Alvin Lee at Woodstock

Discussion in 'Music Corner' started by progrocker, Feb 15, 2015.

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  1. Wombat Reynolds

    Wombat Reynolds Jimmy Page stole all my best riffs.

    Location:
    Atlanta, GA, USA
    I have several Ten Years After albums and enjoyed them all. Apparently they were very popular around that time but the music didnt age well I guess. Alvin was just a monster on guitar.
     
  2. Wombat Reynolds

    Wombat Reynolds Jimmy Page stole all my best riffs.

    Location:
    Atlanta, GA, USA
    Theres a couple of "Alvin Lee" licks in Pages solo on Heartbreaker. There is no doubt in my mind that Page stole them from Lee, as, Zeppelin was touring with Ten Years After, during the time they were recording Led Zep 2.
     
  3. ti-triodes

    ti-triodes Senior Member

    Location:
    Paz Chin-in

    I did see Hendrix at Randall's Island, but I don't remember how angry he was. We were all pretty "mellow" at the time. :winkgrin:
     
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  4. ti-triodes

    ti-triodes Senior Member

    Location:
    Paz Chin-in
    As long as we're talking about seeing TYA, this was my favorite time. 12th row orchestra. Sorry about the weird scan.




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  5. zelox

    zelox Well-Known Member

    Location:
    SoCal
    Gear Talk with Former Ten Years After Guitarist Alvin Lee

    One of the last interviews with former Ten Years After guitarist Alvin Lee, from August 2012

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    From a guitarist's perspective, the 1970 Woodstock film, which documents the highs and lows of the August 1969 Woodstock Festival, has several highlights.

    There's Jimi Hendrix's immortal take on "The Star-Spangled Banner"; a mesmerizing performance by newcomers Santana; and Pete Townshend's high-flying Gibson SG acrobatics with the Who.

    But for a full-on blues-rocking experience, there's no beating Ten Years After's adrenaline-fueled reading of "I'm Going Home." The performance, an intense nod to vintage blues and '50s rock and roll, featured the lightning-fast fretwork of Ten Years After frontman Alvin Lee.

    "The solo on the movie sounds pretty rough to me these days," Lee told Guitar World late last week. "But it had the energy, and that was what Ten Years After were all about at the time."

    The performance made instant stars out of the British band, which led to more big-name festivals, a label change and their biggest hit, 1971's "I'd Love to Change the World." Although a version of Ten Years After tours today, they do it without Lee, who has found happiness as a solo artist, carefully choosing a handful of festival performances each year.

    Lee is releasing a new studio album, Still On the Road to Freedom, August 28 [2012] via Rainman Records. The album's 13 new tracks revisit various points in Lee's career, with nods to Fifties rock, psychedelic music and blues. Along the way, of course, is a healthy serving of Lee's trademark riffs and sounds. The album title is a reference to his 1973 LP with Mylon LeFevre, On the Road to Freedom, which featured contributions from George Harrison, Steve Winwood, Jim Capaldi, Mick Fleetwood and Ron Wood.

    Lee recently sat down to discuss his new album and his gear over the years, including his famous "Big Red" Gibson ES-335.

    Select Excerpts :: Alvin Lee

    I've still got the original Woodstock 335, but, sadly, I don’t use it these days as it has become too valuable. She’s now in a vault since some loony offered me half a million dollars for her.

    My favorite country blues player was Big Bill Broonzy. City blues was Freddie King. Charlie Christian, Benny Goodman’s guitarist, was a great influence on my swing phrasing. My all-time favorite rock and roll players were Scotty Moore, Chuck Berry and Franny Beecher, and I listened to the country playing of Merle Travis.

    Leslie [West] came up to me at the Night of the Guitars sound check and said, “Alvin, you’re a damn fine guitarist, but you’re not loud enough." He then proceeded to give me loudness lessons. I like Leslie’s playing. He has excellent rock and roll phrasing.

    Strangely enough, I wasn't into fast guitarists. I preferred Peter Green’s subtle touch. I saw him with John Mayall’s Bluesbreakers at the Marquee Club in London and was very impressed. He was the only guitarist I've ever seen to turn the volume control on his guitar down during a solo.

    Seriously, though, I never really tried to play fast. It kind of developed from the adrenalin rush of the hundreds of gigs I did long before Woodstock. They called me "Captain Speedfingers" and such, but I didn't take it seriously. There were many guitarists faster than me—Django Reinhardt, Barney Kessel, John McLaughlin and Joe Pass to name a few.

    The solo in the [Woodstock] movie sounds pretty rough to me these days, but it had the energy, and that was what Ten Years After were all about at the time. However, I often wonder what would have happened if they had used “I Can't Keep From Crying, Sometimes” in the movie instead of "I’m Going Home."

    Full Interview: http://www.guitarworld.com/intervie...r-guitarist-alvin-lee-whos-still-road-freedom
     
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  6. zelox

    zelox Well-Known Member

    Location:
    SoCal
    One more interview from 1975 that references both Woodstock and the demise of Ten Years After, conducted during the Alvin Lee & Co. In Flight Tour.

    Alvin Lee's Long Road to Freedom

    With Ten Years After behind him, Alvin Lee finds his way with Alvin Lee Company

    By Barbara Charone | Rolling Stone | February 13, 1975

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    Alvin Lee of 'Ten Years After'. Larry Hulst/Michael Ochs Archives/Getty Images

    LONDON—Alvin Lee is on the road again, and this time he's not going home.

    Inspired by a special London concert last March without Ten Years After behind him, Lee bid an indefinite goodbye to his colleagues of seven years.

    Ten Years After might someday work together again, he says, but the immediate future belongs to a new band called Alvin Lee and Company. They are now on a six-week U.S. tour, and Lee's Rainbow Theatre concert has been released as an album, In Flight.

    "Well," Lee says, grinning in the corridor of his countryside home, a gold record for the Woodstock album hanging overhead, "I'm certainly not going to be playing 'I'm Going Home.'"

    In a sense Lee is home, playing the kind of music that earned him that first initial recognition. The new band creates a sense of déjà vu, all of the players going back to their roots. There's bassist Steve Thompson and keyboard player Ronnie Leahy, former members of Stone the Crows, Maggie Bell's starting ground. Drummer Ian Wallace and reed player Mel Collins are former members of King Crimson and have contributed to numerous albums. A percussionist and several backup singers complete the group.

    The rejuvenation of Alvin Lee as a musician started before the London concert with an album with Mylon LeFevre, On the Road to Freedom, the first step out of the musical prison TYA had become.

    "It got to feel like an old marriage. I started to get the seven-year itch. I wanted a band," he says, "I didn't want it to be Alvin Lee showing off his clever tricks, which is what was beginning to happen with TYA. It all became too mechanical."

    The machine-like atmosphere became oppressive during the band's last American tour. "It got to the point where American tours were boring. It was too much like a job; the fun was gone. Everything ran too smoothly. It was just an endless cycle of tours and albums. On that last American tour it got so bad that each day I'd look forward to a different airline, a different color scheme, a higher hotel than the night before."

    TYA began to feel like a treadmill – just what Alvin Lee wanted to escape through music. Before Woodstock, TYA was just another entertaining British blues band dabbling in jazz. After the infamous three-day festival the band – Alvin in particular – was elevated to superstar status, confined to a set pattern.

    "Yeah," Lee shrugs. "We were a different band before Woodstock. We'd play the old Fillmore and be able to just play. We had respectful audiences then who would appreciate a jam or a swing. But after Woodstock," he winces, "the audience got very noisy and only wanted to hear things like 'I'm Going Home.'

    "I've always been much more of a guitar picker but I began to feel forced into a position of being the epitome of a rock & roll guitarist. Originally TYA wanted to make it without having to compromise to pop. It worked for a while but after five or six years the fun went out of it for me, a lot of the music went out of it. And," he smiles shyly, "all I wanted to be was a musician. With this new band I feel relaxed. I have enough freedom that I don't feel pigeonholed anymore.

    "Everyone thinks of the group as my solo thing but I think of it as a band. Everyone in the group is free, everyone is their own musician. It's up to each individual what they play.

    "This band is just good fun. The excitement of not knowing what will happen next is great; it's a welcome change. It really is like going back to the roots; feeling enjoyment in the music again is how TYA used to feel."

    On their recent European trek, audiences shouted for the band to boogie, and to play TYA standards, but were quickly pacified by the new music. Standing out front, Alvin Lee taps his foot gently and takes time finding the right notes. Gone are the bulletlike barrages of lightning-fast solos, the archetypal superstar grimaces, replaced by fluid playing and an anonymous grin. The material is strictly non-TYA.

    "Even though the songs are mine, it's the music of the band. I guide a lot of it but it's still down to the group." One might get the impression that this time around the guitarist does not dominate the proceedings. "If anything, Mel plays more solos than I do. When Mel gets his freedom he steers the band toward a kind of nouveau jazz, bordering on the realms of John Coltrane, Chick Corea and Herbie Hancock. That's what I really enjoy about this band. We'll do a Herbie Hancock-type number and then something like 'Money Honey.' That's the kind of musical freedom I like: jazz, rock, blues, anything.

    "You adopt different attitudes when you play different music. This band is more reserved, more disciplined, more tasteful. But the discipline is good. If everyone were to race off on their own solo it would be a mess. My solos are more tastefully conceived now," he nods his head in agreement. "But I still get going in places. It's just that I build up to it now. I don't race off on a solo. I take my time."

    While TYA remains in a state of permanent limbo, this band exists at the least through spring. On return from the American tour, they will record an album. But Lee is quick to add that there might be changes: Possibly another album with Mylon, perhaps a tour. Alvin Lee refuses to commit himself anymore.

    This story is from February 13th, 1975, Issue 180, of Rolling Stone.
     
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  7. slipkid

    slipkid Senior Member

    Not meaning to hijack an Alvin at Woodstock thread but thought some might dig these photos.

    I took these of Alvin in 1983. He had a power trio and was on a double bill with - get this - Johnny Winter! Pretty smoking guitar show needless to say.

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    Using the mic stand as a slide:
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  8. slipkid

    slipkid Senior Member

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    Not just a guitar player/singer/songwriter - he could blow the harp too:
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    Clowning around (guess you had to be there):
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  9. zelox

    zelox Well-Known Member

    Location:
    SoCal
    Not a hijack at all slipkid. This is a 50% Alvin Lee at Woodstock, 50% Alvin Lee appreciation thread now. :D

    Great personal photos btw. :righton:

    You'll probably get a kick out of this. Johnny Winter and Alvin Lee were planning a reunion concert in Paris on April 7, 2013 - but as fate would have it, Alvin expired one month before that event could be consummated. The show went on nonetheless, now as much a "tribute" concert to Alvin as anything else. Below are the original promotion poster and the subsequent "revised" one.

    Sadly it seems Johnny was struggling a bit on the stage by this late point, and would pass away himself only a year later [2014-07-16]. Fortunately Tommy Emmanuel and Johnny Gallagher made up for the unexpected slack, according to the reviews I've seen.

    Original
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    Revised
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    Here's a brief synopsis of the concert - by Dave Willey | Posted April 9, 2013

    Alvin Lee passed away suddenly on March 6, 2013 - a shock to everyone, band members past and present are still numb over it. Brigitte and I (Dave) just returned from Paris where there was a "Tribute to Alvin Lee" as he was to play here (in Paris) on Sunday April 7, 2013. On the original concert bill, was to be another meeting of Johnny Winter and Alvin Lee, that has not happened in 30 years.

    At this tribute concert, it was Johnny Winter, Edgar Winter, Jimmy Gallagher, Tommy Emmanuel, Robben Ford.

    Ten minutes before show time, the Woodstock 1969 version of Ten Years After's - "I'm Going Home" was played over the venue's P.A. system to the audience's delight. This was followed by stage announcements in French - "A Minute Of Silence". A pin wouldn't dare drop in that minute...but it damn well would be heard loud and clear if it had.

    Roughly 2,500 music lovers in attendence and total silence. It they turned the lights off, you would think no one was there at all. Nothing more was said about Alvin that evening. He was on everyone's mind, and in their hearts, and I like many others thought to ourselves, Alvin would be / should be standing right there, center stage on this evening. That's when the reality sunk in. It's a done deal now Alvin Lee, "Rock On".

    Yes, this is a concert that Alvin intended to play. He was very much looking forward to it. But it just wasn't meant to be. Alvin went out on a high note, make no mistake about it friends.

    --David Willey
     
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  10. rockledge

    rockledge Forum Resident

    Location:
    right here
    If it wasn't for "Chuck Berryisms" rock music would have been far different. Those incredible variations on Chuck Berrys guitar style that most rock bands used are a big part of what I like about rock music.
    I don't know where the notion that using them in songs is somehow not desirable came from, but it is misbegotten.
     
  11. pool_of_tears

    pool_of_tears Searching For Simplicity

    Location:
    Midwest
    Where's that 4 disc Ten Years After box set...they're deserving of one.
     
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  12. zelox

    zelox Well-Known Member

    Location:
    SoCal
    The whole In Flight tour Lee did immediately upon leaving TYA was a retro tribute from beginning to end. You can tell the 50's influence runs deep in Alvin's blood. I was lucky to see that concert, and no doubt like everyone else attending, initially expected to hear some of his old TYA tunes. However not too long into the event, you could tell that wasn't happening - or going to happen. Funny enough, by that point, no one cared! It was a fun, upbeat revisit of classic old-time rock-n-roll, suitably updated for the 70's. And virtually nobody left disappointed.

    I'm Going Home
    is also a tribute and celebration to '50s rock 'n' roll. It's actually a medley based on Bo Diddley's Down Home Special, ramped up accordingly. You can easily spot additional segues into Blue Suede Shoes (Carl Perkins), Whole Lotta Shakin' Goin' On (Jerry Lee Lewis) and Boom Boom (John Lee Hooker). It shouldn't come as a surprise that Lee cites Chuck Berry as one of his chief guitar influences, along with Scotty Moore of Elvis Presley fame and Franny Beecher, guitarist for Bill Haley & the Comets (see interview above).

    Dave Edmonds & Rockpile did something retro-similar around that same time (1970) with I Hear You Knocking, an updated retake of the old Dave Bartholomew-Pearl King tune, complete with call-outs of Fats Domino, Chuck Berry, Smiley Lewis, plus Huey Smith and the Clowns! :eek: John Lennon commented on it in an interview years ago: "Well, I always liked simple rock. There's a great one in England now, 'I Hear You Knocking'."
     
    Last edited: Feb 20, 2015
  13. zelox

    zelox Well-Known Member

    Location:
    SoCal
    One more excerpted interview, just before the end.

    The Alvin Lee Interview
    Vintage Rock | by Shawn Perry | 2012


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    Discussion about guitar heroes from the 1960s typically revolves around Jimi Hendrix, Eric Clapton, Jeff Beck, Jimmy Page, with an occasional shout-out to Pete Townshend, Duane Allman and Jerry Garcia. Of course, there were many other able-bodied guitarists from the era who could swing with the best of them. One man who regularly topped the polls and still commands a hefty penance of reverence is Alvin Lee.

    As the guitarist, voice, songwriter and focal point of Ten Years After, Lee’s furious playing propped up by a no-nonsense, semi-rockabilly approach was key to the band’s live performances. Nowhere is this more apparent than by the 10-minute scene from the Woodstock movie featuring Lee and TYA blazing through “I’m Going Home.” By the time the band made its way to the mainstream, Lee had decided to switch gears and make his first solo album (with Mylon LeFevre) boosting a title that more or less summed up his feelings at the time -- On The Road To Freedom.

    In the years since, Alvin Lee has not become a superstar solo act, but he’s cranked out over a dozen albums of varying styles and disciplines, and worked with people like George Harrison, Mylon LeFevre, Ron Wood, Scotty Moore and D.J. Fontana. His 2012 release, Still On The Road To Freedom, is simply, as he told me during the following interview, a reassertion of his independence, making “free music for the soul.” At 67, living comfortably in Spain, playing as fluidly and furiously as ever — Alvin Lee is on a road to freedom most certainly paved with gold.

    Excerpted

    You obviously struck a chord with George Harrison because you two recorded several songs together. Do you have a favorite you did with him?

    Yeah, “The Bluest Blues.” The first guitar solo is George and it’s really beautiful…one of the best slide guitar solos I’ve ever heard. I said, “I got this one that needs a bit slide on it George.” and he said, “I’ll be right over.” And he played this beautiful, melodic solo. George doesn’t jam like me. I’m a jammer, I fire from the hip. But George writes a song when he does a solo, he writes a tune that becomes the solo. So he had this beautiful melody and a really nice touch. It kind of put me on the spot because I had to come up with something to match it. I think I did pretty good.

    You listen to someone like Eddie Van Halen, and you think he must have been listening to Alvin Lee.

    I don’t know who he was listening to (laughs). When I first heard Eddie Van Halen, he was the one responsible for getting me to start practicing again. I first heard Eddie do a solo, and I thought, “Whoa…I better get my guitar out and start practicing.”

    You have a song on the new record called “Back in ’69,” and I wanted to ask you about a particular Sunday in 1969 when you played this gig in upstate New York.

    Where’s that?

    This little gig called Woodstock.

    Yeah, that was a nice little gig..

    I understand you had technical problems, but when it came to “I’m Going Home,” everything sort of fell in place and they were able to film the performance.

    That’s right. We just went right on after the rain storm. There was a lot of humidity in the air and all the guitars went madly out of tune and we actually had to stop. The song was “Good Mornin’ Little School Girl” and I had to stop it and say, “Sorry…excuse me…I want to get us in tune here.” At that point, it was looking like a disaster. But as you see from the movie, we manage to get back on course.

    Did you have any idea that that would be a game changer for you?

    Well, nothing happened for a year. We continued to play the Fillmore and the Boston Tea Party…two to three-thousand seaters. It wasn’t until the movie came out that suddenly we found ourselves playing Houston Coliseums and Madison Square Gardens.

    I was watching the Blu-ray last night and relived your Woodstock performance. And when you’re done, you pick up a watermelon. Where on earth did that watermelon come from?

    It just sort of rolled on. I didn’t see where it came from. It just rolled onto the stage. I don’t know why or what was going through my mind. I just casually threw my guitar into the drum kit and picked up this watermelon (laughs). At all the gigs after the movie came out -- we were playing big festivals and stuff like that -- and (during) the last number, about 200 watermelons were all bobbing away in the audience. And by the end of the last number, the whole stage is covered in watermelon (laughs).

    Outside of Ten Years After, you have played with some of the greatest musicians on the planet. There were all the guys on your first album — Steve Winwood, Jim Capaldi, Boz Burrell, Ron Wood, and George Harrison. And then in 2004, you got together with Scotty Moore and D.J. Fontana (members of Elvis Presley’s original backing band) and made Alvin Lee in Tennessee. That must have been a great experience.

    It was fantastic. Scotty and D.J. were playing in London, promoting a new album or something. Every guitarist I know got invites. Gary Moore was there. We had a jam session and I was first up. I did this medley of Elvis hits. It was great fun. I went back to being like 14, 15-years-old when I was listening to those records. Suddenly, there was those guys playing behind me and it gave me such a buzz. I said, “Is there any chance I can get you guys in the studio and make an album?” And they said, “Yeah, sure.”

    So I went off and wrote some appropriate songs. I called up Scotty and said, “I’ve got some songs ready — and where would you like to record?” And he said, “Well, we’ll record at my place,” which was fantastic. I couldn’t have wished anything more. He has a house with a built-in studio. Actually, it’s a studio with an adjoining kitchen and bedroom. He’s got all his Elvis memorabilia there and all his great guitars. I was like a kid in a sweet shop.

    You guys did “I’m Going Home,” which is really fantastic. How did you like revisiting that one?

    That was fun. Pete (Pritchard) the bass player…it wasn’t on the plan, but Pete said, “Let’s do 'Going Home,' it'll be great.” And I said, “Ok, we’ll give it a shot.” And we played it once, and it was fantastic. D.J. Fontana might not be the cleverest drummer, he might not be doing all the drum fills, but he’s got such a rhythm going. He’s like a train behind you. He just pushes you along. Not too fast, not too slow. He’s got the beat, he’s got the pocket.

    When was the last time you played here in the States?

    That would be 1999. It would have been the Woodstock anniversary gig at Bethel Woods.

    “I’d Love To Change The World” has a certain relevance in these trying times.

    Always. It’s never lost its relevance actually. It’s harder to change it. Every year, it gets harder and harder.

    Would you still love to change the world?

    Well, that’s the point of the song: I’d love to change the world, but I don’t know what to do and I’ll leave it up to you. I’m just saying the world does need changing. I’d love to do it, but I haven’t got the talent. I don’t think I’m a world changer (laughs).

    Full Interview: http://www.vintagerock.com/index.ph...=article&id=1392:the-alvin-lee-interview-2012
     
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  14. rockledge

    rockledge Forum Resident

    Location:
    right here
    Just plain no.
    Guitarists pick up licks in a wide variety of places, and also share what they do with each other, and incorporate what they learn from each other.
    Chances are a lot of professional guitarists in Britain used those same licks.
    For all you know Alvin Lee copped those licks from Jimmy Page. And nobody stole them, any more than you borrowing your neighbors yard tools would be called "stole them".


    Also, on the local music scene, all the guitarists I know are constantly learning from each other.
    I am all the time seeing other guitarists using licks I taught them or that they have seen me do. I think nothing of showing guys how to do stuff they see me do, even when approached by someone I don't know. Never once have I considered them using licks I contrived to be any form of theft.
     
    Last edited: Feb 20, 2015
  15. Wombat Reynolds

    Wombat Reynolds Jimmy Page stole all my best riffs.

    Location:
    Atlanta, GA, USA

    nope, Page stole them from Lee.

    I'm quite sure of it.

    Aliens told me.
     
  16. rockledge

    rockledge Forum Resident

    Location:
    right here
    I find the whole idea of stereotyping guitarists licks that others use as " isms' to be kind of bizarre. I can't imagine someone accusing Chuck Berry of using someone elses " ism" which he most certainly learned his licks from country and blues players and doing his own form of them.
    The way guys like Mick Taylor or Alvin Lee or Clem Clempson altered Chuck Berry licks for their own use is just another step in the process of creating something new.
     
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  17. rockledge

    rockledge Forum Resident

    Location:
    right here
    Oh, well, then that is different. He must have.

    http://zapatopi.net/afdb/
     
  18. Wombat Reynolds

    Wombat Reynolds Jimmy Page stole all my best riffs.

    Location:
    Atlanta, GA, USA
    I need to buy a bunch of those and pass them around at my next gig. Maybe we'd sound better.
     
  19. rockledge

    rockledge Forum Resident

    Location:
    right here
    Hmmmm.. I wonder how the effect the perception of sound levels. Maybe you could get through the night without being asked to turn down.
     
  20. Wombat Reynolds

    Wombat Reynolds Jimmy Page stole all my best riffs.

    Location:
    Atlanta, GA, USA
    I think I'm the only guitarist in Atlanta that the soundguy asks to turn UP.

    Perhaps the audience is then sorry,... anyway, we hijacked this away from Alvin Lee, my apologies to you all.
     
  21. zelox

    zelox Well-Known Member

    Location:
    SoCal
    I actually see both sides of this argument - it's one of those things that can go both ways. While all guitarists are definitely influenced and inspired by others in the trade, we know Jimmy was particularly inclined to "absorb" things and adapt them accordingly, attempting to add enough variation to make it original, or original enough. Most of the time such slippin' and slidin' pasts muster, but occasionally it's easy to spot certain "lifts."

    A good example is Zeppelin's Dazed and Confused (on the live album The Song Remains the Same) where the main riff of the Yardbird's song Happenings Ten Years Time Ago is incorporated during the bow solo. And then there's the whole Jake Holmes controversy regarding that same tune, where Page & Plant created a new set of lyrics and modified the melody, but the original arrangement still bleeds through. I think Holmes and Page settled that one out of court, and today the songwriting credits - duly revised - are listed as "Page; inspired by Jake Holmes."

    Here's a recent Alvin Lee quote pertinent to that subject:

    Vintage Rock: Back in the day, you were often cited as one of the fastest guitar player around. Most definitely up there with Jeff Beck, Eric Clapton and Jimmy Page. Do you hear your influence in any of the guitarists that have come along since then?

    Lee: Yeah, quite a bit actually…the odd licks. That’s a compliment in a way. I don’t mind that at all.

    So even here, things appear to cut both ways. ;)
     
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  22. ti-triodes

    ti-triodes Senior Member

    Location:
    Paz Chin-in
    It's funny. Reading all those interviews and reviews, he never could get away from I'm Goin' Home.
     
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  23. rockledge

    rockledge Forum Resident

    Location:
    right here
    WOW! 1968?
     
  24. rockledge

    rockledge Forum Resident

    Location:
    right here
    Atlanta? Ever heard of John Leavell?

    I am the same way, I don't play guitar wars with loud guys. I play at what is reasonable for the room.
     
  25. The Panda

    The Panda Forum Mutant

    Location:
    Marple, PA, USA
    yeah, there's a beautiful soundboard tape from June 68 that surfaced from SF. They are just absolutely top of their game. I defy anyone to show me something that is better than those shows.
    (They were already doing No Title and Woke Up). And guess what? You don't even get I'm Going Home, tape cuts off.
     
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