Led Zeppelin – Physical Graffiti (Remaster)

Page (pictured with the Firm 1984) initially toured and recorded with Led Zeppelin using a Fender Telecaster as his primary electric guitar, but then switched to the Les Paul; but Page never stopped using Telecasters, he used them whenever he wanted the infamous "b-bender" effect pioneered by Clarence White and Gene Parsons. Page used on the guitar on the Led Zep 1977 US Tour for Ten Years Gone, 1983 Arms Concert, The Firm 84-86 and in 1984 with Roy Harper at English festival.

Guitar Show with Jimmy Page onhis b bender https://www.youtube.com/watch?v=InIYpuovgLo&feature=youtu.be

check out the article on this guitar https://spinditty.com/artists-bands/Jimmy-Page-And-The-Fender-Telecaster

More Pictures: Click the images for articles on Jimmy's BBender https://www.pinterest.com/pin/265501340517462386/

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At 26:35 in this video from Five Watt World, it mentions Jimmy Page purchased a 1971 Guild F-612 12-string guitar from Manny's Music in New York. It was used on Over the Hills and FarAway and was later stolen.

Jimmy Page famously used this guitar with Led Zeppelin throughout and classics such as Kashmir, Page bought this guitar while he was a studio musician and still uses it now, it can be seen in the documentary 'It Might Get Loud' with Jack White and U2's the edge.

The guitar was used on songs such as "In My Time of Dying", "Kashmir". According to The Met, Page bought this guitar in 1963 at London's Selmer Shop, and was firstly used in 1967, during his tenure with The Yardbirds.

Jimmy page explains which amp and cabinet he used on whole lotta love. He used a Vox Super Beatle and the Rickenbacker Transonic cabinet.

In this photo, an M-101 can be seen on the right, on Jimmy's pedalboard. This pedal is discussed further on this website. It was used for part of 'Immigrant Song' as well as 'Dazed and Confused', and for "Rock and Roll' at Live Aid 1985.

According to The Gear Used By Jimmy Page on Led Zeppelin IV, Jimmy Page’s 1961 Danelectro 3021/DC59 was fitted with a Leo Quan Badass Wraparound Bridge, replacing the stock bridge.

Used on "In the Light" and "No Quarter", as stated respectively in the December 1977 issue of Contemporary Keyboard and in this July 9, 2014 Keyboard article.

Contemporary Keyboard, December 1977

I did use an old EMS VCS3 synthesizer on Physical Graffiti for "In The Light". It wasn't sophisticated enough to really sound like a synthesizer and you really had to be on the ball because it was murder to keep in tune. It did have a little joystick arrangement that could be used to control the pitch, though, so you could slide things; it was very manageable. But it couldn't go on the road. I had too much trouble with the mellotron in those days to take anything else out. Robert Plant was always saying "We've got to do "In The Light" onstage, " and I said, "No way, or I have to contend with synthesizers as well."

Keyboard, July 9, 2014, "5 Ways To Play Like John Paul Jones"

Ex. 2 is in the style of Jones’ intro to the song “No Quarter.” On record, Jones ran a Hohner Electra Piano (not to be confused with the RMI keyboard of the same name) through an EMS VCS3 synth and modulated the filter with a sine wave LFO. The result is a unique and psychedelic sound that works perfectly for the song.

John Paul Jones started using a Hohner Clavinet on Led Zeppelin’s 1975 album Physical Graffiti, specifically on the tracks “Custard Pie,” “Trampled Underfoot,” and “In the Light.”

“Trampled Under Foot" is Jones's classic Clavinet track, and it was one of the band’s best songs when played live. The song begins with the Clavinet part, and its heavy, driving "stomp" rhythm pushes the song throughout. The clavinet solo is an energetic and busy chordal improvisation. As the solo plays, a second clavinet track is added -- a dark, muted sound that was created by running the clavinet through a wah-wah pedal set back to a very low range.

Video: Trampled Underfoot Live 1975

In a photo from the 2007 reunion show at O2 Arena, John Paul Jones is seen using a Fender Fretless Precision Bass, likely for the performance of "In My Time of Dying," which was originally recorded with a fretless bass guitar. Jones can also be seen using this model of bass in a recorded concert performance of "In My Time of Dying" at Earl's Court in 1975, recognizable from the lack of frets and the two metal, knurled knobs.

John Bonham was given three Ludwig Green Sparkle drumkits in the spring of 1970. In addition to using this drumkit on stage from 1970 until the end of the 1973 European tour, it was his favorite kit to use in the studio, recording Led Zeppelin III, Houses Of The Holy and Physical Graffiti.

An image of Bonham playing the Ludwig Green Sparkle kit in the background here.