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FENDER PLAYERS CLUB LED ZEPPELIN

Performed by Led Zeppelin, 1968Written by Willie Dixon and J.B. Lenoir

1962 (Renewed 1990) HOOCHIE COOCHIE MUSIC (BMI)

Administered by BUG and ARC MUSIC CORP.

All Rights Reserved Used by Permission

From the book:

Guitar Riffs of the '60s

by Wolf MarshallSignature Licks

# HL 695218. Book/CD $19.95 (US).

Rea more...

For years, British rock musicians had gravitated to American blues. The Beatles and Stonesworshipped and reverentially covered classics by Chuck Berry, Bo Diddley, and Willie Dixon.

Clapton rewrote the Chicago blues saga with John Mayall, as did his successors Peter Greenand Mick Taylor. Jeff Beck gave us his electric blues take on Howlin Wolf and Buddy Guy inTruth. And then there is the whole matter of Jimi Hendrix, who was the vanguard of a newmovement based on blues and R&B. When Led Zeppelin stepped into the picture in the latesixties, it seemed as if it had all been done. Wrong. 1968s You Shook Meproved there wasstill more ahead. Here, Jimmy Page and company attacked a familiar blues standard byMuddy Waters with an unprecedented ferocity and heaviness bringing to bear the forces ofdistorted, unearthly guitar, screech vocals, and powerhouse drumming in an environmentthat could only be called experimental. This was more than the sound of blues and rockfusing to become heavy metal; it was the sound of a hybrid literally tearing itself apart to

evolve into its next incarnation.

The guitar solo in You Shook Meis one of Pages best blues-rock offerings, andrepresents a pinnacle in the genre. It is a well-conceived twelve-measure section, startingwith restraint and understatement and building to a powerful climax. Following a two-measure turnaround played by Gtr. 1, Page (Gtr. 2) enters with sparse, melodious slide lines iE Mixolydian (EF#G#ABC#D), drenched with echo. In measure 6, he kicks on an octaveabove effect, which remains on through measure 10. This section of the solo is wild andabandoned. Here, Jimmy goes for the throat with a series of licks that push the envelope of

guitar soloing into the next decade. The flashy multi-note passages in measures 710 arebased on the E major pentatonic scale (EF#G#BC#) and the E blues scale(EGABbBD), which Page combines skillfully. These lines are played against stop-timeband breaks and John Bonhams explosive drum fills. Jimmy closes the solo with bluesy linesthat continue to mix major and minor scales over the BAE cadence in measures 1113. Hisfinal thoughts in measures 13-14 recall an ancient Chicago blues turnaround in new metaltrappings.

YOU SHOOK ME (Guitar Solo)

AUDIO CLIP - FULL BAND

1

E5

3 2

E7/D

3 2

Am/C

2 1

E/B

3 1

A/C

2 1

E7

1 3 4

5 fr

A5

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