GIBSON INCORPORATED, KALAMAZOO, MICHIGAN, CIRCA 1959, THE LATER NECK 1972 - фото 1
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GIBSON INCORPORATED, KALAMAZOO, MICHIGAN, CIRCA 1959, THE LATER NECK 1972 - фото 19

GIBSON INCORPORATED, KALAMAZOO, MICHIGAN, CIRCA 1959, THE LATER NECK 1972

Лот 3
22.01.2025 10:00UTC +01:00
Classic
Продан
£ 403 200
AuctioneerCHRISTIE'S
Место проведенияВеликобритания, London
Комиссияsee on Website%
Архив
Аукцион завершен. Ставки на лот больше не принимаются.
Archive
ID 1360080
Лот 3 | GIBSON INCORPORATED, KALAMAZOO, MICHIGAN, CIRCA 1959, THE LATER NECK 1972
Оценочная стоимость
£ 40 000 – 60 000
GIBSON INCORPORATED, KALAMAZOO, MICHIGAN, CIRCA 1959, THE LATER NECK 1972
A SOLID-BODY ELECTRIC GUITAR, LES PAUL, KNOWN AS 'THE YARDBURST'
Inlaid The Gibson above a flowerpot at the headstock and J.B. at the base of the fingerboard, stamped MADE IN / U.S.A. on the reverse of the headstock, together with a hard-shell case and brass slide
Length of body 17 3/8 in. (44 cm.)




Literature

Tony Bacon, Sunburst: How The Gibson Les Paul Standard Became A Legendary Guitar, p.46 (ill.)



Further details

Following the European tour, the Jeff Beck Group assembled at Abbey Road Studios in London to record their first album Truth over four days in mid-late May, so called ‘because the group feels that it is an honest album without any electronic tricks,’ Jeff told the Washington Evening Star. Released in July 1968, the milestone album has since been widely regarded as an influential blueprint for the hard rock that came after it. Other than an acoustic borrowed from producer Mickie Most for a reworking of Tudor melody ‘Greensleeves’ and a pedal steel used for slide, the majority of Truth was recorded on the Gibson Les Paul through a Vox AC30 that was reportedly isolated in a closet to provide a fat, muffled tone. The album opened with a slowed down, heavier reworking of the Yardbirds’ ‘Shapes of Things’. ‘Rod loved that song,’ Jeff explained to Guitar World in 2009. ‘He thought it would be a great idea to do another angle on it, and I just wrote that complete other riff for it. And it became the precursor to a lot of power rock and roll. That plodding sort of rhythm that we nailed. I suppose whenever I get named as a heavy metal innovator, that’s probably one of the best examples of heavy metal in embryo.’ Describing the Willie Dixon cover ‘You Shook Me’, Beck wrote in the liner notes: ’Probably the rudest sounds ever recorded… Last note of song is my guitar being sick — well so would you be if I smashed your guts for 2:28.’ Another Dixon cover previously recorded by Howlin’ Wolf, ‘I Ain't Superstitious' was a tour de force of double-tracked wah pedal and in Beck’s words ‘more or less an excuse for being flash on guitar,’ while ‘Blues Deluxe’ represented the type of spontaneous, extended blues the band were playing live at the time, complete with canned applause. One of the few originals on the album, ‘Let Me Love You’ was another well-rehearsed number from the band’s live set, showcasing the call-and-response interplay between voice and guitar that Jeff and Rod had perfected on stage. Jeff’s 1966 solo project ‘Beck’s Bolero’ was edited and remixed for inclusion on the new record. Credited producer Mickie Most was reportedly absent for most of the recording, delegating the work to engineer Ken Scott. With Most showing little interest in finding a US distributor for the record, his management partner Peter Grant (who would famously go on to manage Led Zeppelin) intervened to set up a six-week US tour for the group. ‘Grant saw that there was more in it, and rather than lose the whole thing, said he'd fix up an American tour,’ Jeff told Grundy and Tobler. ‘We made it to New York, and blew the town apart completely, smashed it wide open with one performance, and we had an identity as a band right there, and that cemented it all for eighteen months.’

The faithful Les Paul would serve as Jeff’s primary stage guitar throughout the group’s first US tour, while the Esquire was likely carried for backup. ‘My main guitar with the Jeff Beck Group was a Les Paul,’ Jeff wrote in his 2016 photo memoir BECK01. ‘We made a fat sound for a band that didn't have a rhythm guitar. My Les Paul had a lot of low-end power, which carried so you didn't need a rhythm guitarist or pianist.’ Despite a nervous Rod hiding behind the stage curtains for the first half of the set, the band inspired a standing ovation when they made their American debut, opening for the Grateful Dead at the Fillmore East in New York on 14 June 1968. ‘I damned and confounded New York when I came back with that band. All the bad reviews about me being a bad boy leaving the Yardbirds in the shit were all just washed away when we played the Fillmore East,’ Jeff told di Perna in 2009. Teenage photographer Thom Lukas was present at the Fillmore to capture the group’s debut. In a rave review, New York Times music critic Robert Shelton reported ‘They were standing and cheering for a new British pop group last night at the Fillmore East’, while New Musical Express gushed ‘America has never seen a team like Jeff Beck and Rod Stewart… it’s like watching the brilliance of Jim Morrison teamed with Eric Clapton.’ Grant immediately wired the ecstatic reviews to Epic Records and secured an album deal which saw Truth rush-released in the US within two weeks to capitalise on the group’s concert success, peaking at number 15 on the Billboard 200. ‘We did believe that what we were doing was fantastic,’ Jeff told Uncut in 2010. ‘The only way to describe it is super-charged blues: Howlin’ Wolf and Buddy Guy put through this psychedelic filter, with changing tempos in the middle of songs, and Motown basslines.’

With a mutual appreciation for each other’s talents, Jeff and Jimi Hendrix had struck up a friendship since the latter had blasted on to the London music scene in late ’66, often enjoying a late-night jam at London hangout the Speakeasy. Over a six-night residency at popular New York nightclub Steve Paul’s Scene from 17-22 June, Hendrix would join Jeff and the band on stage for a jam at the end of their set, playing Jeff’s stripped Les Paul when he turned up without his own Strat. ‘The first night at the Scene, Jimi didn’t show up, but he came for the rest of the five nights,’ Jeff recalled in a Q&A for Guitar World in 2013. ‘Around about the halfway mark, he’d come in from whatever recording he’d been doing. The buzz was incredible: the place was packed anyway, but when he came in they were standing on each other’s shoulders. Sometimes he didn’t have his guitar, so he would turn one of my spare guitars upside down and played that way, and I actually played bass at one point. I’ve got a photograph of that.’ Captured by Carol Siegel, at least two photographs exist of Hendrix playing Jeff’s Les Paul at the Scene, flipped for left-handed play. One of the shots, published in Beck’s photo memoir BECK01, also shows Ronnie Wood, peering from behind an amp at the back of the stage empty-handed, because Jeff had purloined his guitar to play bass to Jimi’s lead. ‘We jammed several nights, and it was the best time I can ever remember, for that kind of impromptu jamming,’ Jeff told Guitar World’s Gene Santoro in 1985. ‘It was really a jam, we wouldn't have anything at all worked out. He'd start playing "Beck's Bolero," so I'd play rhythm guitar for that, and then I'd play "Purple Haze" and he'd play rhythm. We'd just mess around and give people a good laugh.’ Apparently, Hendrix was unimpressed with the thin strings that Jeff preferred for his Les Paul at the time, as Jeff told Paul Guy for Fuzz in 1999: We all tried to get the thinnest strings possible, that was the hippest deal. The fact that you could bend them with no effort - but I suddenly realised how pussy it was. Hendrix grabbed my guitar for a jam one night in this club in New York, and afterwards he said, “I really enjoyed that, it was great - but you got to get rid of those rubber bands off your guitar!” And from then on I went up about two steps, from a 7 to a 9.’ In between the band’s Fillmore debut and their residency at the Scene, the Jeff Beck Group made a last-minute unbilled appearance with Hendrix at the Daytop Under the Stars festival at drug rehabilitation centre Daytop Village on Staten Island on 16 June. ‘At Daytop [Hendrix] improvised first with Wood and Waller,’ reported The Village Voice, ‘then Beck wandered onstage, and they jammed long and loose, feeling each other out, bringing off a few really remarkable moments, finally breaking into “Foxy Lady” to finish it off. Dynamite!’

Four nights at the Boston Tea Party followed from 26-29 June 1968. A teenage Joe Perry (later of Aerosmith fame) attended one of the Boston shows and recounted, ‘I’m down in front, watching Jeff in total awe. No one who was there ever forgot those early Jeff Beck shows.’ Rock photographer Robert Knight photographed a shirtless Jeff with leather braces and low-slung Les Paul during one of the band’s six nights at the Fillmore in San Francisco from 19-25 July. The first gig he had ever shot as an aspiring photographer; the images were responsible for launching Knight's 50-year photography career. It was a look that Jeff would oft-repeat throughout the year, influencing a generation of rock stars and inspiring Rolling Stone magazine to award him the ‘Annual Robert Christgau Erect Left Nipple Award’ in their yearly round up. At some point during the Fillmore run, Jeff acquired a 1963 stripped natural finish Stratocaster with a distinctive broken pickguard on the lower horn, which he began to play on stage from this date, although the Les Paul remained his main stage guitar for the present. The Strat would be used almost exclusively throughout the recording of the Jeff Beck Group’s second album Beck-Ola in April 1969, yet the album promo ads issued by Epic Records would feature a large shirtless photo of Jeff playing the stripped Les Paul, with the tagline Big, Better, Beck. Four dates at LA’s Shrine Auditorium rounded off an enormously successful tour on 26-27 July and 2-3 August, the LA Free Press reporting that the Jeff Beck Group had put the headliners Pink Floyd to shame.

Following a short Scandinavian tour in early October, the Jeff Beck Group – with new member Nicky Hopkins on piano - returned to the States to kick off a second US tour from 11 October to 8 December 1968. Unfortunately, Jeff’s treasured Les Paul is damaged when a roadie accidentally drops the guitar after the first show at the ‘Lectric Theater, Chicago, on 11 October. ‘Some idiot knocked it off a stool, the headstock snapped off and it cracked near the body,’ Jeff told Tony Bacon in 1993. Although the guitar was swiftly repaired and back in action before the 18 October show at the Fillmore East, aspiring guitarist-cum-dealer Rick Nielsen (later of Cheap Trick fame) had witnessed the incident and would fly to Philadelphia a couple of weeks later to flog him a replacement Les Paul. Until then, Jeff continued to play his stripped Les Paul at Alexandria Roller Link (supporting Janis Joplin) on 20 October and for another string of dates at the Boston Tea Party from 22-24 October. Christopher Hjort and Doug Hinman of the extensively researched Jeff’s Book record that a sprawling version of the band’s new instrumental ‘Mother’s Old Rice Pudding’ was performed on the first Boston date – ‘basically a Hendrix-y wah-wah workout with long drum and bass solos.’ Several fantastic photographs have surfaced from the three Boston shows, including those published in BECK01 and others held in the Peter Simon Collection at the University of Massachusetts. A tower of four stacked Marshall speaker cabs could be seen behind Jeff at every show – as Alan di Perna notes, ‘this was Beck’s Les Paul–through-a-Marshall phase.’ On 26 October 1968, Jeff purchased a sunburst 1959 Les Paul Standard with a beautiful flamed-maple top from Rick Nielsen for $350, which would immediately supplant the stripped Les Paul as his favourite stage guitar. Beck told guitar historian Tony Bacon that he debuted the sunburst Les Paul that very evening at the Electric Factory in Philadelphia, after which it would be used for almost every performance with the Jeff Beck Group until the prized guitar was stolen when the crowd stormed the stage at the Tamarack Lodge in Ellenville, New York, on 21 July 1969. The stripped Les Paul had been relegated to a touring spare, although it was seen back in action during the band’s performance at the Schaefer Music Festival at Wollman Memorial Rink in New York’s Central Park on 14 July 1969, by which date the guitar was sporting an oversized Gretsch style truss rod cover at the headstock. After the theft of the sunburst, it’s probable that Jeff subbed in the stripped Les Paul for the Jeff Beck Group’s next (and what would turn out to be their very last) appearance at the Grande Ballroom in Detroit, Michigan, on 26 July 1969 – an audio recording of the show certainly indicates that he played a Les Paul for the majority of the performance that night – after which the guitar was largely retired from stage use.

Relations within the group had deteriorated to such an extent by this point that the remainder of the tour was ultimately cancelled, including a scheduled appearance at Woodstock. ‘We’d been doing two festivals a week there at the time and we just thought “Oh another festival”, Rod bemoaned to New Musical Express the following year. ‘This must be one of the biggest regrets of my life.’ Jeff had no regrets about missing the historic event, as he explained to Guitar Player in 2003: ‘Even without the bad vibes in the band, I didn't think we could have pulled it off. I just didn't think we were big-stage material.’ By August 1969, the Jeff Beck Group had officially disbanded and Ronnie Wood had joined the Faces, soon to be followed by Rod. Speaking to New Musical Express in 1972, Jeff reflected on the split: I had very definite ideas about what I wanted to play after I left the Yardbirds – I wanted my band to sound like this and I wanted Rod to sing and I just didn’t want any arguments… Our first American tour was really good – our act was really together. We wanted a definite sound — very raucous and tough — and Rod had exactly the same ideas as me… The band was really hot but we were so weary — there were all sorts of problems and we were just so sick of performing.’ In conversation with Q magazine’s David Sinclair in 1989, Jeff elaborated: ‘Rod didn't like me using him as a vocalist… I don't think he liked being second fiddle. I'm sad that we didn't wait for more exciting things, because we only made two albums, and people still talk about them.’ Following Jeff’s passing, Rod paid touching tribute to his old bandmate: ‘Jeff Beck was on another planet. He took me and Ronnie Wood to the USA in the late 60s in his band the Jeff Beck Group and we haven’t looked back since.’

After a near two-year hiatus recovering from a serious car accident and casting around for a new group, Jeff reformed the Jeff Beck Group in April 1971 with singer Alex Ligertwood, bassist Clive Chaman, funk drummer Cozy Powell, and classically trained pianist Max Middleton. Photographs courtesy of Ligertwood confirm that Jeff used the stripped Les Paul during early rehearsals and recording sessions in London, April-May 1971. Ligertwood would soon by replaced by Bobby Tench, who is given mere weeks to rewrite and re-record the vocals for the band’s first album before final mixing at Island Studios in July. ‘Tench came along, and he really didn't know what the hell was going on – I just told him to write some songs quickly, because I'd buggered about long enough,’ Jeff admits to Grundy and Tobler. Recorded with both the stripped Les Paul and stripped Stratocaster, Rough and Ready was released in October 1971 and peaked at number 46 on the Billboard 200, fusing heavy rock with a touch of Motown funk and jazz. ‘I was torn between what Jimi Hendrix was doing and this over-musical jazz thing that was creeping round the corner,’ Jeff explained to Mojo’s Charles Shaar Murray in 1999. It’s believed that the Les Paul was sent for repair at a Memphis music store while the band recorded their self-titled second album at Steve Cropper’s TMI Sound Studios in Memphis, Tennessee, in January 1972, at which point the headstock was replaced with the present Gibson L-5 style headstock inlaid with old style ‘The Gibson’ logo and flowerpot motif. Evidently still in use as a performance spare at this time, the Les Paul - with a new white pickguard in addition to its distinctive new headstock – is seen leaning against the speaker cabinet in footage throughout the group’s extended performance on German television show Beat Club, which was simulcast live from Radio Bremen’s TV studios in Bremen, West Germany, on 25 March 1972. Some four months later, the Jeff Beck Group mark II would be dissolved when Tim Bogert and Carmine Appice finally became available to form Jeff’s dream power trio. Pickups wiz Seymour Duncan, who became friendly with Jeff in late 1973 while Beck, Bogert and Appice were recording at CBS Studios in London, recalls that around this time the Les Paul was sent for repair due to a volume control problem and, to Jeff’s dismay, was returned with new black Gibson humbuckers in place of its original double-white 'Patent Applied For' pickups. It’s believed that the neck was also replaced at this time, with non-original trapezoid inlays to the fingerboard and Jeff’s initials inlaid at the 22nd fret. Unimpressed, Jeff thereafter relegated the Yardburst to the home studio, yet he revealed a lingering fondness for the instrument in his 2016 photo memoir BECK01 when he wrote: ‘My first Les Paul was the Cherry Sunburst that I stripped and still have. I love the tonality of that instrument.’
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