The Myth and Mystique of Jimmy Page

November 1, 2012

by Daniel Brooks

Rock history is full of guitar heroes who have each forged their own musical palette, expanded the vocabulary of rock guitar, and created a body of work worthy of their own legend and their multitudes of inspired fans. But few guitarists have achieved anything even close to the level of importance, versatility and influence of Jimmy Page. With the Yardbirds, Led Zeppelin and impressive string of collaborations and solo projects, Page has masterfully expressed a musical intelligence across an impressively broad spectrum of genres. Hard rock, idyllic English folk, Psychedelia, electric blues, country, Eastern-influenced “World” music, or any number of previously unimagined and therefore undefinable forms, all created with an inexplicable and powerful mystique that has continued to thrive after thousands of repeated listenings.

Jimmy Page playing Madison Square Garden, Image Credit" target="_blank">Dina Regine

Born on January 9, 1944 in Heston, England, Jimmy Page picked up the guitar at the age of 13 after hearing a recording of Elvis Presley’s “Baby Let’s Play House.” Like many young English musicians of the times, Page played skiffle, a form of early 20th century American music with elements of Jazz, Blues and Folk that was undergoing a popular revival in the 1950s. A lesson or two and a lot of enthusiastic practice made him ready to join the Crusaders by the time he was 15. For the next two years, Page toured England and recorded with the Crusaders until he became ill with glandular fever and had to quit. For a brief period, he put all thought of a musical career aside to pursue art studies at Sutton Art College in Surrey.


In the early 1960s, young British musicians discovered and embraced the Blues with the same overwhelming enthusiasm previously given to skiffle. Drawn by the lure of the British Blues Explosion, the young art student Jimmy Page made frequent appearances at The Marquee Club in London to play with Cyril Davies, Alexis Corner and his friends Jeff Beck and Eric Clapton. Upon the strength of his performances, Page was invited to lend his talents as a session guitarist for the Columbia Graphophone Company and was soon offered a regular studio gig by Mike Leander of Decca Records. Page became one of the most in-demand guitarists in London over the next few years and would appear on the early records by the Who, The Kinks, Donovan, and the Rolling Stones, among others.

In 1964, Page was approached by the Yardbirds. Musical conflicts with Eric Clapton’s purist approach to the blues led the Yardbirds to seek a replacement guitarist. Page’s loyalty to Clapton and his successful studio career led him to decline the offer. When Clapton quit the band a few months later, Page recommended his friend Jeff Beck, who, of course accepted.

At Beck’s 1966 session for “Beck’s Bolero” featuring Keith Moon, John Entwistle, John Paul Jones and Nicky Hopkins, Page voiced the idea of forming a supergroup out of the session’s lineup. When Entwistle said the project would go over like a lead balloon, Keith Moon suggested Jimmy Page call it Lead Zeppelin. A few weeks later Page was backstage at a Yardbirds concert in Oxford when bassist Paul Samwell-Smith announced he was quitting the band.

By this time Page was playing as many as three sessions per day, six days a week, on increasingly unfulfilling productions. He was tired of session work and wanted to return to playing in a band. His offer to take Samwell-Smith’s place as the band’s bassist was quickly accepted. As soon as Chris Dreja had practiced enough to switch to bass, Page switched to second guitarist along with Jeff Beck and almost as quickly became the sole guitarist when Beck was fired from the band in October 1966. By July 1968, however, the fuzz-soaked psychedelia came to an end when Singer Keith Relf and Drummer Jim McCarty left the Yardbirds to form Renaissance, leaving Page and Dreja with a non-existent band and a string of unfulfilled tour dates.

Page approached singer Terry Reid about forming a new lineup. Reid declined but suggested he check out a young midlands singer with the Band of Joy named Robert Plant whose range and passion he found most impressive. Plant in turn recommended his drummer John Bonham. When Chris Dreja left the project to pursue photography, John Paul Jones contacted Page and became the fourth member. As all four musicians would later say, their first rehearsal was “magic.” They knew instantly that The New Yardbirds would be something fantastic. “We found out in the first hour and a half that we had our own identity,” said Plant. By the end of their tour Page remembered his conversation with Keith Moon and suggested they change their name. Their Manager Peter Grant suggested they change the spelling to Led Zeppelin so that no one would mispronounce the name. The rest is history.


The" target="_blank">Catalinbread RAH was designed to recreate the sound of Page’s Hiwatt Amplifiers

Led Zeppelin recorded their first album in 30 hours. Robert Plant’s visceral vocal delivery and lyrical sense, John Bonham’s drums somehow both articulate and massively powerful, and the extensive experience of session veterans John Paul Jones and Jimmy Page melded together to create a debut that was the first of seven or eight classic albums (depending on how you count them), and made them legends almost immediately. It may be argued that Led Zeppelin were as big an influence on rock music in the 1970s as the Beatles had been in the 1960s. Songs like “Dazed and Confused,” “Whole Lotta Love,” “Heartbreaker,” “The Immigrant Song,” “Stairway to Heaven,” “No Quarter,” “Kashmir,” “Achilles Last Stand” and dozens of others have inspired millions of would-be musicians to pick up a guitar or a drum kit or a microphone and explore their own creativity.

Of course, Jimmy Page’s extraordinary work as a guitarist was a vital factor in the magic of Led Zeppelin’s extraordinary music. Let’s take a moment to look at the gear with which he captured that signature sound. On their first album, and much of their first tour, Page relied almost exclusively on the 1959 Fender Telecaster given to him by Jeff Beck during their days together in the Yardbirds. As was often the case in those psychedelic days, Page repainted it with a red, gold and green dragon motif. A few years later, he would use the “Dragon” Tele for the solo on “Stairway to Heaven.” By the second album, he had found his 1958 Les Paul Standard (Number 1) that he would use onstage and to record the majority of his electric guitar parts. He has since collected hundreds of guitars, most notably the 1959 Les Paul Standard (“Number Two”), the Gibson EDS-1275 Doubleneck used live for such songs as “The Song Remains the Same,” “The Rain Song” and “Stairway to Heaven.” His black and white Danelectro 3021, tuned to DADGAD, was a concert stand by for songs like “White Summer/Black Mountain Side,” “Kashmir” and “In My Time of Dying.”

As the success of Led Zeppelin allowed for upgrades in his equipment, Page’s Supro Amps were soon replaced by 100 watt HiWatt amps modified for higher gain. Catalinbread has recreated the sound of this extraordinary amp with their RAH (Royal Albert Hall) overdrive pedal. Eventually, Page went to the amps that would become his on-stage workhorses, a series of Marshall SLP-1959 100 watt amps modified with KT-88 power tubes to get 200 watts of sound. In the studio, he often relied on a Vox AC-30, a Fender Dual Showman, a Fender Vibro-king and an Orange Amp.

As for effects, the old Roger Mayer Fuzzbox and the Sola Sound Tonebender were early favorites that gave way to the MXR Blue Box. A Maestro Echoplex added all of the considerable space and presence that only an old tape delay can. By the time they had recorded “No Quarter,” Page was using a modified Cry Baby Wah, and of course his MXR Phase 90 gave an inimitable voice to “The Rover.” Most of Page’s gear is still available; the classics tend to continue after all. But if you want to sound like Jimmy Page, do yourself a favor and take the time to learn the musical genius behind the songs.


  1. Rolf says:

    I think his philosophy in music was to use light and shade in compositions. Like the songs “In the light”, “Down by the seaside”, “Ten years gone”, “Ramble on” etc. To vary the musical experience by using darker and mystic sounds with light and positive emotions.

    posted on November 2, 2012 at 2:11 am
  2. blues says:

    study Page and discover that he is the greatest of all rock guitarists. Note vomiters need not apply.

    posted on November 2, 2012 at 2:41 am
  3. Dan says:

    Jimmy has always had a place in my heart. He’s amazingly diverse ... for novice guitar players he’s comprehensible, but for advanced guitar players he’s still has a depth and a complexity that to this day is relevant and interesting. I mean he’s had some best hooks, rhythms and solo’s in the history of music. Thank God for Jimmy Page, I may have never picked up a guitar…

    posted on November 2, 2012 at 3:07 am
  4. Jon says:

    Now can Catalinbread mimic the sounds of The Song Remains the Same rig from Madison Square Garden 1973? Kt-88 loaded singing 200w Marshall FTW!

    posted on November 2, 2012 at 3:13 am
  5. The Rover says:

    Jimmy is skilled for sure, but skill is not what makes him the best.  It is the way his mind works.  He is like a great chef.  You can almost taste his music, and its sweet.  Sometime deep in this man just flows moving powerful music.  What he has just cannot be learned for a book or video.

    posted on November 2, 2012 at 3:13 am
  6. Craig Richards says:

    Between him, Randy Rhodes and David Gilmour with a little Don Felder thrown in , that’s about the whole guitar experience and expertice.

    posted on November 2, 2012 at 4:13 am
  7. Paul Robinson says:

    Fender Vibro-king didn’t exist until the 90’s

    posted on November 2, 2012 at 4:30 am
  8. W Shafer says:

    I bought an RAH and was very dissatisfied with it. To me it sounds like a cheap fuzz tone. I am 65 years old and have been playing for more than 50 years. I am using it through a vintage 1964 Fender Vibrolux amp using a 1995 Gibson Jmmy page Les Paul.

    posted on November 2, 2012 at 4:56 am
  9. Lance Fowler says:

    The dynamics and melodicism in his guitar arrangements are just so ‘sticky’  - they continuously get stuck in my head on an endless loop… plus he has a great feel for when the song needs a big dumb riff. And I love how raw & narrow his tones can get. Jimmy always leaves plenty of room in the mix for you to hear how amazing the rest of the band sounds.

    posted on November 2, 2012 at 5:38 am
  10. Dan says:

    At the risk of being tarred and feathered…one word to describe Page: sloppy.

    posted on November 2, 2012 at 6:24 am
  11. Jacob says:

    PGS screws up yet another Artist gear article. I’m serious guys, get your facts straight and do some of your own ACTUAL RESEARCH instead of just pulling bits and pieces off of the internet. For anyone who actually wants to read about Page’s gear (correctly), go here:

    posted on November 2, 2012 at 6:31 am
  12. blaine says:

    I must admit I agree with Dan – I was a fan of the British Blues movement, but never excited by Jimmy’s playing.  I always felt there were some iconic riffs and dynamics in Led Zep’s performance but always found the weakest part to be the solos.  One of the advantages back in the late 60s and early 70s was the sheer volume we would all play at – which alone made up for a bit of sloppy technique.  The big issue was happening in the US as blues greats were inventing the way generations would play. The real heroes were Buddy, BB, Freddy, Albert, Otis, Muddy, the Chicago Blue movement.  Once enveloped in the original – all the British players were just copycats attempting to capture what was pure - and most failed.  The only respectable Brit was Peter Green – who captured the pure tone of the greats.  I would put Jimmy as the Glen Campbell of British rock – adequate but more outstanding as a song creator.

    posted on November 2, 2012 at 11:46 am
  13. Ramblin' Pony says:

    Agreed,Jacob ;) Messy and slapped together.

    To the detractors…dig beneath what your modern,pop,protools world has tainted your ears and thinking with.
    It’s all about layers,that magic take and not giving a toss whether it was note perfect.
    A Zepp album was about as live as you could get from a studio environment.

    posted on November 2, 2012 at 1:10 pm
  14. MARK HARRIS, says:

    I don’t think anyone would deny that Jimmy could be sloppy from time to time, but when he was “on” he was sublime.

    posted on November 2, 2012 at 2:05 pm
  15. Craig Richards says:

    Page has an incredible melodic sense. One cannot hear the Rain Song and not get chills. To my way of thinking, a good melodic sense tops speed and technique. Listen to David Gilmour’ solo in “Comfortably Numb” it is breath taking and relatively slow when compared with some metal players. But listen to Ozzy during the Randy Rhodes era. Randy had an incredible gift for the melodic. He positively shredded but it was stunningly beautiful in its composition. One can fault Page for not running all the notes together in a split second but one would be missing the point. The notes that are not played are every bit as important as the notes played. The harmonies,similies and riffs add up to more than speed metal can ever match.

    posted on November 2, 2012 at 2:37 pm
  16. Reverent Bluesdog Lawrence says:

    While doing a couple of tours in Southeast Asia as a crew member on an A/C 130 gunship, I still get the goosebumps when I hear their first album.  Nearly all of us would come back to Thailand after a night shooting up stuff….lay in our bunks and listen to Zep on headphones thru our Teac reel to reels…....Dazed and Confused,  those were the days!!!  Some of the Asia copy bands ALWAYS played Zeppelin in the clubs     NICE INDEED!  They might sound sloppy?  DOUBT IT!.....their studio work was as close to live as one could get in those days

    posted on November 3, 2012 at 2:48 am
  17. greg d says:

    I agree that every great band had a great manager /producer. Grant was Zeps guide,Kramer was Hendrix’s. George Martin was a Beatle. Page is an original and unique ,there arent many who can equal that. He stuck with the blues based riffs never compromised when fads changed.Im so tired of people saying he was sloppy,get over it. He played his own music,he wasnt classically trained like say Rhoads,he wasnt modal and I might say boring when he played. If you heard a mis note you always felt he was more human. Speed isnt alway necessary and when you play live and loud its about feeling not perfect notes. The slurs in heart breaker always give me chills,who else could play that, no one. In my book Page is one of the top 3 rock players ever.

    posted on November 3, 2012 at 3:44 am
  18. Jim H says:

    Jimmy Page is a brilliant guitarist, but more importantly, a tremendously creative orchestrator of all the ingredients that make a recording sound awesome. As for the “sloppy” thing? Well, Jimmy just understands that rock and roll shouldn’t be buttoned down and tidy all the time. To paraphrase Cool Hand Luke, “Sometimes sloppy can be a real cool hand!”

    posted on November 3, 2012 at 4:31 am
  19. Craig Richards says:

    Thank you for your service abour Spooky Bluesdog! My dad was a doc with the 2nd of the 12 Artillary Battallion 1968-1969. He taught me how to play the classical guitar and from there I came to appreciate Zeppelin.

    posted on November 3, 2012 at 9:36 am
  20. Reverent Bluesdog Lawrence says:

    Thank you Craig and thank your Dad for his service in the Nam…......Led Zep does a lot of semi classical stuff too now that I realize…....hail hail R and R

    posted on November 3, 2012 at 2:14 pm
  21. Brett Fairchild says:
    If it wasn’t for that^, I don’t think I would be playing today!

    posted on November 3, 2012 at 11:56 pm
  22. Randall Ayers says:

    Though I was not a big fan past Zep 2 ( my personal musical preferences went more towards traditional or roots music) I Would pay Honor and respect to both the player and the man. I would leave the term sloppy to conversations about Keith Richards who’s made a career out of sloppy ( No disrespect intended ). I would add that anyone looking to Page’s early LZ efforts should look into Hubert Sumlin’s playing with Howling Wolf, Page was highly influenced by Hubert’s playing yet took it to the next level, it was a real eye opener for me.

    posted on November 4, 2012 at 9:52 am
  23. gwugluud barcher says:

    Page’s “slovenliness” as a guitarist is exaggerated to a shameful degree.  He was relatively rudimentary in his approach, and he never lost that crazy-edged unpredictable type of playing which he learned from going through the 60s and being exposed to the “anything goes” kind of thing which permeated the psychedelic movement.
      Note-perfect classical-music-level Zakk Wylde soundalikes are as common as dirt.  Just go to GC and every 14-year-old McMansion trust fund kid in there are all ten times better, technically speaking, than Carlos Santana.
      But they don’t have a single cell of soul or originality of self-expression within them.  They can wow you with how fast they can play this many scales and all kinds of other anally obsessive stuff, but they’re tearfully boring.
      Give me ten hours of Page over ten minutes of Veeng-Vee Malmsteen any day of the week.

    posted on November 4, 2012 at 11:26 am
  24. Gary Wells says:

    I lost all respect for Page, after I discovered that many “original” songs weren’t original at all.  They were just very well done covers.

    posted on November 4, 2012 at 1:59 pm
  25. Reality says:

    @Gary Wells.

    “Well done covers” doesn’t fall within light years of what Zeppelin did with old blues tracks.  The band turned those songs over, under, sideways down, backwards, forwards, square and round.  Their interpretations are a far cry from the original versions.  When the band released those songs they were no longer blues songs, but blues-based rock and psychedelia.  The songs weren’t covered they were reinvented.

    posted on November 5, 2012 at 7:36 am
  26. Eric C. Gnagey, MT-BC says:

    Not sure if I’m wrong here, but I learned “In My Time of Dying” a few years ago, and I’m pretty sure it was not in DADGAD tuning. It was something open and close to that, but not DADGAD. Thoughts?

    posted on November 5, 2012 at 8:09 am
  27. faderman says:

    Yes, yes, y e s , , , the myth ‘n mystique says it all, in my opinion.  Quite an interesting string of comments.  Remember, all you detractors, that Page wrote and arranged an entire volume of
    compelling, and innovative music… and adorned them with arresting melodic hooks and solos.
    Lots of shredders out there today, who rush through the tall grass, killing snakes with repeated unexpressive abandon.  Perhaps his 60’s sound was a bit raw, and the 70’s somewhat scattered… but both decades were filled with creative, original musical statements presented to us by a brilliant guitar master, Jimmy Page!

    posted on November 5, 2012 at 10:19 pm
  28. faderman says:

    As for DADGAD…  My thoughts are, that after minutes or hours of working through the variations
    of an original, sometimes a tongue-in-cheek approach seems to work best.
    “What if I completely ignore this particular string (tuned to an un-orthodox pitch) until just NOW…  in this part”  Wow, something new, completely different sounding, and one that they’ll
    be scratching their heads about…”  Perhaps, inspiration alone provides us some insight.
    I’m just sayin’

    posted on November 5, 2012 at 10:31 pm
  29. dan Peabody says:

    Folks the bottom line is JIMMY PAGE had great rock tone without being to distorted. He was inventive and creative (yeah he ripped of all the blues greats! but so did most of my guitar heros) He is still the quintessentail rock guitar god. So cut him a little slack? Most of my generation grew up trying to copy him. And BECK,GREEN and clapton to name a few.

    posted on November 6, 2012 at 8:09 am
  30. Reverent Bluesdog Lawrence says:

    WOW   after reading this blog on Jimmy Page   it is quite clear that this guy had done his homework   paid his homage to the originals and then   just timing   then hammered the world with his interpretations of some of the greatest music of mankind…..just goes to show you he might be small in stature, but humble he is and fearless…...since I read the article on Myth’s etc, I have re-listened to A LOT of the first couple of albums…...and just bought a little big muff to plus my old Dan Electro (Silvertone one pick up I use for slide)  and I am getting rave revues from my fellow weekend jam buds.  Used to do Avg White band to ZZ   but now have a set of Zep     I want to interject one thing…...without Plant and the boys,    well it might have been different.  Gotta give them some credix, also!
    What fun to revisit       and yes, I dig Duke Ellington and Joe Pass too     heh heh   thanks folks

    posted on November 7, 2012 at 12:20 am
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