Jeff Beck – A Retrospective

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Jeff Beck was the guitar player’s guitar player. Ask the great guitar players who they thought was the best, and chances are they’ll name Jeff Beck. His playing was in a state of perpetual reinvention, always evolving & improving. No mere technician, he was a master of emotion. When Jeff passed away in 2023, we lost a musical giant.

On this, our 150th episode, we pay tribute to Jeff by looking back at his 50+ year career, highlighting some of his finest moments.

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TRANSCRIPT:

Welcome, friends. I’m Brad Page, host of the “I’m In Love With That Song” podcast. And this just happens to be the 150th episode of the podcast. So, I wanted to do something different, something special with this episode. And one of the things that I’ve been wanting to do for a while is to pay tribute to Jeff Beck, the brilliant guitarist who died last year. Now, I could have rushed out an episode, but I wanted to do this right. Jeff Beck was a legend, an icon, an inspiration to millions of guitar players. And I believe he was the greatest rock guitarist of all time. So I wasn’t just going to throw something together.

Now, usually on this show, we dive into a specific song; we’ve also done shows where we take a look at a particular year, or focus on a certain event or an individual album, but we’ve never done a retrospective on one artist’s career– until now. So, for this, our 150th show, we’re going to explore the extraordinary career of Jeff Beck.

Why? Because you simply can’t capture what made Jeff Beck great in one song, or one album, or even in one decade of his career. Because there is no guitarist in rock history– I repeat, no guitarist– whose style and technique evolved so much over time, that by the end, he was playing like nobody else on the planet. That was no coincidence. It was the result of a restless spirit who could never stay in one musical place for too long. Someone who never stopped learning, who never stopped working on his playing, who just kept getting better. So let’s explore the sound, the passion, and the fury of Jeff Beck.

Jeffrey Arnold Beck was born June 24, 1944, near London. When he was six years old, he heard a song on the radio. “How High The Moon” by Les Paul and Mary Ford.

When he asked his mother what that sound was, she said, “it’s an electric guitar”, as if Les Paul was somehow cheating by using technology. But that made Jeff even more fascinated.

But it wasn’t until Jeff was about 12 years old before he actually played a guitar for the first time. A friend had an acoustic guitar that he wasn’t using, so Jeff borrowed it. That guitar was missing some strings, but Jeff fashioned some, using some wire from an old electric toy airplane. He saw the film “The Girl Can’t Help It”, which featured Gene Vincent and the Blue Caps playing “Be Bop A Lula”. And he was captivated by the playing of Cliff Gallup, the guitarist for the Blue Caps. Gallup would be a big influence on Jeff.

Jeff built his first electric guitar himself out of wood and parts that he scrounged together. He used to carry it around without a case, even strapping it to his back when he rode his bike, so that people would see it. He wanted to be known as a guitar player.

It was around this time that Jeff’s sister told him about this other kid in the neighborhood who also played guitar and decided to introduce them. That other kid happened to be Jimmy Page. Jimmy said “there was a knock on the door one day, and there was Jeff’s sister, with Jeff holding his homemade guitar”. They immediately became friends.

Jeff joined his first band, The Bandits, in 1960 when he was 16, and then joined the Deltones. He bought his first Fender Stratocaster around this time, it’s a big deal.

And in 1963, Ian Stewart, who was playing piano for the Rolling Stones, turned Jeff onto the blues. And Jeff was particularly struck by Buddy Guy, who became another major influence on Jeff.

He eventually joined the Tridents, and this is where he really started making a name for himself. By now, Jeff was playing a Fender Telecaster into a Vox AC30 Top Boost amp, with a Binson Echorec and a fuzz box he made himself. Here’s a recording of the Tridents playing “Nursery Rhyme”, recorded live in 1964.

The Yardbirds had formed in 1963, with Keith Relf on vocals and harmonica, Paul Samwell-Smith on bass, Jim McCarty on drums, and Chris Dreja and Top Topham on guitars. When Topham quit, they replaced him with a hot, young guitarist named Eric Clapton. They were originally a straightforward blues bass band, but when they recorded the more radio-friendly “For Your Love”, that was a bridge too far for Clapton, who immediately quit.

By then, Jimmy Page was an in-demand session player, working in London’s recording studios and playing on hit records. The Yardbirds asked Jimmy to join, but he wasn’t interested. But Jimmy recommended his friend Jeff Beck for the job, and Beck became a member of the Yardbirds.

He joined them just in time to work on their next single, “Heart Full Of Soul”. The story goes that they had hired a sitar player to play on the song, but when they couldn’t get it to sound right, Jeff said, “let me just try it with my guitar”. And using his Fender Esquire and a Sola Sound Tone Bender fuzz box, he put down on tape the first iconic Jeff Beck guitar part.

Many other classic Yardbirds hits followed, including one of the all-time great psychedelic tracks, “Shapes Of Things”, featuring two layered guitar solos incorporating feedback. Groundbreaking stuff.

Another classic was “Over Under Sideways Down”, featuring an eastern-influenced melody from Jeff. Jeff also played bass on this song.

And one of my favorite Yardbird tracks is this one, an instrumental simply called “Beck’s Boogie” that says showcase for everything Jeff had to offer at this time: his tone, his creative playing and his speed.

But Jeff was always temperamental– accent on the temper. If a gig wasn’t going well, or he just didn’t like his sound, he’d kick his amp over or walk off the stage.

In May of 1966, five of the greatest British musicians got together in a London recording studio to form a “supergroup” that lasted for one song. The Yardbirds manager knew Jeff was unhappy and encouraged him to record some solo tracks, thinking that that would ease the frustration. At the same time, drummer Keith Moon from The Who was feeling antsy and looking for a new opportunity. Jeff went over to Jimmy Page’s house; Jimmy was playing his Fender twelve string electric, and they worked up a song that would become “Beck’s Bolero”. A couple of days later, on May 16, Jeff Beck and Jimmy Page showed up at the studio; Keith Moon arrived in secret, wearing a disguise; Nikki Hopkins joined them on keyboards, and Jimmy brought in one of his session friends, John Paul Jones, to play bass. Jimmy played his electric twelve string, and Jeff played a Gibson Les Paul.

At one point during the track, Keith Moon screams and he hit the mic with his drumstick, just smashing the mic. From that point forward, all you can really hear of the drums is the cymbals.

There was talk of them forming a band, but they didn’t have a singer. So Keith went back to The Who, Jeff went back to The Yardbirds, and the supergroup never happened.

In June 1966, Paul Samwell-Smith quit The Yardbirds. They had just finished recording the album that became known as “Roger The Engineer” (in my opinion, that’s The Yardbirds’ masterpiece) and they had gigs lined up.  This time Jimmy Page came to the rescue, replacing Samwell-Smith on bass, and on June 21, made his debut with The Yardbirds as their new bass player.

It didn’t take long for Chris Dreja to realize Jimmy Page was just a much better guitar player than he was, so he switched to bass and Jimmy took over on guitar, creating one of the all-time great twin guitar lineups in history: Jeff Beck and Jimmy Page, both playing together.

It didn’t last though. Volatile and moody as ever, Jeff finally quit The Yardbirds in the middle of a US tour in late 1966. The Yardbirds continued on as a quartet, with Jimmy handling all the guitar work.

Unfortunately, there are only two tracks that feature the Beck/Page lineup: “Stroll On”, which was featured in the 1967 film “Blow Up “,and “Happenings Ten Years Time Ago”, a psychedelic masterpiece, with Jeff Beck conjuring up everything from police sirens to revving engines and bombs dropping. This track also features John Paul Jones on bass.

So by 1967, Jeff Beck found himself at a crossroads, a situation he would find himself in throughout his career. He’d left The Yardbirds, but what to do next? Mickey Most was one of Britain’s most successful producers, and he figured he could turn Jeff Beck into a pop star. Mickey recorded three pop singles with Jeff. “Hi Ho Silver Lining”, “Tallyman” and “Love Is Blue”.

But Jeff Beck was just not meant to be a pop star. He had no appetite for that side of the business. He started putting together his own band, starting with a lead singer named Rod Stewart and a guitarist, Ron Wood, who switched to bass. Mickey Waller joined them on drums, and the first Jeff Beck Group was born. With the support of Peter Grant, who would become Led Zeppelin’s manager, the Jeff Beck gGroup signed to Epic Records and released their first album, “Truth”, in July 1968.

Whereas the Yardbirds mix blues with pop and psychedelia, the Jeff Beck Group’s debut album is a slab of heavy blues rock, beating Led Zeppelin to the punch by about five months.

Their second album, “Beckola”, followed in June 1969. This album featured Tony Newman on drums with Nicky Hopkins on piano. And if anything, it’s even heavier than its predecessor.

Both albums sold well, but the writing was on the wall and the band split up. They were supposed to play at Woodstock, but Jeff backed out. He didn’t think they were good enough. Rod Stewart, Ron Wood, and Mick Waller would go on to record Stewart’s first solo album, and then Stewart and Wood joined the Faces… but that’s a story for another podcast.

Meanwhile, Jeff formed a new Jeff Beck Group and released two more albums in ‘71 and ‘72. Though both records have their moments, neither is particularly strong and didn’t do particularly well, either critically or commercially. The albums are most notable for introducing two musicians, Max Middleton on keyboards and a drummer named Cozy Powell.

So Jeff broke up the band and tried his hand at another supergroup, teaming with bassist Tim Bogart and drummer Carmine Appice, who had played together in Vanilla Fudge and Cactus.

Around this time, Stevie Wonder got Jeff to play on the song “Looking For Another Pure Love”, which would appear on Stevie’s next album, “Talking Book”.

One day, while messing around in the studio together, Stevie came up with the riff to “Superstition”. He finished writing the song with the intention of giving it to Jeff, but when Motown heard the song, they insisted that Stevie record it, put it on the album, and release it as a single. But Beck, Bogart, and Appice did record a version of it, and it’s probably the highlight of the one studio album they released together.

Once again, egos and personality conflicts took over and the band split. So Jeff found himself at another crossroads. He wasn’t really getting anywhere in terms of critical or commercial success, and he felt he was spinning his wheels creatively. Something had to change.

So he went into the studio with Max Middleton, who played on the last couple of Jeff Beck Group albums, along with Phil Chen on bass, and drummer Richard Bailey, and a producer named George Martin– the same producer who worked with The Beatles, along with many others, including John McLaughlin’s Mahavishnu Orchestra, who Jeff was really into at that point.

Together, they produced an album that took Jeff into a totally new direction, a jazz/rock/funk fusion that was unique. Didn’t sound like anything else at that time. But it wasn’t just the style of the music that changed. Jeff actually changed the way he played, a different way of approaching the guitar, reinventing his style and technique.

The album was called “Blow By Blow”, and it turned out to be his most commercially successful album ever. An all-instrumental album, no vocals, that made it to number four on the Billboard chart and earned Jeff a whole new level of respect.

Let’s look at a couple of tracks from the “Blow By Blow” album. This is my personal favorite Jeff Beck album. I can’t say for sure, but from what we know, Jeff was probably using his 1954 Gibson Les Paul with an Ampeg VT40 amp, Crybaby Wah Wah pedal, Colorsound Overdrive and a ZB Custom volume pedal.

One of the standout cuts on the album is a song called “Thelonious”, written by Stevie Wonder, and though he’s not credited on the album, Stevie actually plays clavinet on this track.

Another fan favorite is “Freeway Jam”, which became a staple of Jeff’s live performances. Seems pretty clear to me he’s playing a Fender Stratocaster on this one.

One of the outstanding moments on the album is “Because We’ve Ended As Lovers”, also written by Stevie Wonder. Another one of Jeff’s favorite guitarists was Roy Buchanan. Jeff dedicated this song to Roy, and you can hear Roy’s influence on Jeff’s playing here. This is one of Jeff’s greatest performances, and the song remained part of his live gigs for years. On this track, I believe Jeff was playing a modified Fender Telecaster with Seymour Duncan humbucking pickups installed in it.

Jeff hit the road in 1975, touring with the Mahavishnu Orchestra, then he returned to the studio with George Martin to record his next album, “Wired”. This time the band featured Jan Hammer on synthesizer– he played a key role in the sound of this album, pushing the music further into the jazz fusion direction. Jeff toured with the Jan Hammer Group in 1976 and they recorded a live album together.

Here’s another track from the “Wired” album, this is Jeff’s version of the Charles Mingus classic “Goodbye Pork Pie Hat”.

Jeff recorded one more album in the jazz fusion arena called “There And Back” in 1980, and then he went quiet for a few years. His next album came out in 1985, called “Flash”. It’s kind of a hodgepodge, probably his most commercially oriented album. It’s also my least favorite Jeff back album.

You got the feeling that Jeff was at another crossroads, not sure where to go next, so he just retreated from the public eye again. But he didn’t stop playing. In fact, his playing went through the most radical reinvention yet. He stopped using a pick, developing his own unique finger style, and he developed a way of incorporating the Stratocaster’s vibrato arm, the whammy bar, into his playing that was entirely unique. Sui generis, unlike anything else. This was not the Van Halen dive bombs or the Hendrix freakouts; this was an extremely controlled use of the vibrato, using sustain feedback and a surgical like use of the whammy bar to create microtones– notes between the notes, sounds you shouldn’t be able to make on a guitar. It took years of painstaking work for him to develop this way of playing. I’m simply in awe of it.

This technique was in full display on his next album, “Jeff Beck’s Guitar Shop”. Released in 1989, this album features Tony Hymas on keyboards and legendary drummer Terry Bozzio. And it’s another left-turn for Jeff’s career, incorporating the sounds and technology of the ‘80’s into his music.

But the highlight of the record is a track called “Where Were You” that fully displays his new approach to playing. Using just the volume control on his Strat, along with the vibrato arm, he manipulates fretted notes and harmonics to produce a hauntingly beautiful vocal-like sound.

Jeff went on a co-headlining tour with Stevie Ray Vaughan and it was very successful. But when it was over, he stepped back again, this time due to his increasing issues with tinnitus, a severe ringing in the ears.

Jeff spent the next few years doing occasional session work and guest appearances, turning up on records by John Bon Jovi and Roger Waters. Then in 1992, he released two almost simultaneous projects, and they couldn’t be more different. One of them was the soundtrack to a TV series called “Frankie’s House”. The other was a tribute to his original guitar hero, Cliff Gallup– an album of Gene Vincent covers called “Crazy Legs”. Here, he sets aside all of his newly-developed technique and pays tribute to Gallup by emulating that classic sound and style.

Occasional session work followed, and one big tour in 1995 with Santana, but we didn’t get any new music until 1999, when he released “Who Else!”, The first of three albums inspired by electronica and bands like The Prodigy. It was also the first album where Jeff worked with another guitarist, Jennifer Batten. Jennifer was one of the most sought after hired gun guitarists in the late 80’s and 90’s. She toured with Michael Jackson for ten years. But Jeff was one of her heroes and she jumped at the chance to work with him.

Jennifer was a major contributor to the album and co-wrote the song “What Mama Said”.

That album was followed a year later by “You Had It Coming”, an album that again featured Jennifer Batten, with a guest appearance by Imogene Heap on a version of the old Muddy Waters classic, “Rollin’ And Tumblin’”

This album also features what I think is one of Jeff’s crowning achievements: a simply stunning track called “Nadia”. He had heard the track originally recorded by Nitin Sawhney and was fascinated by the female vocal melody.

This vocal style makes use of microtones that aren’t part of our western musical notation. These are notes that aren’t playable on a traditional guitar. But Jeff, using his meticulous vibrato bar technique, painstakingly learned that vocal melody, phrase by phrase. I can’t even begin to explain the complexity and difficulty of pulling off something like this, but Jeff did it, and would continue to do it as part of his live show.

Jeff released a third electronica-themed album, simply called “Jeff” in 2003, which included another of his vocal adaptations, this time drawing inspiration from the Bulgarian Female Vocal Choir on a track called “Bulgaria”.

That was a very fertile period for Jeff, releasing three albums within four years. He hadn’t been that prolific since the early 70’s. But after that last album, he stepped back again. He did release a live album in 2008 that’s one of my top favorite Jeff Beck records. It’s called “Live At Ronnie Scott’s” and Jeff is just brilliant on that album. It features an amazing version of the Beatles song “A Day In The Life”, which he won a Grammy for Best Rock Instrumental Performance.

In 2009, he was inducted into the Rock And Roll Hall of Fame for the second time, as a solo artist. (He was already inducted as a member of The Yardbirds.) In 2010, he returned with his 10th studio album called “Emotion And Commotion”. Half of those tracks featured guest vocalists like Joss Stone and Imelda May. The other half were instrumentals. Here’s one called “Hammerhead”.

Absolutely ferocious. Jeff was 65, 66 years old when this record came out, and he was still as fierce a player as ever. But of course, he could also be incredibly delicate. The same album includes a beautiful version of “Somewhere Over The Rainbow”, recorded in the studio with a live 64-piece orchestra.

Six years later, in 2016, he released what would be his final solo album, a record called “Loud Hailer”. And this is one of my favorite Jeff Beck studio albums. Jeff had heard these two women, vocalist Rosie Bones and guitarist Carmen Vandenberg– they have a band called Bones UK– and Jeff liked what he heard and asked them to collaborate on this album.

Now, let me point out one thing that’s worth noting here: going back to Jeff’s work with Jennifer Batten, through his tours featuring the great bass players Tal Wilkenfeld and Rhonda Smith, to this album where he shared the spotlight with Rosie and Carmen, Jeff was a real supporter of women musicians.  Not just for novelty or “eye candy”, these were all women who could really play and deserved to be there. But he gave these women a chance in the spotlight and brought them in front of new audiences around the world. He deserves some credit for that.

Almost all of the tracks on “Loud Haler” are co-written by Jeff, Carmen and Rosie, and shows, once again, Jeff fitting his style into a modern context.

Jeff would release one more album, kind of a one-off duo with Johnny Depp in July 2022. And then on January 10, 2023, Jeff Beck died from a bacterial meningitis infection. He was 78 years old.

It was a shock in the guitar playing community. Virtually every guitarist you can think of paid tribute to Jeff.

There have been many great guitar players; I believe Jeff was the greatest. There are many reasons why– I won’t go through them all, but here’s just one reason: Jeff never stopped getting better. His playing grew and changed and improved.

Let’s look at most of the iconic players. Of course, Jimi Hendrix died young, so we don’t know what his playing would be like now. Same for Randy Rhodes and Stevie Ray Vaughan. But let’s look at Eric Clapton, who I really admire as a player, but some people think his playing peaked with cream in the 60’s, others think it peaked in the 70’s… But either way, if you listen to Eric Clapton today, has he evolved much since then?

Let’s look at Jimmy Page– Again, another player who I absolutely love, but has he done anything that surpassed his work in the 70s?

What about Eddie Van Halen? His guitar playing shook the world in 1978, but from then to his death in 2020, can you honestly say his playing radically improved or changed? I don’t hear it.

No disrespect meant to Eddie, or to Brian May or Tony Iommi… Steve Vai, Joe Satriani, Steve Morse, Joe Bonamasa, they may all be better technical players, in terms of speed or knowing more theory, but none of them– no one– revamped, revised, rebuilt their style and technique from the ground up as much, or as often, as Jeff Beck. None of them changed and evolved and improved over the course of their career as Jeff Beck. And he was still improving. He was never satisfied and he was always pushing himself to get better.

There is no contemporary or current guitarist who continually developed and improved over their career like Jeff Beck. Nobody who went from this:

To this:

To this.

To the point where he was playing radically different and better in his 70’s than he did in his 20’s. It’s amazing, nobody could touch that technique. He was one of a kind.

There are new generations of brilliant guitarists, from Bumblefoot to Buckethead. players like Omar Garcia-Lopez, Tosin Abbasi, Plini, Rabia Massad… they are all brilliant players at the top of their game, but we’ll see– when they’re in their 70’s, will their playing have evolved and deepened as much as Jeff Beck’s?

Thank you for joining me for this special episode looking at the career of Jeff Beck. Trust me when I say we’ve just scratched the surface of his work. Go pick up some of his albums. A great place to start is the “Live At Ronnie Scott’s” album. There’s also a great documentary called “Still On The Run”, which I highly recommend.

I’ll be back in two weeks with another new episode. Thanks for being a part of the last 150 shows, and if that’s not enough, you’ll find even more shows on the Pantheon Podcast Network, enough to satisfy any music junkie.

Please keep in touch and until the next time, I’ll leave you with one final track. This is from the aforementioned “Live At Ronie Scott’s” album. It’s the live version of Jeff playing “Where Were You”. This is how he closed that show, and it’s a fitting way to close out this episode. Jennifer Batten described this as “basically impossible, it’s an impossible tune”. Well, impossible for anyone– except Jeff Beck.

ADDITIONAL INFORMATION:
Jeff Beck
https://www.jeffbeck.com/

The Yardbirds
https://theyardbirds.com/

Les Paul and Mary Ford
https://www.les-paul.com/

Cliff Gallup
https://en.wikipedia.org/wiki/Cliff_Gallup

Gene Vincent and the Blue Caps
https://en.wikipedia.org/wiki/Gene_Vincent

Stevie Wonder
https://www.steviewonder.net/

Rod Stewart
https://rodstewart.com/

The Faces
https://en.wikipedia.org/wiki/Faces_(band)

George Martin
https://en.wikipedia.org/wiki/George_Martin

Mahavishnu Orchestra
https://en.wikipedia.org/wiki/Mahavishnu_Orchestra

Jennifer Batten
https://www.batten.com/

Imogen Heap
https://www.imogenheap.com/

Tal Wilkenfeld
https://www.talwilkenfeld.com/

Rhonda Smith
https://www.rhondasmith.com/

Bones UK
https://www.bonesuk.com/

Still on the Run” Documentary
https://www.imdb.com/title/tt5256544/

Live at Ronnie Scott’s Album
https://www.discogs.com/Jeff-Beck-Performing-This-Week-Live-At-Ronnie-Scotts/release/1734350

The Albums That Made Us – with special guest Christy Alexander Hallberg

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We’re back with another “Albums That Made Us” episode; this time my guest is author Christy Alexander Hallberg, whose new novel Searching For Jimmy Page is a must-read for any Led Zeppelin fan. On this episode, Christy shares how discovering “Led Zeppelin IV” was a life-changing moment, how the music has brought comfort over the years, and inspired her book. We also discuss one of my first album purchases, Queen’s “Day At The Races”.

Buy the book here: https://www.christyalexanderhallberg.com/

— This show is one of many podcasts on the Pantheon podcast network — THE place for music junkies to get your fix. Check ’em out!

Led Zeppelin – “Achilles Last Stand”

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"Achilles Last Stand" (Jimmy Page & Robert Plant) Copyright 1976 Flames Of Albion Music, Administered by WB Music Group (ASCAP)

Sure, everyone knows “Stairway To Heaven”, but “Achilles Last Stand” may be Jimmy Page’s greatest masterpiece. Layers of guitars intertwined & augmenting each other in a virtual guitar orchestra, with stellar performances from the rest of the band. In this episode, we take a closer look at this underrated classic.

“Achilles Last Stand” (Jimmy Page & Robert Plant) Copyright 1976 Flames Of Albion Music, Administered by WB Music Group (ASCAP)

TRANSCRIPT:

Good times, bad times you know I’ve had my share– but it’s all good here on the “I’m In Love With That Song” podcast, one of the many great shows on the Pantheon Podcast Network. Thanks for being here. On this episode, we’re exploring an extremely ambitious track called “Achilles Last Stand” by a little band named Led Zeppelin. Maybe you’ve heard of them…

After Led Zeppelin wrapped up their 1975 tour, the four members of the band, along with their manager Peter Grant, were planning to leave England to avoid the high taxes. There they were doing what other rock stars had done before them, including the Rolling Stones. They would be tax exiles.

Vocalist Robert Plant was on vacation in Greece with his wife and two children when, on August 4, they had a terrible car accident. The kids were okay, thankfully, but Robert’s wife Maureen, who was behind the wheel, was knocked unconscious and suffered a fractured skull and broken pelvis. Robert had multiple fractures in his right leg and elbow. The doctors said he wouldn’t walk again for six months, maybe more.

An American tour had been planned for that summer, but after Robert’s accident, that was never going to happen. Which meant that all that money they were counting on from that tour wasn’t going to happen either. The only way to make up for that loss of income was to make another album. Luckily, guitarist Jimmy Page had a bunch of ideas for new material and Robert wanted to get back to work to do… something. Anything was better than sitting around feeling miserable.

So in September of 1975, Robert Plant, still in a wheelchair, joined Jimmy Page in Southern California to write some new songs. Bass player John Paul Jones and drummer John Bonham would join them not long after. Once they finished rehearsing most of the material in California, the band then relocated to Musicland studios in Munich, Germany, to record the album in November. The challenge was that the Rolling Stones had already booked the same studio for December, which left Led Zeppelin with about two weeks to record the whole album.

Jimmy Page, who not only played all of the guitar parts, but also wrote virtually all of the music and produced the album, was working 18 to 20 hours a day on it. In the end, they ran out of time, and Jimmy had to ask Mick Jagger for two more days in the studio to finish up. Jagger gave him the two days, and Jimmy Page, almost by himself, recorded all of the overdubs seven songs worth in one single night. And then Jimmy and engineer Keith Harwood mixed the whole album the next day.

The album would be named “Presence”, and it was released in March of 1976. Robert Plant described the struggle to make the “Presence” album as “our stand against everything, our stand against the elements, against chance. We were literally fighting against existence itself.”

Unlike every other Led zeppelin album, there are almost no acoustic instruments on “Presence” at all. No keyboards, no mandolins or recorders, no acoustic ballads. This is an album dominated by Jimmy Page’s electric guitar wizardry. And “Achilles Last Stand” may be the pinnacle of his guitar playing and arranging genius.

“Achilles Last Stand” is the first track on the album, opening the record with a slow fade in on Jimmy Page’s guitar played on his legendary Gibson Les Paul, nicknamed number one. The part is doubled and then panned left and right.

Almost imperceptibly in the background there, you can hear John Bonham hit a few notes on a cymbal. And with one hit of a snare drum, we’re into the song. Essential to the driving force of this track is John Paul Jones’ bass part, played on an eight string bass. He’s using a Becvar Series Two Triple Omega Bass. This is the first time on any Led Zeppelin track that an 8 string bass is used. He’s playing it with a pick, too, which gives it an extra attack and a little bite to the high end. Listen to how John Bonham uses his snare drum to reinforce Jimmy Page’s guitar riff. Here comes the first verse.

Robert Plant doubles his vocal only on the second half of each line.

Let’s listen to that drum fill.

And notice how the reverb swells up when Robert sings about the devil in his hole.

Now, here’s a new riff introduced into the song. It’s a pretty classic Jimmy Page riff. Let’s listen to that guitar part. And that riff is immediately followed by an ascending guitar part. Two guitar tracks playing in harmony. One has some heavy effects on it. Sounds like some modulation and effect and maybe some phasing too. Let’s hear all those parts together.

Here’s another doubled and harmonized guitar part.

This is another point where they crank up the reverb on the vocal

And here’s a classic Robert Plant moan, saturated in reverb.  Next up is Jimmy Page’s guitar solo, and it’s a great one. He rated it himself as one of his best, right up there with his “Stairway to Heaven” solo. And I agree, it’s one of his greatest. It’s full of his unique bends and phrasing that make him one of the most identifiable and unique guitarists.

More doubled and harmonized guitars.

And I love this layered guitar part here.

All right, let’s break this section down. The bass and the drums are totally in sync here, each part reinforcing the other, while Jimmy Page weaves one of his mysterious guitar parts around the others. The unique sound of the 8-string bass is particularly noticeable here.

Robert sings a very haunting vocal refrain, thick with reverb. After a couple of times through, he layers another vocal part over that. Let’s hear that all together.

And here, Jimmy Page combines two different sections into one. Beneath that section, Jimmy Page is now playing slide guitars in harmony. Let’s go back and listen to that drum fill there. And let’s bring Jimmy Page’s guitar part. It’s a great one.

They just keep building it up. Let’s listen to his slide guitar, Here’s multiple parts playing off of and intertwining with each other. Notice how Robert’s vocals move back and forth across the sound field.

Listen to Robert’s vocal here. And so the song ends as it began, with a slow fade on Jimmy Page’s guitar.

“Achilles Last Stand” – Led Zeppelin

After all the blood, sweat and tears—literally– that went into making the album. “Presence” would be Led Zeppelin’s least commercially successful record. Although it’s often ranked towards the bottom of their catalog, I think this album is a triumph, both musically and under the conditions that it was made. And you don’t have to look any further than “Achilles Last Stand” to hear the genius of this band, with each member playing to perfection.

Thanks again for joining us here on the “I’m In Love With That Song” podcast. If you enjoyed this episode, let us know what you think on our Facebook page. Just look for the “I’m In Love With That Song” podcast page and you’ll find us there. And you can catch up on our previous episodes on our website, lovethatsongpodcast.com. There’s a ton of episodes there, just waiting for you to discover them.

We are part of the Pantheon Podcast Network, where you’ll find even more music-related podcasts to check out.

We’ll return in two weeks with a new episode. Thanks for joining us this time for our exploration of “Achilles Last Stand” by Led Zeppelin.  (To listen to the song again in its entirety, stream it, download it, or buy it from wherever fine music is sold.)