Jimmy Page: The Definitive Biography. Chris Salewicz
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Название: Jimmy Page: The Definitive Biography
Автор: Chris Salewicz
Издательство: HarperCollins
Жанр: Биографии и Мемуары
isbn: 9780008149307
isbn:
Three days after that Saturday Club performance the Yardbirds were in Paris. They played at the Assas Faculte du Droit, supported by the Brian Auger Trinity, featuring Julie Driscoll, and recorded the Bouton Rouge television show, performing ‘Train Kept A-Rollin’’, ‘Dazed and Confused’ and ‘Goodnight Sweet Josephine’.
The next day, 10 March, the Yardbirds played at Paris’s legendary Olympia venue. Afterwards the group moved on to a private party thrown by Eddie Barclay, who ran the renowned Barclay Records. Among the celebrated guests was Brigitte Bardot, dressed in leather motorcycle gear. She looked ‘hot’, noted Page.
Back in London on 15 March, Page played a session for Joe Cocker, for his ‘Marjorine’ single and its B-side, ‘The New Age of the Lily’. (Later in the summer he would play on Cocker’s epochal version of Lennon and McCartney’s ‘With a Little Help from My Friends’, the song that made Cocker’s career.) The next day he was again in Paris with the Yardbirds for a show.
A week later, following a concert at Retford College in Nottinghamshire on 23 March, the Yardbirds flew to New York for the start of their American tour. The opening date, 160 miles from Manhattan, was at the Aerodrome in Schenectady in New York state, a venue with a famously tremendous sound system, the kind favoured by Page for the more complex sound he was developing on tunes like ‘Think About It’, ‘White Summer’ and ‘Dazed and Confused’. But such aural developments would not be employed for much longer with the Yardbirds, as the band knew before they even set off that this was to be their final ever tour.
Inspired by the prevailing softer sounds of the likes of – curiously – the Turtles and Simon & Garfunkel, and by LSD, Keith Relf and Jim McCarty had concluded that they no longer wanted to be part of the Yardbirds and would form a more folk-influenced outfit instead.
Two nights later, at Manhattan’s Anderson Theater, the Yardbirds played a pair of shows that Epic Records recorded for a live album, which would eventually be released in January 1971 but quickly withdrawn after Page protested that it was a cash-in on the success of Led Zeppelin. ‘We knew the American tour was going to be the last one, and all the pressure was off,’ said the guitarist. ‘We played well and had a really good time. We even managed to play consistently good venues; it was almost entirely universities and psychedelic ballrooms. The only low point was the Andersen Theater gig in New York, which was recorded for a live album. The rats at Epic had got wind of the break-up and decided to get the last drop of potential profit out of us. It was pure convenience for them, being based in New York, where we didn’t like playing anyway. It should have been done at somewhere like the Shrine in LA, or the Fillmore. The Anderson Theater was a horrible place, very cold and unfriendly, and it didn’t help that the Vanilla Fudge, currently local heroes, were playing across town at the Fillmore East. To cap it all, the Epic sound team had no idea how to record us. They were really straight and they just draped a few mikes around. It was pathetic. When they discovered the inadequacies of the recording, they dubbed on all those ridiculous bullfight cheers.’
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