Light and Shade: Conversations with Jimmy Page

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Overview

This “oral autobiography” of Jimmy Page, the intensely private mastermind behind Led Zeppelin—one of the most enduring bands in rock history—is the most complete and revelatory portrait of the legendary guitarist ever published.

   More than 30 years after disbanding in 1980, Led Zeppelin continues to be celebrated for its artistic achievements, broad musical influence, and commercial success. The band's notorious exploits have ...
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Light and Shade: Conversations with Jimmy Page

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Overview

This “oral autobiography” of Jimmy Page, the intensely private mastermind behind Led Zeppelin—one of the most enduring bands in rock history—is the most complete and revelatory portrait of the legendary guitarist ever published.

   More than 30 years after disbanding in 1980, Led Zeppelin continues to be celebrated for its artistic achievements, broad musical influence, and commercial success. The band's notorious exploits have been chronicled in bestselling books; yet none of the individual members of the band has penned a memoir nor cooperated to any degree with the press or a biographer.  In Light & Shade, Jimmy Page, the band’s most reticent and inscrutable member, opens up to journalist Brad Tolinski, for the first time exploring his remarkable life and musical journey in great depth and intimate detail.

   Based on extensive interviews conducted with the guitarist/producer over the past 20 years, Light & Shade encompasses Page’s entire career, beginning with his early years as England’s top session guitarist when he worked with artists ranging from Tom Jones, Shirley Bassey, and Burt Bacharach to the Kinks, The Who, and Eric Clapton.  Page speaks frankly about his decadent yet immensely creative years in Led Zeppelin, his synergistic relationships with band members Robert Plant, John Bonham, and John Paul Jones, and his notable post-Zeppelin pursuits.  While examining every major track recorded by Zeppelin, including “Stairway to Heaven,” “Whole Lotta Love,” and “Kashmir,” Page reflects on the band’s sensational tours, the filming of the concert movie The Song Remains the Same, his fascination with the occult, meeting Elvis Presley, and the making of the rock masterpiece Led Zeppelin IV, about which he offers a complete behind-the-scenes account. Additionally, the book is peppered with “sidebar” chapters that include conversations between Page and other guitar greats, including his childhood friend Jeff Beck and hipster icon Jack White.

   Through Page’s own words, Light and Shade presents an unprecedented first-person view of one of the most important musicians of our era. 

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Editorial Reviews

From Barnes & Noble

The Gibson guitar website crowned Jimmy Page as "rock's sorcerer supreme [the guitarist who] took the blues, rockabilly, and folk and fired it out of a cannon." Over the past decade, the legendary Yardbirds and Led Zeppelin musician has been sitting down with Guitar World editor-in-chief and author Brad Tolinski (Classic Hendrix; The Faces) to discuss his career, guitar and recording techniques, drug taking, and personal philosophy. Amazing synergy between interviewer and interviewee; a hit in hardcover; now a trade paperback and NOOK Book. (P.S. This is the first memoir by a Led Zeppelin member, but even if it hadn't been, Light and Shade would be a captivating read.) [SCANNED.]

Publishers Weekly
Over the past decade, the enigmatic Page has been sitting down with Tolinski, the editor-in-chief of Guitar World and author of Classic Hendrix and The Faces: 1969–75, to discuss everything from Page’s early years as a session guitarist and member of the Yardbirds to his heyday with Led Zeppelin and his more recent post-Zep projects and plans. The interviews Page gives to Tolinski are enlightening, and while he doesn’t completely open the vault about Zeppelin’s party lifestyle or his interest in the occult, he does speak freely on guitar technique. Sometimes even more informative than the interviews are the pre-q&a introductions, which set up the topics of discussion and allow Tolinski to demonstrate his encyclopedic knowledge of classic rock and guitar history in his fluid prose. Further expanding the book’s scope are the “Musical Interludes” that follow each chapter and feature entertaining asides like “an inventory” of Page’s guitars; he also conducts interviews with some of Page’s former bandmates like John Paul Jones and Paul Rodgers. By shining a light on the shadowy Page, Tolinski has created a must-have for any Led Zeppelin fan or guitar player. 21 b&w photos. (Oct.)
Library Journal
Few guitarists have had the enduring influence of Led Zeppelin's Jimmy Page, and even fewer journalists have had the chance to discuss that legacy in depth with the notoriously reticent rock icon. Tolinski (editor in chief, Guitar World; Guitar World Presents Stevie Ray Vaughan) combs through Page's career to offer one of the most complete studies to date, covering topics ranging from Page's early 1960s session work to his post-Zeppelin projects, including his memorable 2008 performance at the Beijing Olympics closing ceremonies. The author's extensive background knowledge helps Page to expound with depth and clarity on subjects ranging from his musical technique to studio mixing to the role of the Zeppelin live show in the band's international success. Contributions from former bandmates and coworkers including Zeppelin bassist John Paul Jones, Yardbirds guitarist Jeff Beck, and publicist Danny Goldberg provide additional perspective. VERDICT Fans of all stripes will be delighted by the wealth of new interview material. This book offers genuine insight into the musical and philosophical vision of one of rock's living legends. Highly recommended for guitar aficionados and readers who enjoy an intimate look at the creative process.—Neil Derksen, Leonardtown, MD
Kirkus Reviews
The wizardly, tight-lipped guitarist-producer-songwriter of Led Zeppelin opens up…a little. Guitar World editor in chief Tolinski notes that Page has long been "the paradigm for rock-star inscrutability," a Sphinx-like figure with little affection for the music press. Thus a collection of extended interviews with Page would appear a vital bibliographic entry. However, this unnecessarily repetitive and idolatrous volume only fitfully sheds light on its subject's craft. After a slavering introduction, the author, plainly dredging material from occasional interviews for his magazine, dutifully runs down Page's prodigious career as a top 1960s studio musician in London and his climb to fame in the Yardbirds. The book hits what passes for its stride with the genesis of Led Zeppelin, whose debut 1969 album Page financed and produced himself. Then Tolinski focuses on the quartet's meteoric climb to the top of the '70s rock heap and its sudden caesura with the alcohol-related death of drummer John Bonham in 1980. In his chats with the author, most of them clearly pegged to latter-day album and DVD releases, Page emerges as a smart, dry and unsurprisingly blunt and arrogant character. The best material here illuminates the innovative studio techniques that animated Zeppelin's metal assaults and folk-inflected sorties; Page is less generous with details about his improvisational approach. The book peters out with details about Page's later, lesser work with the Firm, David Coverdale, Zep vocalist Robert Plant and the reunited Zeppelin itself. Tolinski bulks up the book with mostly superfluous interviews with old mates (guitar peer Jeff Beck), collaborators (Zeppelin bassist John Paul Jones, the Firm's Paul Rodgers, the Yardbirds' Chris Dreja) and uber-fans (Jack White), and thuds to an end with useless offerings from fashion designer John Varvatos and an astrologer. For die-hard Zep fans and guitar geeks only.
From the Publisher
"By shining a light on the shadowy Page, Tolinski has created a must-have for any Led Zeppelin fan or guitar player." —-Publishers Weekly
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Product Details

  • ISBN-13: 9780307985712
  • Publisher: Crown Publishing Group
  • Publication date: 10/23/2012
  • Pages: 320
  • Product dimensions: 6.44 (w) x 9.28 (h) x 1.03 (d)

Meet the Author

Brad Tolinski has been the editor-in-chief of Guitar World, the world’s best-selling magazine for musicians, for more than two decades. He has interviewed and profiled most of popular music’s greatest guitarists, including Eric Clapton, B.B. King, Eddie Van Halen, Jack White and Jeff Beck. He is also the author of the deluxe-edition illustrated books Classic Hendrix: The Ultimate Hendrix Experience and The Faces: 1969–75.
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Read an Excerpt

Chapter 1

Jimmy Page discovers the guitar, becomes a local legend, goes to art school, and helps usher in the British blues boom.

“There was a fight almost every time we performed . . .”

It is an old, old story, the heartbeat of many an ancient myth. A young man of humble background stumbles upon a mysterious talisman, the mastery of which would change the course of his life. The boy embarks on a lengthy journey, during which his skills, strength, and mettle are tested to determine his worth. He ultimately unlocks the awesome power of the talisman, leading to great glory for himself and, often as not, a reordering of the cosmos. So it was with Jimmy Page, founder of Led Zeppelin and one of rock’s greatest guitar legends.

On Sunday, January 9, 1944, James Patrick Page was born to parents James and Patricia in the London borough of Hounslow. The family stayed in the area for nearly a decade, until the noise from nearby Heathrow Airport prompted them to move to the quiet suburb of Epsom, in Surrey. Or, as Page dryly remarks, “When the jets arrived, the family left.” It’s here that the real story begins.

“The weirdest thing about moving to Epsom was that there was a guitar in the house,” Page told British journalist Charles Shaar Murray in 2004. “I don’t know whether it was left behind by the people before, or whether it [belonged to] a friend of the family’s—nobody seems to know how it got there.”

It would be a stretch to suggest that Jimmy’s discovery of a mysteriously discarded guitar was an act of divine providence. However, it is indisputable that a man whom millions would one day call the King led Page to realize that his destiny was linked to his mastery of that gift guitar: Jimmy has stated that Elvis Presley’s recording of “Baby Let’s Play House,” featuring the slicing, reverb-soaked rockabilly licks of guitarist Scotty Moore, was one of many key tracks that inspired him to get serious about music. “I heard that record and I wanted to be a part of it,” he explains. “I knew something was going on.”

At the age of thirteen, Page learned to tune his guitar from school friends and to strum some rudimentary chords from some local players, but beyond that he was largely self-taught. He learned by ear how to play songs from recordings by British skiffle sensation Lonnie Donegan and early American rockers like Presley, Eddie Cochran, and Gene Vincent.

Impressed by his dedication, Jimmy’s dad bought him an acoustic sunburst Hofner President f-hole guitar, which resembled the big Gibson guitars played by his heroes Moore and Chuck Berry. In little over a year, Page was already good enough to perform two songs on the BBC-TV program All Your Own, a talent show for teens hosted by Huw Wheldon. Videos of the 1958 performance show the precocious Page bopping with confident enthusiasm while playing the novelty song “Mama Don’t Allow No Skiffle Around Here” and Leadbelly’s “Cotton Fields.”

Soon afterward, Page bought his first solid-body electric guitar, a three-pickup 1958 Resonet Grazioso Futurama, which resembled the sleek Fender Stratocaster guitars favored by rock stars such as Buddy Holly. He continued to hone his craft while playing with a series of local Epsom bands, and in 1960 he caught the eye of music manager Chris Tidmarsh, who sought to recruit him for a gang of rockers called Red E. Lewis and the Red Caps, whose very name was a tribute to Jimmy’s heroes, Gene Vincent and the Blue Caps.

Page remembers those early shows as being fun but rowdy. “I was still in school, so we would only play on weekends,” he says. “But it was an eye-opening experience. There was a fight almost every time we performed. It wasn’t like the fights you have these days, where people get shot, stabbed, or killed. It was more like violent sport. Basically, the first guy to hit the floor lost, and that would be it. But I had to learn how to keep my head down and play though all kinds of situations.”

Several months after Jimmy joined the Red Caps, Tidmarsh, who changed his name to Neil Christian, fired Red E. Lewis and made himself the band’s singer. He renamed the band Neil Christian and the Crusaders and aggressively hit the road, playing up and down the English club circuit.

A big part of the group’s popularity was the boy wonder Page, who was able to replicate the popular sounds of the day with his newly acquired orange Gretsch Chet Atkins Country Gentleman. From the high-energy rock and R&B of Chuck Berry and Little Richard to slower instrumentals like Santo and Johnny’s “Sleep Walk” to whatever was in the Top 20, Jimmy could play it all, and do so with flair.

While the shows were always exciting, the living conditions, pace of the performances, and tough travel itineraries were emotionally and physically punishing. For the next two years, Neil Christian and the Crusaders lived out of the back of their van and in the clubs they headlined at, sleeping on floors or on top of their instruments.

One night in the summer of 1962, Page collapsed after a gig. He was diagnosed with a form of mononucleosis, and soon thereafter he gave his notice.

Jimmy’s introduction to the entertainment business had been rough-and-tumble, but there was no doubt that, by the age of eighteen, he had become a polished guitarist, mature beyond his years. His reputation had grown to such an extent that, even while he was in the Crusaders, he had been asked to play on a 1962 recording session with two of England’s most respected rock musicians: bassist Jet Harris and drummer Tony Meehan, both of whom played with one of Britain’s biggest bands, the Shadows. The song they recorded was “Diamonds,” an instrumental composed by Jerry Lordan, and it became a number-one smash in the UK charts in early 1963. It was also during this period that UK blues harmonica virtuoso Cyril Davies approached Page to join his influential R&B All-Star Band. But after his experiences with the Crusaders, Jimmy was wary about becoming a touring musician.

While recovering from his illness, Page began to consider his prospects. He loved playing guitar, but his time in Neil Christian’s band gave him second thoughts about making music his career. He had been doing a lot of painting and drawing in his free time and decided to take a prediploma course at Surrey’s Sutton Art College. For the next year and a half, Jimmy diligently pursued his formal studies, but perhaps just as diligently, he continued to play the guitar.

Page began spending his evenings haunting the small but growing London blues-club scene, jamming at places like London’s Marquee Club and Richmond’s Crawdaddy Club. The British blues boom was in its embryonic stages, but he was already well versed in the music of the American South. His interest had been piqued years earlier by his beloved rockabilly, but local R&B buffs and record collectors fanned the flames.

Just as he had devoured the licks of Gene Vincent guitarist Cliff Gallup and Ricky Nelson guitarist James Burton, Page greedily consumed the solo and rhythm styles of blues players like Hubert Sumlin, Elmore James, and Memphis Slim guitarist Matt “Guitar” Murphy. During his time in the Crusaders, Jimmy attempted to incorporate his new passion into the band’s repertoire, but the music did not sit well with the mainstream ballroom-dancing crowds that constituted its main audience.

The times were changing, however, and a year or two later, British music fans began taking greater interest in black American sounds. In the north of England, the Beatles were having great success playing songs from Motown’s dance-oriented R&B catalog. But in the south, a small and devoted group of musicians took to studying and performing the raw electric blues released by Chess Records and other Chicago-based labels. In 1962, harpist Cyril Davies and guitarist Alexis Korner opened a new Thursday residence at the Marquee Club with their band Blues Incorporated. The gigs became a meeting place for hipsters and musicians who enthusiastically embraced the music of Muddy Waters, Howlin’ Wolf, and other Chicago blues greats. Soon, Jimmy was invited to lead a band that performed at the Marquee during the interval between the headliner’s sets.

During that period, Page realized the extent to which he was still passionate about the guitar. While he pondered his future, fate intervened when he was invited to play on several more recording sessions. Soon he began to think that a career as a studio guitarist might be a good way to earn a living without having to tour.

Conversation

Q:

You started playing the electric guitar when it was still a relatively exotic and unusual instrument. What inspired you to pick it up?

Like many young people of the era, I loved the guitar-driven rockabilly of Elvis and Gene Vincent. It’s amazing to me now: The guitar parts were so subdued, but I was so engrossed that they seemed very loud—right up there. I just used to listen to my music, and in my mind, I would go back through the cone of the speaker into a world of my own. I would pretend that I was sitting in the studio with these artists and engineers and we’d study the echo and how the music was created. I might’ve been deluding myself, but I thought I could tell the difference between the recorded sound of one particular session from another and what was being applied. Certain echoes and reverbs seemed earth-shattering. Now when I listen to those same records, all of those effects are way in the background, but that’s how hard we studied these records, and that’s how hungry we were. All of us—Eric Clapton, Jeff Beck, and our contemporaries—went through the same process. Those early rock and blues records grabbed us hard.

When did the blues come into the picture?

It didn’t take me long to notice that some of my favorite Elvis songs, like “Hound Dog” and “Milk Cow Blues,” were originally written and recorded by blues performers. We began to discover people like Arthur Crudup, who wrote Presley’s hit “That’s All Right.” So in this way, bit by bit, you start understanding a much bigger musical picture. You discover that music is a tapestry that unfolds.

I started going back to the source of his music through a friend of mine that was a record collector. He had an amazing stash of blues albums, and he was very generous about letting me listen to them. No one was really playing the blues on the radio or in clubs yet, so it was still an underground thing; records were very hard to find.

It’s not hard to see why I gravitated to rock and blues. I was a guitarist and it was a very guitar-centric music. If you were a guitarist at that time, your appetite was voracious for Chuck Berry and all the blues that was coming out of Chicago.

The fact that the blues dealt with sex and the devil must have also made them attractive to a young guy.

When I heard those songs for the first time, they really did send chills up my spine. They still do.

What saved the day was that there were other people that just really loved rock, blues, and R&B, and they also began collecting these obscure records. Soon a whole network formed of people who would swap and trade music. They’d lend you a record so you could work out certain solos. None of us really had any money to buy all of these rare imported albums, but it all built up. It was a very, very important period.

Besides record collectors, who were some of the other heroes who brought the blues and rock to England?

Well, you would have to mention Alexis Korner and Cyril Davies, who had a band called Blues Incorporated. Alexis played acoustic guitar and Cyril was an amazing electric harp player, and back in the early sixties they would host these regular blues jams on Thursday nights at the Marquee Club. It was the only thing like that in London at the time. The Rolling Stones played there before they became famous, Clapton would be in the audience, and I would regularly participate in jam sessions that would happen between sets.

Alexis also brought blues artists like Muddy Waters and Sonny Boy Williamson to England for the first time, which was incredible.

Was the Marquee a big place?

I guess it held a couple hundred people. It seemed very big at the time to me, I’ll tell you that! [laughs] It was a big gig for me.

I remember one night Matthew Murphy came to play the Marquee. The place was packed, because we all loved his playing. We were all psyched and ready for him to rock out, and he looked at us and said, “Naw, man, I just want to play some jazz.” Everybody just groaned. It was very funny.

What kind of music were you playing at that time?

I was trying to play like Matt Murphy! [laughs] I think I was also playing some Freddy King.

Was the release of Robert Johnson’s King of the Delta Blues Singers in 1961 a significant event in the UK?

It was significant, but it took a little while to get around the grapevine. But, believe me, there was a grapevine. That’s how we heard about Freddy and Albert King, Robert Johnson, and a number of other country bluesmen.

What did you think of your white, blues-playing contemporaries at that time? Did you like the Stones, the Animals, and the early Yardbirds, or did you think they were jive for trying to play black music?

There was no real snobbery; we were all trying to do our own take on the blues at that time. I had heard about the Stones from the recording engineer Glyn Johns. I was working as a session musician at the time, and he would rave about them. I finally went to see them, and I was really impressed. They really had the Muddy Waters groove dead-on. Brian Jones in particular was playing very authentically.

A milestone in the development of British blues was when Sonny Boy Williamson actually played and recorded with Eric Clapton and the Yardbirds. Clapton, who was in the band at the time, has said it was a real education for him, but he didn’t think it turned out well. Again, what did you think of their collaboration?

When I first heard about it, I thought it was really exciting. I mean, no one really expected the Yardbirds to sound like a Chess band, but I thought they did a really credible job. They had their own take on the blues, and there’s nothing wrong with that. There was just so much going on at that time, and everyone was just trying to push the music further.

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Table of Contents

Overture xi

Chapter 1 "There was a fight almost every time we performed..." 3

Chapter 2 "I wanted to play loud..." 17

Musical Interlude: A conversation with Jimmy Page and JeffBeck 28

Chapter 3 "I took full advantage of them..." 37

Musical Interlude: The Yardbirds according to Chris Dreja 52

Chapter 4 "I wanted artistic control in a vise grip..." 67

Musical Interlude: A conversation with John Paul Jones 98

Chapter 5 "Fuck the sixties! We're going to chart the new decade..." 109

Musical Interlude: A conversation with Jimmy Page and Jack White 129

Chapter 6 "They told us we were committing professional suicide..." 139

Chapter 7 "The tours were exercises in pure hedonism..." 157

Chapter 8 "It was my life-that fusion of magick and music..." 179

Musical Interlude: A conversation with Led Zeppelin publicist Danny Goldberg 208

Musical Interlude: Top ten Led Zeppelin guitar moments 213

Chapter 9 "I was knocked sideways..." 221

Musical Interlude: A conversation with Bad Company and Firm vocalist Paul Rodgers 230

Chapter 10 "I still had a lot to offer and say musically..." 243

Musical Interlude: An inventory of Jimmy Page's primary guitars, amps, and effects 254

Chapter 11 "We're older and wiser..." 263

Musical Interlude: A conversation with men's fashion designer John Varvatos 284

Grand Finale: The astrology of Jimmy Page 289

Thank You 295

Bibliography 297

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Customer Reviews

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Sort by: Showing all of 13 Customer Reviews
  • Posted May 24, 2013

    Very, very highly recommended

    This book separates itself from the pack of Led Zeppelin books, in that it revolves around conversations directly with Mr. Page, as opposed to statements and conjectures about him. A very intelligent, insightful, and sensitive gentle artist is revealed in this book. I have re-read this book it is that good!!!!
    Less emphasis on gossip and more emphasis on the craft and skill of being a guitarist. It probably offers the truest window into a very complex personality.

    2 out of 2 people found this review helpful.

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  • Posted March 13, 2013

    There is a large amount of info that has never been covered in t

    There is a large amount of info that has never been covered in this book. Jimmy is a very talented artist. I highly recommend this book

    2 out of 2 people found this review helpful.

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  • Posted November 2, 2012

    more from this reviewer

    A glimpse into the genius of the fabled rocker

    Light & Shade: Con­ver­sa­tions with Jimmy Page by Brad Tolin­ski is a non-fiction book which is a com­pi­la­tion of inter­views the author did with the famed and pri­vate gui­tarist. Mr. Tolin­ski is the edi­to­r­ial direc­tor of Gui­tar World, Revolver and Gui­tar Afi­cionado magazines.

    Light & Shade: Con­ver­sa­tions with Jimmy Page by Brad Tolin­ski shades some light (pun intended) on Jimmy Page, mostly known as Led Zeppelin’s gui­tarist, his career, life and pro­fes­sion. Through hours of inter­views we get a glimpse into Page’s life and aspects of his life which he has had much influ­ence (fash­ion, mag­ick and more).

    I’m sure that if I wanted to know more about Led Zep­pelin I could find an almost unlim­ited amount, all writ­ten by other peo­ple and maybe with a coöper­a­tion of the band. Even though the band is leg­endary, the mem­bers of the band rarely let the pub­lic into their pri­vate life which is why I chose to read this book.

    In the inter­views which com­pro­mise Light & Shade, Page talks about his early career, becom­ing one of England’s most admired ses­sion gui­tarist, to his work with The Who, Clap­ton, The Kinks, The Yard­birds and of course Led Zep­pelin. The inter­views con­tinue past the Led Zep­pelin era into other projects which Page was involved in. It was sur­pris­ing to learn from the book how pro­fes­sional the mem­bers of Led Zep­pelin were. Page & Bon­ham were at the top of their game before even start­ing the band, they didn't hang out socially (unless on tour) and enjoyed each other's com­pany as pro­fes­sion­als and musi­cians. I also never real­ized that Jimmy Page, Jeff Beck and Eric Clap­ton were long­time friends.

    The col­lec­tion of inter­views with Page is com­pre­hen­sive and gives the reader a glimpse into the genius of the fabled rocker. Some of the sub­jects (drugs for exam­ple) are glossed over by Page, but Tolin­ski turns to other inter­views so the reader can get the com­plete pic­ture and under­stand­ing of the artist. My favorite, as always, are the anec­dotes and insights which make rock his­tory and are the back­bone of such books.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted August 26, 2013

    I have a better appreciation of Jimmy Page now.

    Not the usual rock and roll biography. Instead focuses mainly on Page's guitar playing and how he developed as a musician and how each Zeppelin album evolved. Lots of interesting tidbits from Page's career. For instance, I learned Page was the session guitarist on Tom Jones' big hit "It's not unusual". Overall a good read.

    1 out of 1 people found this review helpful.

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  • Posted April 26, 2013

    Not bad for a jimmy Page fan

    This was a good and informative book on Jimmy Page. Told some things I've never heard before and I,ve read everything there is in print on Jimmy Page and Led Zeppelin. The down side to the book is that it's a quick read. I was hoping for more from Jimmy. That being said its a decent book.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted November 27, 2012

    Pretty good

    I was expecting Page to reveal himself more than what the tale told in this read. He still keeps his cards close to him. Most of this book is written from interviews from others perspectives and in the end all is very redundant. Never the less I still enjoyed it very much. Jimmy Page is a true Genius of our time.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted July 13, 2013

    Zephead must read!

    Culled from interviews with Page and his contemporaries, interspersed with the author's narratives, this is an informative and insightful look at the man and his genius. No melodramatic gossipy prose, it serves as a good autobiographical account into Page's rise from session musician to one of the grestest rock legends in world history.

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  • Anonymous

    Posted December 29, 2012

    I beg to differ.........

    When the subject is Jimmy Page, boring is not a term to use. This is Jimmy Page's world........we are here because the Great One allows us to be. Seek forgiveness.........listen to all Zeppelin in a row, then listen to "Outrider" ten times. You should be ashamed.

    0 out of 2 people found this review helpful.

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  • Anonymous

    Posted December 3, 2012

    boring.....nothing new or exciting

    boring.....nothing new or exciting

    0 out of 3 people found this review helpful.

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  • Posted November 19, 2012

    Excellent; must check this out (well worth reading).

    Read the book, if you like Zeppelin, you'll know. If you don't know yet, you will.

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  • Anonymous

    Posted November 19, 2012

    for guitar players

    great book for anyone who likes zepplin

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  • Anonymous

    Posted March 24, 2013

    No text was provided for this review.

  • Anonymous

    Posted December 14, 2012

    No text was provided for this review.

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