Joe Walsh changed rock history

Jimmy Page on how Joe Walsh influenced him to go with the Les Paul... fascinating.



Note, Walsh was also the one who gave Pete Townshend his Gretsch and Fender Bandmaster, a big key to The Who's sound back then.

There’s nothing there as a link or quote, just a blank box. Obviously, then, I can’t see what was supposedly spoken by Page, but in his session days, before his time in the Yardbirds, he already had a triple pickup “Black Beauty” Les Paul, which was eventually stolen on a Zeppelin tour in 1970, but recovered decades later…
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I’m aware that Walsh used to deal in vintage guitars as a side hustle(just like Cheap Trick’s Rick Nielsen), and it would be likely that their paths would cross, either in the Yardbirds touring days or Zep’s, but that premise that Walsh ‘changed’ anything is a bit flimsy…Page was already well aquainted with what it could do compared to a Tele. From what trivia I recall, Walsh may have sold a sunburst LP to Page on a Zep tour, to replace the black one perhaps, and there was that wiring mod done to that one I believe, but how does that alter anything? Clapton’s switch from a Tele and Vox AC30 to a Les Paul and Marshall combo was a greater game changer.
 
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I just re-checked it on my computer, using both Google Chrome and Apple Safari -- the post pulled up fine for me.

I also checked it on my Android phone -- pulled up fine for me there as well.

If you don't have an Instagram account, maybe that has something to do with it? Or if you do, perhaps your Internet connection is slow. If that's the case, you might need to give it a few more seconds to allow it to load.

There’s nothing there as a link or quote, just a blank box. Obviously, then, I can’t see what was supposedly spoken by Page
 
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I just re-checked it on my computer, using both Google Chrome and Apple Safari -- the post pulled up fine for me.

I also checked it on my Android phone -- pulled up fine for me there as well.

If you don't have an Instagram account, maybe that has something to do with it? Or if you do, perhaps your Internet connection is slow. If that's the case, you might need to give it a few more seconds to allow it to load.
I’m on Wi-Fi, so no problem there, but I don’t do Instagram. Isn’t there a link to the actual article?
 
Probably not. Jimmy posted on Instagram and I included the link in my TalkBass post.

Instagram is fun = lots of cool stuff to view and it's free to sign up. Also, you can make up a bogus account and never have to give them your actual information.

I’m on Wi-Fi, so no problem there, but I don’t do Instagram. Isn’t there a link to the actual article?
 
I’m on Wi-Fi, so no problem there, but I don’t do Instagram.
It should appear in the post regardless, unless your browser needs updating or you run a no-script browser add-on.
Isn’t there a link to the actual article?
It's not from an article. Only a post on Page's official IG account. Here's what it says:
I was temporarily living in Miami, Florida and @joewalshofficial was playing at the Gulfstream Park racetrack. Joe’s an old friend and our connection goes back to some of the American dates from my Yardbirds days. He was in the James Gang, based in Cleveland, and he’d come and see us whenever we were in town. He is a really nice man and I enjoyed his company.

Back then, Joe brought a Les Paul Standard along to a Fillmore East gig on the first leg of the American tour and said, ‘You’ve got to have this guitar.’ I said, ‘Well, I don’t need it, Joe, I’ve got a Les Paul Custom.’

I knew that Les Paul guitars were very user-friendly, insomuch as they put out a lot of level when you plugged them into the amplifier because they had a double-coil pickup, whereas the Telecaster had a single-coil pickup. With the sort of volume that I now needed to put out in live situations, although I was using controlled feedback, I found that the Telecaster was starting to squeal a bit.

I had to be very careful about where I was standing because of the unsympathetic feedback.

With the Les Paul you’d get feedback through the amp and speakers, but you could control it more easily and work with it. You could actually change the literal note and frequency that was coming back on the feedback. I just really enjoyed playing Joe’s guitar, and so I agreed with him that maybe I should buy his Les Paul Standard after all.

I played the Les Paul on Whole Lotta Love and What Is and What Should Never Be and that decided it for me: it was definitely going to be the Les Paul from then on. I always wanted to make a change for each album sonically and that was my first decision for Led Zeppelin II.

Like I had built Led Zeppelin around the Fender Telecaster, I built the second album around the sonic texture of the Les Paul Standard. Neither Joe Walsh nor I realised at the time just what an important thing he had done by coming along with that Les Paul.

Additional text and photos from The Anthology by Jimmy Page, out now from @genesis_publications © Jimmy Page, except Photo 3 by @rosshalfin, 2012; and Photo 5 by @nealprestonphoto, 1975
 
Its not “a” Les Paul; its “THAT” Les Paul.
Other versions of the story Page said that he and Joe had been discussing the direction he wanted to go with his sound and a few months later, Joe had found that Les Paul that just had the exact tone they were talking about. So Joe bought it and then contacted Page and said, “…THIS is the Les Paul you need!!!”
 
Its not “a” Les Paul; its “THAT” Les Paul.
Other versions of the story Page said that he and Joe had been discussing the direction he wanted to go with his sound and a few months later, Joe had found that Les Paul that just had the exact tone they were talking about. So Joe bought it and then contacted Page and said, “…THIS is the Les Paul you need!!!”

I remember reading all about this around 30 years ago. It's the/that '59 LP Standard burst Walsh gave him in '69.
 
Walsh changed rock n roll? Then so did Marty Robbins.

From Wiki:

One of the earliest examples [of fuzz bass] may be the 1961 Marty Robbins Country and Western song "Don't Worry."[1] By the mid- to late-1960s, a number of bands began to list "fuzz bass" in addition to "electric bass" on their album credits. Two well-known examples are the Beatles' 1965 song "Think for Yourself" (from Rubber Soul), which marked the first instance of a bass guitar being recorded through a distortion unit,[2] and the 1966 Rolling Stones song "Under My Thumb". Album or performance credits for fuzz bass can be found from every decade since then (see examples below).

Fuzz bass can be produced by overloading a bass amp's tube or transistor preamplifier, by using a bass fuzz or bass overdrive effect pedal, or for the most powerful effect, by combining both approaches. In the 1960s and early 1970s fuzz bass was associated with the psychedelic music (e.g., Edgar Broughton Band), progressive rock (e.g., Genesis), and psychedelic soul/funk (e.g., Sly and the Family Stone) styles, and it tended to be a "warmer", "smoother", and "softer" overdrive-type sound caused by soft, symmetrical clipping of the audio signal that "round[ed] off the signal peaks rather than razor-slicing"[3] them and filtered out the harsher high harmonics.

In the 1980s and 1990s, overdriven bass tended to be associated with hardcore punk (e.g., Stormtroopers of Death), death metal (e.g., Mortician), grindcore (e.g., Napalm Death) and Industrial bands (e.g., Ministry), and the tone tended to be heavier, more metallic and more grinding. This is achieved by hard clipping of the bass signal, which leaves in "harsher high harmonics that can result in sounds that are heard as jagged and spiky."[4] Fuzz bass has been used by indie, alternative rock and hard rock bands such as Muse and Royal Blood.
 
I’m aware that Walsh used to deal in vintage guitars as a side hustle(just like Cheap Trick’s Rick Nielsen)

If you watch the Gibson "The Collection" video on Rick, I think you'll find he wasn't dealing in vintage guitars - he was (and still is) hoarding them. Some people have a LOT of guitars. Rock has (literally, not metaphorically) Tons of guitars.
 
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If you watch the Gibson "The Collection" video on Rick, I think you'll find he wasn't dealing in vintage guitars - he was (and still is) hoarding them. Some people have a LOT of guitars. Rock has (literally, not metaphorically) Tons of guitars.
His family also owned a music store in Rockford, IL - hard to quit being surrounded by instruments if that's how you were raised, I guess.
 
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If you watch the Gibson "The Collection" video on Rick, I think you'll find he wasn't dealing in vintage guitars - he was (and still is) hoarding them. Some people have a LOT of guitars. Rock has (literally, not metaphorically) Tons of guitars.
His parents owned a music store, and got into it that way…

“Nielsen was born on December 22, 1948 in Rockford, Illinois, near Chicago. His parents were both opera singers and his father also conducted symphonies and recorded 40 albums. In this environment it is understandable that little Rick was attracted to music from an early age, although he was more passionate about Chuck Berry and Elvis than Verdi and Puccini. His absolute love was electric guitars and soon he saw his dream come true when, as a teenager, his father opened a musical instrument store – and Nielsen was like a kid in a candy store.

Before he was 20 Nielsen had already owned a Gretsch Duo Jet, some Fender Esquires, Telecaster Customs, Strats, Les Paul Juniors.... It was the beginning of a lifetime of collecting guitars and selling them. As soon as he was old enough he got behind the counter and even sold his second Les Paul Standard to the guitarist he most admired in the world, Jeff Beck. But what he liked most was to play them. He got his first Les Paul, a '55 Goldtop for 65 dollars and with it he would go to a little place called El Dorado where the musicians who played there all knew him from the store - and when they needed a guitarist the young Nielsen would accompany them. That's how he learnt his trade, by playing with legends like Del Shannon, Bo Diddley and Chuck Berryhimself. Nielsen confirmed that the mythical bad temper of the father of rock & roll was not a legend, Berry didn't even deign to tell them the notes of the songs; they had to look at his hands and guess what fret he was on.

After playing in several cover bands, the first serious band Nielsen was in was Fuse, formed in 1968, where he coincided with Tom Petersson who played bass. They recorded a rather mediocre album, which appeared in 1969, with three songs composed solo by our protagonist who, in addition to playing guitar, also played the melotron. The band went nowhere but Nielsen and Petersson hit it off and went to Europe in the early 70's with a new band called Sick Man Of Europe, in which Bun E. Carlos played drums. In 1973 they returned to Rockford and changed their name to Cheap Trick.

At this time Nielsen was still making more money selling guitars, now as a private collector, than with the band. In 1973 he got a call from Paul Hamer who was looking for a Les Paul Standard Sunburst. Nielsen had one and a lot of financial problems - his wife was pregnant with their first child - so he decided to sell it to him for $2,500. Hamer resold it shortly after for much more money and with the proceeds he started his own guitar company: ‘Hamer’. In 1974 they released one of their first models, the Hamer Standard, which drew on the design of the Gibson Explorer - Nielsen was one of the first to own one and it would become his best known guitar. His relationship with the brand would be totally symbiotic.”


He started selling off his latter day collection almost 10 years ago.
 
His family also owned a music store in Rockford, IL - hard to quit being surrounded by instruments if that's how you were raised, I guess.

Hs parents owned a true "Mom and Pop" music store - not a guitar haven, it was mostly sheet music, band instruments, etc. They may have had a guitar here and there, but when I went there, it wasn't at all what I expected.
 
Hs parents owned a true "Mom and Pop" music store - not a guitar haven, it was mostly sheet music, band instruments, etc. They may have had a guitar here and there, but when I went there, it wasn't at all what I expected.
I was mostly joking: I know they didn't have a Guitar Center. They'd also carry some interesting curiosities, like tiples (one of the influences for Petersson's 12 string bass) or the titular mandocello
Origin of the 12-String Bass — 12-String Bass Encyclopedia
which can well whet an appetite for, if not hoarding, developing a sizable collection of, uh, finely differentiated weapons of choice.
 
After watching a handful of that youtube Gibson Channel with Mark Agnesi visting rock stars and their collections its clear that what separates the big boys in that world is the '59 to '60 "burst" i.e. Les Paul Standard. It's pretty insane. Korina V's and Explorers get oohs and ahhs too of course, but obviously no serious collection is complete without that Les Paul. Many have several of them, including Nielsen I recall.
 
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