me to rest?

You got my 22-20

Layin' up across my breast

Oh, if I send for my baby

An she act a fool

An she don't never come

If I send for my baby

She act a fool

An she don't never come

All the doctors in New York City

I declare, they can't help her none

You know, sometimes she gets unruly

An she act like she just don't wanna do

Sometimes she gets unruly

An she act like she just don't wanna -

But I'll get my 22-20

I'll cut that woman half in two

Oh, your.38 Special

Buddy, it's most too light

Your .38 Special

Buddy, it's most too light

But my 22-20

Will make ev'rything, alright

Ah-or, your .44-40

Buddy, it'll do very well

Your .44-40

Buddy, it'll do very well

But my .22-20

I declare you, it's a-burnin' hell

32-20 Blues by Robert Johnson

If I send for my baby

and she don't come

If I send for my baby

man, and she don't come

All the doctors in Hot Springs

sure can't help her none

And if she gets unruly

thinks she don't wan do

If she gets unruly

thinks she don't wan do

Take my 32-20 now and

cut her half in two

She got a 38 special but I believe its much too light

She got a 38 special but I believe its much too light

I got a 32-20, got to make the camps alright

If I send for my baby

and she don't come

If I send for my baby

man, and she don't come

All the doctors in Hot Springs

sure can't help her none

I'm gonna shoot my pistol, gonna shoot my Gatlin gun

I'm gonna shoot my pistol, gotta shoot my Gatlin gun

You made me love you

now your man has come

Ah-oh

baby where you stay last night

Ah-ah

baby where you stayed last night

You got your hair all tangled

and you ain't talkin right

Got a 38 special boys, it do very well

Clearly, this is the same song. Skip James recorded his version in 1930, Johnson recorded his in 1936. And yet, if you look at the credits on Robert Johnson's platinum selling boxed set, you will not find Skip James' name. Furthermore, if you look at the credits on Eric Clapton's Me and Mr. Johnson at his version of 32-20 Blues, you will not find Skip James' name.

So often when this issue gets brought up, Zep are vilified as "thieves of black music". As I've pointed out previously, people are trying to make a moral issue of what is a legal issue. If this is really about is making sure blues artists get their just due, then Clapton is just as guilty as Zep, if not more so! That song is Skip James' work, and even though Johnson did the initial "theft", Clapton is profiting from that song and not paying the James family one penny.

You might say,"Well, maybe Eric doesn't know." Bullshit. He's a blues scholar and owns every Skip James album there is, he knows. I'm not saying he set out to do this intentionally, he and Zeppelin have lawyers whose job it is to find out who owns the copywrite to a cover song and who needs to be paid to make it happen. Clapton probably never gave it any thought. But the way this USUALLY gets presented is Clapton the blues purist who would never steal from his idols VS. Jimmy Page the great thief of black music. And it's bullshit.

These guys were never thinking about the ramifications of the credits, they made music and it was their management's job to sort it out, and Clapton's and Zeppelin's management handled it and are handling it differently. Not that Clapton was innocent back then either- The whole intro for "Strange Brew" is an Albert King song, note for note. No credit to Albert.

So your idea of Clapton as being any better or more pure than Led Zeppelin is complete bullshit. I can offer you more examples if you want. I'm also happy to discuss Jake Holmes, Willie Dixon, whatever you want.

Bring. It. On.

Edited by Magic Sam
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"kind of" ripped off the blues....

I mean did anyone ever hear that rocking middle section of bring it on home, from some old blues record?

did anyone ever hear the psychedelic middle section of whole lotta love on a blues record?

they do credit willie dixon on zeppelin 1, cause it's very close to the original, but when they revamped things I think they felt more able to say it was theirs, but really it should be a joint credit, I mean zeppelin's whole lotta love is not 'exactly' like the original.

clapton left the yardbirds because of their 'pop tune' for your love, cause he wanted to stay with the blues, but later, he certainly played pop music.

also someone mentioned clapton's original output recently compared to jimmy, this is really not fair as it is much easier to be a singer/guitar player like clapton, write some chords, some words, a vocal melody, throw in a solo, whereas jimmy 'needs' a lead singer to do the type of songs he wants to play on stage

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The thing that I object to isn't saying that Led Zeppelin borrows. It's the idea that they are any different in that than any major artist. Clapton does it, Dylan does it, hell even the Beatles do it. The Beatles' the intro to the song The Sun King bears a lot of musical similarity to certain Peter Green compositions- at least as much as, say, Stairway to Heaven resembles Taurus. And yet, somehow it's different when Zep does it. It's no different than what people said about Robert Johnson. It seems cool to us now, his rep of having sold his soul to the devil, and so it's easy to forget that when that was initially said about Johnson it was a serious insult, both in terms of the religious ramifications and the idea that his talent wasn't his but achieved through wrongdoing. Sound familiar?

:rolleyes:

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Nobody has pointed out that the blues tradition is much older than recorded music. The early 'stars' like Robert Johnson and Bukka White Etc. were the first generation to record it. They weren't the first to play it. That music had been going on for generations in the segregated rural souther United States. The new generation takes from the one before and adds their own element. It's been that way since the beginning of the blues. Modern technology gives us all a differnt perspective from the musics founding fathers.

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Nobody has pointed out that the blues tradition is much older than recorded music. The early 'stars' like Robert Johnson and Bukka White Etc. were the first generation to record it. They weren't the first to play it. That music had been going on for generations in the segregated rural souther United States. The new generation takes from the one before and adds their own element. It's been that way since the beginning of the blues. Modern technology gives us all a differnt perspective from the musics founding fathers.

I was thinking the same thing, but didn't write it....it's not like on the 7th day god created Robert Johnson,

"the new generation takes from the one before and adds their own element"

this is what has become the great debate between clapton/page

it seems jimmy was alot more into adding his own element than eric was

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What complete and utter bullshit! And your previous post about original ideas not being Jimmy's strength. Ridiculous! He has more original ideas as a producer alone than most musicians do in their entire careers. And as a composer- my god, even if you buy into the rip off conspiracy, there are classic songs on every record that are undeniably from nowhere but Jimmy's head. But once again someone has bought into the ripoff conspiracy as though every artist doesn't do it, and as usual it's a Clapton fan. Well, take a look at this study that I've made. This will quote a series of posts I made at the old board, BTW.

Clapton "disappointed with Jimmy for allowing credit not to be given when it was due"? Clapton was guilty of the same thing then, and he's guilty of the same thing recently. And here's the proof:

I'm sure that all of you have heard of Robert Johnson, and at least some of you will have heard of Skip James. Let's make a comparison of James' song 22-20 Blues, and Johnson's song 32-20 Blues

22-20 Blues by Skip James

Oh, Mr. Crest, Mr. Crest

How in the world you

Expect for me to rest?

Oh, Mr. Crest, Mr. Crest

How in the world you

Expect for me to rest?

You got my 22-20

Layin' up across my breast

Oh, if I send for my baby

An she act a fool

An she don't never come

If I send for my baby

She act a fool

An she don't never come

All the doctors in New York City

I declare, they can't help her none

You know, sometimes she gets unruly

An she act like she just don't wanna do

Sometimes she gets unruly

An she act like she just don't wanna -

But I'll get my 22-20

I'll cut that woman half in two

Oh, your.38 Special

Buddy, it's most too light

Your .38 Special

Buddy, it's most too light

But my 22-20

Will make ev'rything, alright

Ah-or, your .44-40

Buddy, it'll do very well

Your .44-40

Buddy, it'll do very well

But my .22-20

I declare you, it's a-burnin' hell

32-20 Blues by Robert Johnson

If I send for my baby

and she don't come

If I send for my baby

man, and she don't come

All the doctors in Hot Springs

sure can't help her none

And if she gets unruly

thinks she don't wan do

If she gets unruly

thinks she don't wan do

Take my 32-20 now and

cut her half in two

She got a 38 special but I believe its much too light

She got a 38 special but I believe its much too light

I got a 32-20, got to make the camps alright

If I send for my baby

and she don't come

If I send for my baby

man, and she don't come

All the doctors in Hot Springs

sure can't help her none

I'm gonna shoot my pistol, gonna shoot my Gatlin gun

I'm gonna shoot my pistol, gotta shoot my Gatlin gun

You made me love you

now your man has come

Ah-oh

baby where you stay last night

Ah-ah

baby where you stayed last night

You got your hair all tangled

and you ain't talkin right

Got a 38 special boys, it do very well

Clearly, this is the same song. Skip James recorded his version in 1930, Johnson recorded his in 1936. And yet, if you look at the credits on Robert Johnson's platinum selling boxed set, you will not find Skip James' name. Furthermore, if you look at the credits on Eric Clapton's Me and Mr. Johnson at his version of 32-20 Blues, you will not find Skip James' name.

So often when this issue gets brought up, Zep are vilified as "thieves of black music". As I've pointed out previously, people are trying to make a moral issue of what is a legal issue. If this is really about is making sure blues artists get their just due, then Clapton is just as guilty as Zep, if not more so! That song is Skip James' work, and even though Johnson did the initial "theft", Clapton is profiting from that song and not paying the James family one penny.

You might say,"Well, maybe Eric doesn't know." Bullshit. He's a blues scholar and owns every Skip James album there is, he knows. I'm not saying he set out to do this intentionally, he and Zeppelin have lawyers whose job it is to find out who owns the copywrite to a cover song and who needs to be paid to make it happen. Clapton probably never gave it any thought. But the way this USUALLY gets presented is Clapton the blues purist who would never steal from his idols VS. Jimmy Page the great thief of black music. And it's bullshit.

These guys were never thinking about the ramifications of the credits, they made music and it was their management's job to sort it out, and Clapton's and Zeppelin's management handled it and are handling it differently. Not that Clapton was innocent back then either- The whole intro for "Strange Brew" is an Albert King song, note for note. No credit to Albert.

So your idea of Clapton as being any better or more pure than Led Zeppelin is complete bullshit. I can offer you more examples if you want. I'm also happy to discuss Jake Holmes, Willie Dixon, whatever you want.

Bring. It. On.

Haha can you read? I’m not the one that brought theft or borrowing into this thread and I’ve already admitted EC is not my favorite player. In fact I’ve been trying to diffuse the EC vs. JP thing this entire thread, these competitions only exist on fan forums and in the minds of those who need their favorite artist or band to be the best at everything to fully enjoy them. IMO it’s an insecure and pathetic way to be a fan and usually goes hand in hand with revisionist history devised to win an imaginary contest.

Again read what I've posted, I'm the one saying EC is not a purist and you will not find one post from me that says either is better than the other.

Next time you should read the thread before you attack someone.

BTW your 22-20 32-20 example is ridiculous. It’s not EC’s job to set the record straight for Skip James and it’s likely that he couldn’t even if he wanted to if RJ’s estate owns the copyright for that song. You should know that.

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I was thinking the same thing, but didn't write it....it's not like on the 7th day god created Robert Johnson,

"the new generation takes from the one before and adds their own element"

this is what has become the great debate between clapton/page

it seems jimmy was alot more into adding his own element than eric was

For me Clapton adds absolutely nothing. I hate everything he has done with the exception of Cream, Blind Faith, the song Bell Bottom Blues and one or two other songs. I do think it's hilarious that Clapton fans slag Page as a thief or as sloppy when for my hard earned money, Clapton plays it so safe and straight i see no point in listening to him. His version of "Hoochie Coochie man" is a classic example of his total and utter failure. The Muddy Waters version sent chills down my spine, it scared the crap out of me as a kid and I loved it. The Clapton version sounds like something soccer moms listen to when they are feeling tipsy. What would the PTA think about a song about Coochies?!?!.

Now different strokes for different strokes, but for me the blues is not an arena experience. I'll take my blues in a ratty, filthy club played by guys who have a passion and a grit. I'm sorry but that kind of authenticity doesn't exist for millionaire arena acts. That's not to say one can't have a happy and successful life and play good blues but....

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Haha can you read? I’m not the one that brought theft or borrowing into this thread and I’ve already admitted EC is not my favorite player. In fact I’ve been trying to diffuse the EC vs. JP thing this entire thread, these competitions only exist on fan forums and in the minds of those who need their favorite artist or band to be the best at everything to fully enjoy them. IMO it’s an insecure and pathetic way to be a fan and usually goes hand in hand with revisionist history devised to win an imaginary contest.

Again read what I've posted, I'm the one saying EC is not a purist and you will not find one post from me that says either is better than the other.

Next time you should read the thread before you attack someone.

BTW your 22-20 32-20 example is ridiculous. It’s not EC’s job to set the record straight for Skip James and it’s likely that he couldn’t even if he wanted to if RJ’s estate owns the copyright for that song. You should know that.

Revisionist history? Please. Show where what I'm saying is untrue. Do you deny that the two songs aren't essentially one and the same? If not, then Clapton can give the credit to whoever he chooses. If he claimed James as the writer and not Johnson, whoever owns the "copywright" for the Johnson song would have no grounds for suit, since the James song is older. And so where Clapton assigns credit is important here. Not to assign it to James perpetuates a theft.

Not ridicuous at all, what is ridiculous is that you think that there is any more grounds to the theft accusations you've lobbed at Jimmy. What about Strange Brew? Or for that matter, what about Layla, sport? Duane Allman wrote the lick, yes, THAT lick that every guitar student learns just after learning the opening bars of Stairway to Heaven What is more, he played all the guitar solos in the first section and composed and performed the slide guitar duet that plays over Jim Gordon's repeated piano part throughout the second section of the song. (He even made the little bird sound effect at the end of the song with his slide way up by the bridge.) I say he deserves a writing credit AT LEAST as much as Gordon- a repeated piano lick counts more than a repeated guitar lick? Certainly he deserves one WAY MORE than Jake Holmes does. And yet "clean" Clapton didn't give him one. I wonder why?

I bet his ass was still smarting from Duane kicking it on Why Does Love Got To Be So Sad.

'nuff said. B)

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it seems jimmy was alot more into adding his own element than eric was

I suppose it depends on which songs you want to use as examples. For example Cream's arrangement of Crossroads aka Crossroad Blues couldn't be more different than the original. Even EC's more straight forward stuff going all the way back to the Yardbirds usually was quite different from a guitar perspective, he often extended the solo ex. I Ain't Got You. Same with Hideaway even though it was similar to Freddie's the way EC played it was different from King's original. Other songs, especially his latter day stuff tends to be closer in arrangement to the originals but I don't think it's a rule for him. Same with Zep, specifically Jimmy's guitar lines, it could be vastly different or pretty close to the original. If you've ever heard Otis Rush's I Can't Quit You Baby you know Zep's version is damn near a facsimile right down to Otis' vocal intro.

There really isn't a right or wrong way to cover a song or pay homage, either it sounds good or it doesn't, how you twist it shouldn't matter. Similarities are bound to be present no matter how you play it, not many players can completely disguise their influences, in fact I can't think of one.

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Revisionist history? Please. Show where what I'm saying is untrue. Do you deny that the two songs aren't essentially one and the same? If not, then Clapton can give the credit to whoever he chooses. If he claimed James as the writer and not Johnson, whoever owns the "copywright" for the Johnson song would have no grounds for suit, since the James song is older. And so where Clapton assigns credit is important here. Not to assign it to James perpetuates a theft.

Not ridicuous at all, what is ridiculous is that you think that there is any more grounds to the theft accusations you've lobbed at Jimmy. What about Strange Brew? Or for that matter, what about Layla, sport? Duane Allman wrote the lick, yes, THAT lick that every guitar student learns just after learning the opening bars of Stairway to Heaven What is more, he played all the guitar solos in the first section and composed and performed the slide guitar duet that plays over Jim Gordon's repeated piano part throughout the second section of the song. (He even made the little bird sound effect at the end of the song with his slide way up by the bridge.) I say he deserves a writing credit AT LEAST as much as Gordon- a repeated piano lick counts more than a repeated guitar lick? Certainly he deserves one WAY MORE than Jake Holmes does. And yet "clean" Clapton didn't give him one. I wonder why?

I bet his ass was still smarting from Duane kicking it on Why Does Love Got To Be So Sad.

'nuff said. B)

Did you not understand the first time when I said I'm not EC's biggest fan. You can bag on him all you want, it won't bother me.

I never said what you posted wasn't true, just that it isn't relevant because EC's crediting RJ may not have been a choice due to legal reasons. For some reason you keep trying to nail me with it and I'm not the one who brought that shit into this thread. Can I be any clearer? You are looking for a fight that isn't there. You are trying to refute things I never said, read my posts.

Edited by danelectro
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And furthermore . . .

Read the whole thread. :rolleyes: What thread could justify saying that Jimmy didn't excel in coming up with original ideas? That's laughable. Countless rock bands have based whole careers off of Jimmy's original ideas. YOU should know THAT or what the hell are you doing on this board at all? Saying the band has a black mark against them. Talk to real musicians and you won't hear that shit. No, you only find that kind of stuff, how did you put it? on fan forums. Tons of this shit on Yardbirds forums.

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