Jimmy Page: The Definitive Biography. Chris Salewicz

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СКАЧАТЬ of ineffable good taste and class. And very quickly, with his characteristic diligence, he became adept on the bass guitar.

      Before Page formally joined the Yardbirds, he went round to Simon Napier-Bell’s flat in Bressenden Place, near Buckingham Palace, for a meeting with the group and their manager. ‘When he arrived,’ said Napier-Bell, ‘he had an enormous swollen lip. Nobody knew who’d done it. He said some people had stopped him in the street and hit him. I remember thinking that if you’re Jimmy Page that could happen to you because of your sneering. Jimmy’s superciliousness was hard to take. When Jimmy Page looked as nice as he does, maybe he thought he could get away with it.

      ‘He came into the group. I said, “We don’t really get on.” “You’re my manager: I want to see the contract,” he said. I said, “You won’t. I’ll take my percentage off four-fifths of the money, and I won’t manage you.” Because I knew he would want to pull a stunt and say the contract was terrible.

      ‘I always thought Jimmy Page was partially gay. He didn’t have a great childhood: because he was such a cunt, you knew he didn’t have a great childhood. And later he got into transvestism. Which meant he thought he was straight.

      ‘I said to Jeff Beck, “Jimmy Page is coming in to the Yardbirds and you will leave.” He said, “No, I won’t.”’

      Although ‘Jeffman’ had been proprietorially spray-painted onto the rear of the Telecaster Beck had gifted him, Page customised the instrument, giving it a psychedelic colour-wash, adding a silver plate to catch stage lighting and reflect it back at the audience, a simple but extraordinarily effective trick. For some time this Telecaster became identified with Page.

      Yet before he could graduate to playing this guitar with the Yardbirds, Page remained the group’s bass player. It must have been a baptism of fire: vocalist Keith Relf, an asthmatic, would drink all day, the singer’s inner turmoil perhaps exacerbated by the fact that, oddly, the Yardbirds’ tour manager was his own father. Between the Marquee show and the end of July, the Yardbirds played 24 dates, all over the UK. For Page it must have been like getting back on the gruelling road with Neil Christian and the Crusaders. There was a show with the Small Faces in Paris on 27 June, and a set of dates in Scotland early in July; at one of these Beck and Page were spat at for wearing the German Iron Cross. Couldn’t these former art students have explained that they were simply indulging in a spot of street-level conceptual art? (Or perhaps it was an indication of chronic immaturity? A decade later comparable attempts at shock would be made by the likes of punk stars Sid Vicious and Siouxsie Sioux, similarly employing Nazi regalia. As with the Yardbirds’ efforts, wouldn’t you consider this to be comparable to naughty ten-year-olds drawing such images on their school exercise books?)

      Although he had his flat off Holland Road in west London, Page was still frequently staying at his parents’ house in Epsom. But in the mid-sixties his parents separated and then divorced. This brought great pain to their son. Moreover, shockingly, his father had been living a double life: he had created a separate family with another woman. This would have been devastating news. ‘You would never trust anyone again, especially intimate people,’ commented Nanette Greenblatt, a renowned London life coach. ‘In any relationship you were in, you would be worrying, “This is okay for now, but how will it turn out?” Accordingly, you would want to control people. There would be a strong distrust of male figures. And Aleister Crowley would fit in nicely as an unreliable father figure.’

      The kind of trauma to which Page and his mother were subjected by this egregious information about his father must have been almost overwhelming. But, just as a new birth is said to bring good luck, so a figurative death in the shape of divorce can sometimes offer the opportunity for a phoenix-like rise to escape the grief of the event. Something like that happened to Page. Some constraints fell away, to expose a desire for the ultimate promulgation of who he could be, and how far he could take it. You can have this fantasy image of yourself, which, if you work hard enough at it, is what you become. In other words, find your true will: who you are meant to be in this existence and what you are here for – the meaning of Crowley’s ‘Do what thou wilt’, appropriated almost predictably from a freemasonry text. Once upon a time, ‘Jimmy Page’ was a construct in Page’s own mind. But because he meant it, and, more importantly, needed it, it became him, and he it. With some assistance from his beliefs, of course.

      5

       BLOW-UPS

      Jimmy Page finally moved away from his childhood home. First, he took the flat off Holland Road in Kensington. But part of the mood of the age was the need to connect communally with the essence of the earth, a need that would later be expressed by the likes of the Band, who creatively isolated themselves in Woodstock in upstate New York, and the English group Traffic, fronted by Page’s friend Steve Winwood, who wanted to ‘get it together’ in a cottage in rural Berkshire.

      And it was to that same verdant county of Berkshire that Page now moved. Kenneth Grahame, author of the children’s classic The Wind in the Willows, had retired to Pangbourne, situated on the River Pang four miles west of Reading, in later life, and now Page made the village his home, buying a former boathouse on the river, water frequently being close to the homes he would purchase, solace for his Scorpio rising. Later, he would develop a reputation for being to some extent a recluse; it was here that such an existence was first nurtured, one he found creatively beneficial. ‘I really enjoyed that bachelor existence – working and creating music, and going out on my boat at night on my own; switching off the engine and just coasting in the twilight. I liked all that,’ he told the Sunday Times. His tank of tropical fish survived the journey from west London, although his long absences away on the road eventually obliged him to give up this hobby.

      And anyway, Page was almost straightaway off on the road again. This time it was to the United States.

      That same month, June 1966, someone else demonstrated an intriguing element of experimental good taste – unsurprisingly, given that the record was produced by Shel Talmy, Page’s longtime studio champion, a master of innovation. ‘Making Time’, the stunning, sneering tune in question, was released by a Hertfordshire group called the Creation; Eddie Phillips, the guitarist, would at times play his instrument with a violin bow. It has long been alleged that Page took note of this and copied the effect. ‘Eddie Phillips deserves to be up there as one of the great rock ’n’ roll guitarists of our time, and he’s hardly ever mentioned,’ said Talmy. ‘He was one of the most innovative guitarists I’ve ever run across. Jimmy Page stole the bowing bit of the guitar from Eddie. Eddie was phenomenal.’

      However, Page claims another source for the inspiration. At the Burt Bacharach session he played on, David McCallum, Sr., another session player, who played violin with both the London Philharmonic and Royal Philharmonic orchestras and was father of the co-star of the hit television series The Man from U.N.C.L.E., asked the guitarist if he had tried to bow his instrument as though it were a violin. Page borrowed the violinist’s bow – a wand finding its own wizard – and had a go, in front of McCallum. ‘Whatever squeaks I made sort of intrigued me. I didn’t really start developing the technique for quite some time later, but he was the guy who turned me on to the idea.’

      The summer months of 1966 were a pivotal time for much of ‘Swinging London’, as Time magazine had dubbed the city. In May, at the NME Poll Winners’ Concert at Wembley’s Empire Pool, the Beatles played what would prove to be their last ever live show in Britain. However, as far as viewers of the televised broadcast of the NME poll were concerned, the Yardbirds closed the concert. Acting on a perverse whim, Andrew Loog Oldham decided that the Rolling Stones’ segment should not be broadcast. When Beatles manager Brian Epstein learned of this, he also demanded – for anxious reasons СКАЧАТЬ