Led Zeppelin's Jimmy Page on guitars, Led Zep and Robert Plant - Full Length | Guardian Live

[Applause] okay Jimmy thank you so much for joining us tonight we're here to talk about Jimmy Page by Jimmy Page your photographic autobiography now first why have you published this book well I I was asked I've been asked on numerous occasions to do a book a written book and I've got to say that in in the past where people have published books and autobiographies or biographies I'd look at the books and see what photographs had used and that sort of stuck in my mind that was something like this it was or doing it doing a written book or working with somebody with a book I really just wanted to have something which is a really personal statement and I thought that the idea of having an autobiography told in photographs for me would be a whole career and and that all sort of think of every picture tells a story well it does if you look very carefully at these and it basically spans the whole journey of my musical journey of my career so I just thought it's gonna be a bit of an epic task but I quite enjoy things like that well how did you go about putting it together because you must have had to go through so much archive material to find the right photographs well to kick it off I there was sort of photographs in the family archive and my animal if you like that's that that kicked the whole book off and starts it off and then it gets to the point of like sessions and I thought but that would be really difficult that period no I'm sure we'll come on to all of this but the the it was surprising you know I had it sort of obviously the draft of it the synopsis of it is where do you start and the finishing photographs and you know I just recalled lots of photographs that I'd like to have used in it and then it was a question of accessing them through various photographers it's the biggest the biggest problem for anyone else who ever wants to do this it's the amount of photographers you don't do 70 something which I'll go first what Oh gone too far let's let's start with your childhood then this a photograph that an image of you that we don't often see what was the muse of the role of music in your family home in your childhood yeah well it's not a current image well at this point of time I guess you know I'm about 12 I think something like that and I just about playing guitar playing a few chords on a round hole like campfire guitar and actually in those days to get to hear music though rock music it was very it's really difficult because it wasn't that much on the television and actively there was I can a youth club that you could go to which would be a church youth club so sort of he went him by default if you sang in the choir you could go to the youth club which was alright because then you can sort of play a bit of music not only listen to it but plays sort of with the skiffle group and stuff so this this is yeah me there I actually became head choir boy at one point worked my way out the best part of this story is the fact that the the the photographer was the organist and choirmaster and his name was mr. coffin we had been some communication from mr. coffins family along the way they showed and that sent another image of it so I knew they were genuine and we had to get hold of all the obviously the photographers to get clearance and copyright on their copyright and the people Genesis press was were talking to him and he said that sorry to his son-in-law and he said that he remembered his father in or talking about me taking my guitar along to choir practice and trying to get it tuned up to the organ because I I think I had one of these play in a day but weeding and it showed you what the notes were and sort of a futile attempt before somebody actually showed me some chords but so I'm actually playing guitar at this point even though it was probably one chord so how did rock-and-roll come into your life okay well how did he come into my yeah well I think it came out of some speakers you know on the radio or on the television I think it would be more on the radio that I just came out and took a stranglehold on me and they just pulled me in and seduced me into the whole world of it and what was going on it I think I well we know a whole generation was just taken with this whole movement of what was coming out of America yeah and and that's it we couldn't you know they tried to stop it on the BBC and and such like and to degree on the television although there were some program so I boy on that that were pretty cool but the damage was done how did how did your parents feel about you being in bands because I mean this is a picture you're still in your teens and you're supporting Cliff Richard here well okay you know the other one the other one that is there yeah yeah well the the photograph beforehand I got a head hunted out of Epsom where I lived and that the other band were and this this is part of it too was sort of in like Shoreditch & Islington at the time and they were very unfashionable they were still printing newspapers in Shoreditch at that time literally so so that the this this guy here Neil Christian who was a manager of the guy in the previous photograph Freddie Lewis and then he took over poor already Lewis got the Spanish arch arch in the elbow and he took over his singer but interesting thing about this is that I'm doing sort of body language that 15 that that I'm sort of doing on the 1977 to something very Airy I mean when I look went through all these photographs it was quite it was quite interesting to see all these things and actually put them in the book so they would relate like that how old were you then when you started playing sessions and we've got you here with the great Jackie DeShannon oh well it's not too far after this is about sort of 16 17 maybe 17 that I do and diamonds and then then I go to work College and I get requests to do to play on people's records from from that so I was going in the evenings and I in this sort of weekends and on on the breaks of term and they just kept building and building and building to the point where I come a really well I must say that the whole thing about the session musicians and that whole world but it was a really really closely guarded sort of community and you were a professional you had no credit really on records you just sort of go and play and you're a hired hand I didn't really know who I was going to be going in for in the early days maybe after about two years then they tell you who you were going in with but it was just you know you just a hired hand sort of phantom phantom musician really so by this time I got I was quite well I did I think I just about left art school at that point and Jackie DeShannon came to England because she had she'd written some songs that that have been covered by the searches like needles and pins and when you walk in the room etc and she had she had a session it that's EMI where that is and she said do you mind if I show you how it goes because she used to write on the guitar so I said sure go ahead so that's sort of showing me the guitar figure it must have been a great musical education working on so many sessions in so many different styles and cause later in your career you became famed for being able to put so many styles into a single album yeah that come from the session years no it really comes from before in my musical tastes and you know what you call like an eclectic taste it was there right from the early days really and I think what it was was the fact that it's this the six strings of a guitar and how that could be sort of performed and and exhibited whether it was on nylon strings and the sort of more classical approach or steel strings acoustic and the sort of blues country blues playing or the electric and the various styles of that like bottleneck guitar and and everything that sort of Les Paul through the rockabilly etc et-cetera I was there I had a voracious appetite all of it I was taking in in in so I already had that that that going on before I was going to art school you see so when I got the opportunity when they took me into into this sort of the bosom of like the music industry which was the studio world well then I was that then I was not just a one-trick pony I had all these different things I didn't even realize it but that you know I could play acoustic I mean I knew I could do it but I didn't know that they that they would take somebody on who was that versatile because you think that okay they just want somebody who can do sort of you know R&B or whatever but no it was radical suborn now in 1966 you joined the yardbirds said had been feeling that urge to be in a band to be out front on stage rather than just in the back room well I mean I guess everyone might have heard this story but I'm gonna tell you that it was absolutely true that when I went into the studio world I I could read chord charts but I couldn't read the sort of dots a musical notation for real but as time went on I could and as I said I was doing all these various sessions with sort of TV jingles to film music to to that to Blues to vote on and on and on and I I got hard to an unusual studio it wasn't one of the ones on the usual sort of deco am I am PI and I had like quite a lot of music in front of me and I'd start reading it and I just kept turning the pages and it didn't stop he just kept going on it was getting really tricky and I rely well I didn't it took we didn't take long to realize it was a music session and I thought what am I doing here this is just really not what I'm cut out for especially as I'd sort of introduced like the overdrive pedal the fuzz box into the whole recording scene you know and people were using them onstage and I I was sort of quite keen on some experimental things like the bow etc with the guitar and I've always time to get out so with this with the yardbirds I'm Jeff Jeff Beck and I go back to probably just after the choirboy photograph we really work well when we met up we both had like two homemade guitars so that's how far we go back so I used to go along with Jeff to to the to the yardbirds concerts and there was an explosion one night and the the producer and the bass player the same person called samwell-smith decided to leave the band and there's a big rabbit we him and Keith Ralph and he went off that was the end of it he wasn't going to he wasn't going to come back in the band and they would start coming up the marquee coming up and I said well I I said what we're going to do you know would you come in join the band chris dreja he was a rhythm guitarist didn't feel confident to do the bass so I said well I'll do it then and that's that's sort of how it worked and Jeff and I had spoken a lot about doing you know doing that you'll lead guitars like like the equivalent of like big band what we knew is big band anyway where you'd have like the trumpet sections and the sax is and that sort of aspect of an an attack and assault on the on the audience really with it we didn't really get that far with it we did a bit of it but then there were more fireworks and leaving that in retrospect a legend sees this lineup of The Yardbirds as the two amazing stars of British electric guitar but I guess at that stage Jeff must have been the star presumably we yeah yeah oh yeah because the work that he done in the yardbirds was phenomenal because you know that there was Eric and then Jeff but the most of the work that Eric did was with that live at the marquee the 5-11 Yardbirds but the work that Jeff did he really brought it all on in leaps and bounds so it was that a kind of testing thing to try and prove yourself against someone with Jeff Beck's reputation or how do you mean what I'm ya know at the time we'd with Jeff it was great because I you know where I had the opportunity to start doing the bone we were really doing some really interesting experimental things but it only really it only really comes together at the point of happenings ten years time ago but once Jeff you know once that that that sort of yet yet again another sort of break and Jeff went from the band and then well I had the opportunity to to sort of do more of my own ideas but we were sort of caught up in this trap with because once of the yardbirds split there were like two entities there was a Yardbirds and Jeff Beck now being managed by Peter grant and then they were both being recorded by Mickie most so it yeah I mean Jeff Jeff found it really awkward as well doing singles but I mean we found it will help it was awful now the violin bow Eddie Phillips of the creation have been using vibe but violin bows on stage and I guess all musicians must take pieces of stage craft from each other were you always on the lookout for good ideas that you could incorporate into into the yardbirds act into your things with the bow when I was a studio musician I've got to say that in those days the sort of string hated than what they called the rhythm section in which with the drums the bass and the guitarists they wouldn't have anything to do with them and this is sort of you know they spent years on there bowing techniques and they really they really sort of looked down their noses but however there was this this string player violin player who was the father of David McCallum David McCallum was in this series of Man From UNCLE and he he I got there early I always sort of got there I'm getting there late on the session you wouldn't be seen again but he was sort of there a little bit early and he said of you have you ever tried to play the guitar with a bong I said well I don't think it'll work it might do but he said and he handed me his bow as treasured item of a violinist it's only gonna be the violin and the bow he hands it to me it says to have a go so I did and it was interesting and then I got my own bow after that so I don't know this is probably in advance of the creation band Eddie Phillips oh I don't know but now the art birds when you with them started touring the US a lot you've got on to the ballroom circuit and did that give you a real feel for what was possible in America both of the radio program and with the live circuit of those big rooms across the country that underground bands could play in well it's interesting because with The Yardbirds I was so looking forward to to going over there and an actual playing you know in the States for the first time I've been I've been to LA I went there that go over and see Jackie DeShannon but I didn't actually really play over there at that time but to go with the yardbirds know it was quite quite interesting because the first first place we play was a shopping mall [Laughter] I know it's just you know play shopping but it wasn't a stage or anything it was quite a shock but but along with that we did actually play the underground circuit as well it's certainly one of the time it was the for four of us once Jeff had gone then it was really a very healthy underground circuit with all these places like in the film war and and Winterland she could kinetic circus all these pledging yeah so and so that was it so we were doing all of that playing the equivalent of the underground circuit which wasn't it underground circuit and listening to what was going on on the radio which was sort of stereo radio the FM radio which was in total contrast to the AM singles market so here you've got the yardbirds who really a really appealing to the FM or would be appealing to the FM stereo broadcast but a still caught up in this oval trap of singles going on a.m. and it's got nothing whatsoever to do with this band that are doing really experimental things on stage like playing with the bow and having like tapes playing with like oh well like the Staten Island Ferry coming in to dock and Express trains and all that I was really getting caught very experimental I didn't have too much to do with goodnight Irene or whatever it was pour our Mickey Mouse was giving us so the old birds fell apart and you had to assemble a new group to fulfill some contractual obligations yeah I was wondering the other day it struck me if you haven't had to fulfill those contractual obligations would you have got a group together so quickly and Mike the whole course of robbery being different contractual obligations but it was it was a sort of it was something to aim for I mean they were in there the for The Yardbirds and it really gave an opportunity to to put a band together with all the sort of ideas I I had and things that were really clearing apparent as to what to do and how to present it in America which was the underground circuit which we'd already primed with The Yardbirds and I make a record that was going to hit this FM radio market it was all quite logic you know it really was quite apparent and way to go about it but of course then you've got to find a band and initially I'd I wanted to I wanted to get a hold of Terry Reid because I'd seen Terry Reid on a IFS which I think it was but it was on a on a grand tour and the tour was with the Rolling Stones the top of the bill and then there was a yard burn so we opened up up the second half there Peter J and the Jay walkers played at Ipswich and they went on with all of the tour around the UK and then there was Ike and Tina Turner so as an amazing you know thing but I never forgot seeing this kid he was 15 16 about 16 at the time and when when the yardbirds sort of decided to just dissolve and I wasn't in I was trying to keep that band together but anyway they they they did decide that I can understand what they'd had enough of it really we'd like three guitarists and locked in this single sort of contract the this this guy Terry Reid seemed to be the one that I wanted to access but curiously enough the office was sort of looking for him and in the end he trying to deal with Mickey Mouse so that's quite a coincidence isn't it really so anyway he recommended Robert and so I went to see Robert at the Teachers Training College in Burma and he had a banquet herbs tweedle and so I went to see Robert in ops three dog I thought well he's probably you know he's he's got he's got a good voice there and I brought him down to my house of pain gone I gave him the idea that I said I want to put this band together and I don't need blow whether he even knew I was but I said you come down to my house and I'm gonna play you some material and give you an idea of what it's all about so I played him that Dazed and Confused baby I'm gonna leave you I had the whole arrangement of that and I played him some source material that babe I'm gonna leave you which was Joan Baez live in concert and I said well you sing you sing that you sing along the lines of that and those lyrics and I'll show you this guitar thing and if he hadn't have been interested in these ideas and I would have been looking for somebody else but I knew exactly what I was going for but it was really mutable it worked well now here we have you in Olympic studios for the first set for an album now the first track on the first set an album opens with a 2 chord punch on good times bad times yeah and that's something that crops up throughout the Zeppelin catalog you know just off the top of my head this afternoon I think this whole lot of love levee breaks out on the tiles that don't don't that we get cropping up throughout what is it about that particular technique that particular sound what the edges yeah yeah I think you know that's with that with Led Zeppelin I've got to say that this is actually from the this pictures from Olympic studio and it's it is studio one the big studio they're well they're simple in one was recorded but this this is actually our second album but [Applause] I'm looking at it and just thinking yeah well let's get this right it was the first album but it would have been pretty similar to that anyway this is a Hammond organ there and everything so okay I've gone wild it's the impact yeah okay yeah it it's we did a Led Zeppelin it's a performance II you're trying to capture on the recording of it and I I think the music was pretty dramatic anyway and and and and had these whole sort of peaks and valleys in the music and and and also somebody said to me and and I've just come back from Japan and and they said you know the mixing that you did was 3d 3d and I thought well that's right because you've got it that's exactly what it was supposed to be so they had all these sort of layers and depth but you still really need to sort of capture people's attention more or less within for the first few seconds really so when you've got something like good times bad times and you've got this sort of sort of you know the accents and then this bass drum coming in and people know what the hell is that that's what you want and with the with the riff of whole lot of love it's got something which sets up this whole tension again that's exactly what you want by this time I mean obviously you done years as a session musician so did how to get the best out of a studio and how to record and the most efficient manner possible come pretty naturally to you well it really was an apprenticeship when I was when I was a studio musician I mean I was really keen to learn recording techniques and there were things that I'd heard on records that I had an idea that how they might have been done but I want you to know for sure certain aspects of the recordings of chess chess records I mean I loved all the sort of harmonicas sort of effects with little water and we just coach one I cost everything with rockabilly guitarist and Sam Phillips exception cetera Johnny Burnette rock'n'roll chair there's certain aspects of things that I wanted to know how how how to go about getting this this recording and my techniques etc because I knew that they use limited mics but how did they use and where did they put them in the room I wanted to know all that sort of stuff how did you get really caught complex type echo and and the limiting processing in everything yeah it was mning the point of being a studio musician you had to be on it all the time you couldn't be go in there and make mistakes because you wouldn't be seen again so I guess really you know I must have been pretty pretty good at doing all of this but I was using it as a learning process and as far as recording techniques when and this whole aspect of being able to read music by the time I'm sort of in it for about whatever is a year 18 months it was although an apprenticeship but it was a self-induced apprenticeship but I realized that was it that's exactly what it was now I'm going to quickly go through two photos here - they've taken nine or ten months apart the first in Chicago so in a little Club and the second you know less than a year later in LA and I think we get a measure there of how quickly Zeppelin got popular in America did you know you weren't gonna be playing the clubs for long that with the music of the power that you had the arenas we're going to be taking one thing that is really interesting is the fact that the the album that the Led Zeppelin one album was recorded in in 1968 and it's like October basically in effect yeah it's like the tail end of the last couple of days of September into October but there was the The Yardbirds broke up in July of that year and there was no band ascent that suddenly there's a band that we take over but they rehearsed in my house it's rehearsed in my house and you know the materialism is really routine there we go to Scandinavia and to work in or you know to work it with it with an audience and to get really you have the whole thing really pliable between ourselves then we record it and the album comes out really quickly and we were over in were over in LA before the end of that year so we're recording in October were over there in December by January with we've hit San Francisco we've basically just destroyed it and it just keeps building and building and building so you can show like Chicago to LA it was just that the response and the wildfire because you have to understand this isn't the day of sort of twitting and in it the internet this is just really just like which Telegraph and everywhere that we we played we just kept getting more and more and more people and the the venues were getting larger and larger to accommodate the people that wanted to come sort of witnessed what is this band did you have to this is a very on something I've asked you before but did you have to change the nature of your performance as you went from small clubs to huge arenas did you have to actually approach the shows differently when you're playing to 8,000 people instead of 800 well it's interesting because when when I was compiling the Led Zeppelin DVD that goes back to the it's got stuff from the Albert Hall it was multitrack recording but it's at the the Albert Hall which is whatever it is it's sort of 1970 isn't it and you can that well it was the intimidating day of doing London because you had all the press there all the families are there and that's something you're gonna get a bit nervous you know but so there's a footage of that and then you can see the confidence is that's really growing in the band music is just taking on all manner of dynamics and and and so is the actual literal performance of it as well that's involving all four of us you know it becomes it's very physical music and it seemed like it was just really pushing and projecting you across the stage and etc now here we are in Wales the legendary right the legendary retreat to Wales that led up to the third record and then you and Robert must have had a phenomenally close relationship after two years solid touring to go wasted Cottage together in the middle of nowhere with no distract I think what offered the opportunity to go to Prague ma but it was only to resume mainly because it wasn't all mod cons you know it was it was literally gas gas lights VIX and you can see that there's a candle up on the top left there yes good old fire and it was really cool you told me earlier this year that um he was a Belgian girl at Piccadilly Circus misinterpreted your relationship with Robert based on this she she approached when I love you to about the third record well that's quite chilly it was did I tell you this it went in prints so you can't deny it now yeah well there was this girl it was sort of giving out leaflets at Piccadilly Circus but she'd rather attractive and I and I was killing up to Scotland that evening you know and I sort of am invited her to come up to Scotland and I had to sort out who I was to invite her up to Scotland and she sort of knew about the third album and she said you can't be here muguet she said well it's what's written on that on the album about it's no sort of thing of true completeness and she saw a Robert now I'm going to tell you she didn't come up I'm moving on to the famous double neck guitar we won't talk about stay away because we didn't at some length the other week one thing I will ask is it guitarists I know who plays a double-knit guitar sometimes as they play havoc with your back because they're so heavy it's that right it's heavy back ache on stage when you think I hope you're going to show some of the pictures in a bit where it just becomes like you know like is balsa-wood thing yeah you also you became known with Zeppelin for the strength of the stage image with your custom-made suits now this is a handmade outfit as well now but what's often quite surprised about the pictures of the early Zeppelin is it looks like you weren't really paying that much attention to how you looked was there a conscious decision so we I'm not taking the Mickey here yeah I'm not taking the Mickey what what had happened was said the beard starts growing at Brar that's a fact because it was like you know it's like cold water and all that was a bit of a drag distant thing about shaving and it sort of keeps growing so I forget about the beard it just keeps growing and that's one thing but that's at the electric magic show okay and somebody a friend of Mines girlfriend had made this this jumper which actually I said oh I'll wear it if you bring it along and actually it was really short I've always wanted stick to my words so the people in those days it was like a big-screen projecting it you know so you could people could say well no one will notice really good there is a range of slightly too short knitwear for sale in the four air forwards now by the time we come to the starship yeah when you're licensing your own airline if your tours you must be realizing that the scaling your set success has become inconceivably huge was that level of success a goal for you at the start or was it just a byproduct of the music you made the level of success of having like the starship well it it was a question of being able to sort of commute they could go into say New York and I'm packed literally unpack and staying there for you know maybe you know week and a half or whatever and then commute out of New York to go to Boston Philadelphia etc etc you know and and it it's just something that that came along with it really I mean it's it's sort of blown out of all proportion really we weren't the only bound to be doing this I think every big 70s I hear you are with Eddie Kramer one of the great things about the Zeppelin records is the quality of the collaborators that you had with you did you always look for people had particular skills that you know would complement your own who could bring something specific to a record yeah well well I look for the best the best people that that at that point of time each of the pretty much the way to look at it that each album was done in a different location pretty much and with different engineers as well so Eddie Eddie Kramer did the second a major percentage of the second album he certainly did the mix from me on that but this is this is 1973 and it's backstage at Madison Square Garden where we actually record the concert that it's actually going to come out as on the soundtrack of song remains the same so I've just gone Eddie's sort of there and I said it's gonna ever listen to what's going on in the track so I think this is worth doing them maybe it's doing the drum solo maybe soft as showed you know because you had ample time to go and review tape song remains the same it's viewed by many people as a bit of a missed opportunity given one of phenomenal zatt bands up and were alive and many people think that how the west was won it's a kind of better document what's sonically yeah how do you think looking back at song remains the same do you think you mister mister shot there no what happened was you know you saw the starship just earlier on and the film crew came to Baltimore and and Philly as well to see the show so that they would be okay with what was going on and we did three nights of filming and then when we saw the rushes they didn't have like the beginning of the verses and it was all over the place to be honest yeah I think they were really out of it if I'll know they were really out of it so we had to we had to do some we had to sort of do some recreating at Shepperton so the thing is year wasn't it was it a missed opportunity it was no it was a learning curve and then it came to the point where we where there was a sort of access well it was work that was done on it there was fantasy sequences that were done that there was pretty much a decision that was made that we might just sort of shelve this and do it again with everything that we'd learnt from it and Alfie you know how the film crew would have to really cover all of the singing you know as opposed to just fracturing so then it came to the point where there was a rough cut down a bit but what with the the timing of sort of the the unfortunate accident that goes on in roads and Robert breaks his leg and stuff then it became more of an issue to get it to get it sort of put out but for a lot of Big Ben it could have been done in just a shell to be honest with you things had gone well at that point for a lot of people the 75 tour is the peak of Zeppelin life is the stuff in the vaults might be one day see a live set an album reflecting that period well there is other recordings although the majority of it really is showing its face one way or the other other than the most the most important thing to take on board is the fact that that there's little film documentary of the band so it's not as though there's I mean this bits of Knebworth well it's never if you know this bits of oak or elles caught but he came out on the DVD beforehand I mean there are there are those things but it's not as though we've got like lots of filmed concerts I'm rather wish we have but we haven't but someone means the same to what I think it's really great for what it is to be on this video I think it's I think it's marvelous well in the performance is really good in it too I hear you are with Peter Grant and the story of Zeppelin is almost inseparable from the story of Peter grant could Zeppelin have been settling without him I not really I don't think so I as far as the music for the first album I mean that was done that was done it was an independent production really is what it was which is why we Peter and I managed to go to Atlantic we played one record company up against another but we went to Atlantic as Atlantic was the one we were aiming at and we were able to say that we weren't going to be singles market and all of that because it was an independent production as opposed to going to a record company and saying well I've been in the yardbirds can I have an advance to start a new group I would have been homeless so so it was that well here it is this is it and Peter Peter Graham was he was the manager of the foreyard pets you know and I'd known Peter Grant from beforehand when I was recording with sort of Mickey Mouse them various sessions are the Donovan stuff and all of that not known Peter and we just got on really well but he's with the bid with the sort of clout and the energy of this band it gave him the opportunity as well to flex his managerial muscles just as much as we were flexing our musical muscles and I mean he did a wonderful job for that for the band in that whole side of business arm that's not really my acumen at all now this is you with William Burroughs and I guess one of the benefits of the position you found yourself in was the ability to meet anyone you were interested in and so William Burroughs interview for Crawdaddy now I'm imagining that wasn't a conventional Rock interview and he wasn't asking you much about mic positioning or anything like that now you know the interesting thing about William Burroughs was the fact that was contacted by the people from core daddy and they said William Burroughs would like to do an interview I said you serious of what they were kidding because I mean was such a hero of my massive hero and basically what he wanted to do was he wanted to write about rock and roll but the or Rock shall we say let's say about rock but more just as the way I would see rock music I mean I can relate exactly to what he wanted to do he wanted to write about the trance aspect of it and the riff and the power of trance music through that and he was talking he was talking to me about Morocco because he'd spent a lot of time in Morocco and the musicians of the riff Mount is for example this sort of Jajouka musicians that Brian Jones have recorded and he was he was telling me about this a power of healing through music and it was fascinating at the time he was he was lecturing at a university in in New York and I just felt so honored to be to be asked to do there he asked for me to do this and and he said that he'd been to Madison Square Garden and seeing the concert and I was really impressed with that you know and he said ah but I've seen more of your concerts I'll see you every mall and Medicine Square Garden if I'm if I'm here I'll go and see you and I was really I was really not telling that couple photos here this is you at Earls Court in 75 and this is Pontiac Silverdome playing for 70,000 people indoors now when you're playing shows like that all the time how do you still get the adrenaline how do you get that pumped up to go on stage when every show is huge well it was easy Simon I've actually playing in that in this particular band because everyone everyone was just so so right from the beginning everyone that's all for musical equals and I've got I think if I sort of explain it from myself that I'd played some some pretty fair guitar along the way with the yardbirds and during you know during my time in the studio well but certainly in the yardbirds I was really developing and but when we came together as Led Zeppelin even though it's a vehicle that I was aspiring towards the fact that the Fate determined that these four musicians come together in a very very short time and and they're all inspired by each other because on that first album of Led Zeppelin i I didn't play I didn't play anything in that sort of realm beforehand and it was like a tour de force on the guitar and certainly John Bonham had never had the opportunity to play as John Bonham like he did in that because he was given this up this opportunity and vehicle to really really go for it and and he jolly well did but everybody did you know everyone worked moved into a realm from what they'd done before right up here in this category up here and we're playing up in sort of the heavens if you like so because in the recording world that's what it was it was a recording world and that was really inspiring but on the stage the numbers would what once the numbers from the album's went into the the set and they would sort of mutate and change and you could every night there would be different sort of aspects to them that that would come out and at the playing together so when you're talking about or when we discuss like the energy of playing although it was the fact of being able to go on and have this communion with the with the four musicians and not really knowing exactly what it was going to be like you know because it would be different from the concert that was the night before that or the night before that they were all mutating which is one a bootleg Led Zeppelin thing takes on so much importance because people appreciate all of that now this is a fairly modest selection of guitars for a huge band playing three hour shows I've seen indie bands at the bar fly with more for a half-hour sale in fact the tip of the iceberg or was that all you needed well I was gonna say there was a backup guitar for everything that is not quite in case you broke a string you know but that was that that was it so if we're going from we'll go from right to left so we've got we've got the guitar and the right the double neck which is going to do that's going to do rain song song remains the same at least then then the one over to the left of that is the string bender that's going to do ten years gone then you've got the Danelectro which is going to do Kashmir in my time of dying then you've got the the Les Paul which is basically doing the main the main set between this reload that Les Paul's the one the red one in the middle is another string mender it's got some mechanics in it like that Brown Telecaster and then you've got the acoustics there's a backup in cases of broken string so so that they were all sort of there really because of tunings on guitars and too so that you could make the set relatively seamless without having a Childre tune up and just have a change of guitar so that's it looks impressive but they were all used this is 1977 the final show the final Zeppelin show in the US in Oakland I missed the show that has become overshadowed by incidents backstage do you regret that zeppelins career in the US as a live band ended in that way well I didn't security guard and yeah well cuz I'm playing on stage don't think about it yeah yeah what's interesting about that it's bite on the left you can see somebody half a face with sunglasses and that is a road manager who's looking at me holding this guitar up in the air and he's singing what what's he gonna do turn do this every night and he's wondering what's he gonna do with it but I wasn't going to do a Pete Townsend with these guitars but there's I don't know where there's another picture coming a bit later where I'm just holding one hand like that on the arm show and yeah it's a really heavy guitar but I'm treating it like it's or balsa wood here we will turn anyway yeah and the final UK shows has that lean you seem to have weathered punk you still play as still as big as ever still playing huge shows a big audience at this point how did you envisage Zeppelin continuing did were you thinking about the years ahead or was it always just about the next record well at this point we're obviously recorded infinity outdoor and actually curiously enough there were some copies of the album being sold their bold accounts like white labels which is a bit naughty but somebody managed to do but we were well we done that that was out the way now in through the out door and there was talk John Bonham and I had spoken about what we do the next on the next album and that was gonna be sort of more of the more intense riffs if you like so that wasn't to be but you know it's yeah we were thinking that way it was like that that was like one stage every album you know that stage completed will move on to the next thing and we're moving on now to the post settling era this year we are this is the arms tour paper guitar you've been working with Paul Rodgers on the arms torn the two of you decided to form the firm were you really badly missing being in a working band well we we got together to do these the original arms concert was done at the Albert Hall and Steve Winwood did some he sang along they're excited if I really didn't have a solo career that's that's all there was to it really and I had some music from the film trap from death wish and then a few sort of Led Zeppelin things to put to get on but I I had Steve Winwood help out on these things okay so so he wasn't going to go to America because I wanted to do more concerts over there because it was a really good cause it was for Ronnie Lane and it was action research into multiple cirrhosis so it was a charity thing and Eric had Eric and Jeff from myself and all and all said yeah we'll definitely do this we did it for the Albert Hall and then it was proposed to do some dates with my dear old from Bill Graham in the States so again I said yeah but I didn't have a singer and I don't sing and I wasn't I wasn't really going to do this as an instrumental set and Paul Paul and I had spoken about it and he said yeah we're definitely he'd do it so once we've done a few shows over there and we're coming to the end of the tourist well it's silly now we really know each other musically plus we've got some material that we've got like midnight moonlight et cetera and we should really we should really move it on silly just to sort of go off into different directions so that's how we came together and continued on there's a firm now yeah backstage we briefly discussed some of the 1980s fashions yeah was it difficult for someone who being one of the world's biggest stars in one the world's greatest groups through the 1970s to find a new identity with a new group in the 80s I knew I didn't know I just feel I look the same really as far before I mean you're closer actually I think you you get away best there in the fashion States probably actually yeah well yeah I think that the fellow on the right had to sort of plug himself in the other chap sort of you know he's had a shaved head anyway a crystal aid so ya was interesting it was did you feel that your audience for the firm was expecting something different from you than what you could deliver were they really wanting you to still be probably would have liked us to have done maybe we should have done because some Zeppelin the stuff for or that company even wasn't here let alone that that free well we didn't do any of that stuff we just did everything so all bar that what I do know is if we'd have done either or any of those other incarnations of Paul's on my own would have done a really really good job so actually in retrospect it was sort of noble to try and go out there and do something which didn't just sort of tip back to the past but somehow you know it might have been good to have done some wrong cause like that or whatever but we were really sort of determined to to go in with like a sort of fresh approach and be quite brave about it now you did go back to the past I'm trying to follow the live a picture is missing you did go back to the past for Live Aid in 1985 which wasn't the greatest moment in Zeppelin history do you think the fact that that was an underwhelming appearance maybe also diminish the possibility of a Zeppelin reunion or was that not even really going to happen yeah I made was appalling yeah it was it was absolutely appalling because everyone was doing different things at that point of time I mean I was sort of working with with Paul and the Live Aid opportunity came up we didn't have to sort of play that much so theoretically as everyone was up to speed individually then we ought to be able to come together and and um and it was really really really are we gonna Prayer this and and and and pull it off but the fact was the the drummer's did they didn't know the material so they hadn't so we were in real trouble and we had like half an hour to rehearsal whatever an hour and we're still trying to get the drummer to do the opening for rock and roll and and and it was said that Phil Collins knew the set and so we went on in the end to this huge massive audience and neither Travie me or any of the numbers at all and I've seen the footage of it there's this point where I can see on my face is so oh my god this is a death knell you can hear it ringing you know for an appearance you were so so you know this was something like that and you know the Atlantic 40th was again it was something that we went over there the last one well we did do some rehearsals for that and it seemed okay except that but we were kept waiting for hours and I was like four hours waiting to go on by that time you know one of the feet that's why when it came to the point of doing the o2 it was essential to get to make sure that all that whatever we did at the o2 that would just erase all of these sores silly sort of mistakes you know and 1988 you released your first solo album outrider and told it with a new young band including Jason Bonham now I imagine it must have been quite intimidating for young musicians playing with you we were your patient boss [Music] what's that turn firm that fair yeah yeah me do casein became quite wild after after this tour but no no I guess I guess he was seen yeah he was it was pretty it was in pretty good shape on this time um did you enjoy playing with with a young band played being at being the leader of the group yeah yeah because I figured that the album that I'd done the outrider album was was pretty okay really it was a really honest album it wasn't sort of over over produced like a lot of the records were at that point of time I wanted it to have a sort of honesty to it bond as far as I was concerned by my standard so it was fine so I was I was really more than happy to go out and play it live now you started working with a lot of different people through the 80s and early 90s he was with David Coverdale was that because you wanted to work with different people or was that you could never quite locate the right partner no no what it was know was that the album that I did our outrider was on Geffen Records and he was on Geffen Records in he'd had that sort of the massive Whitesnake when which I I actually thought that that was a really good album if he's like think of a commercial thing what other people were doing I thought I thought it was quite a good album and anyway they were saying would you like to would you like to work with them and I thought well I I was quite impressed with what he'd done certainly on that album the 87 of them I believe is good and some of the stuff that he'd done with purple but more so on that album and I thought it'd be interesting to see how we we get on cuz well well I've had some musical collaborations with other people along the way but I just thought I'd see how this went and actually it was very fruitful and we worked very quickly I mean you still friends on you I went to the woods next show at the Forum a couple of years ago and while spending about 6 feet away from you and to be fair no one round where we were was watching the stage they were all looking at you so now here we are in Marrakech and what so many people had wanted for years was to see you working with Robert again and when you came back together did it feel natural to get back together again or did it take time to work to get a working relationship going once more well it's really interesting because of the history of this probably isn't so documented so it's good to be honest sort of Sheerness with you I was I was working with David Coverdale and I was going to go to Japan with him which I did that's about all we actually managed to do was that tour Japan and I'd been requested to go and see Robert at Boston he was a Boston which was on the way to LA where we were doing the rehearsals with David and I went to see sort of group at the time and he had like maybe three guitarists my evening there for playing well I thought I might do that where and and he's he's suggesting he's a suggestion that he what he said was he said I've got these loops would you like to have a go at them you know when you come back from like Japan or whatever and I said sure lots of a guy on that so he had these sort of drum loops that have been sent to - this French producer called Martin Missoni a and I don't know where these loops had been in between him saying that and me having a garden we went went into this rehearsal room over well it's near Kings it's gone now it's it's it's you know the track than the Eurostar's gone after him now but it was we went in this or really dingy rehearsal room and he thought that pulled out these loops and we just it was just instant even told me it much time at all to come up with what what like what he's showing on this when we're playing in the square year which is the truth unfolds or Yallah and also let's see wonderful one which is done in the studio LWT and anyway was just it was very instant and it got to the point where it was from working with the loops the next stage was to go to to Morocco and then MTV were gonna be filming at one thing in another so it was really it was it was really that was really something like a dream come true to actually go to Marrakech and actually be able to play in the in Yemen are which is a big square because I'd been there to see on vacations in the past I've been I'd seen musicians play there and I'd also well it was just wondering something that would be really interesting to do and this is actually working with the GaN hours outside of Marrakesh but we actually work with them at night as well in the square so in the in the DVD of it you see it going between night and day and stuff but they were wonderful to work with and it's really interesting because I went back there quite recently and I met I met one of them in in the square he was still he was still again now and he was still playing and he had a son who came up to me and said hello with a little hat to collect money and and it and it transpired that it was the son of this musician he's sort of over there and and it was really quite moving to meet him again and and then his son was actually going to school just more or less a few well half a mile from where I live in London oddly this is really this is really spooky but good and here the two of you are on stage together did it feel special to be playing the Zeppelin songs again with the man who sang them well yeah of course of course it was it was really good this this this thing sort of went on the road though and the and the and the shows that we were doing were really really good and sort of better really and in the performance and character than this which is still good but it was done it was done before we've been doing any touring so yeah it was it was good really good to work with I was very fruitful as far as the having me music and coming up with new ideas it was cool now you also worked with the Robinson brothers here and with the Black Crowes you had the live at the Greek album now listen to the album it seemed like it was done because it was fun to do would that be a fair assumption to be playing the Zeppelin songs just for the well what happened good well there was a charity event at the Cafe de Perry and Chris Robinson had come along to sing on it and and it was really it was really great they were playing and I think they're playing at Wembley and and he came along and saying at this event and their manager got in contact octaves and said would you like to reciprocate this and it wasn't to do one charity event in New York or whatever but to do a tour and I said yeah because I really I really like Chris Robinson's vocals I thought it was tremendous and I knew English tremendous just working with him on that stage in Cafe de Paris oh they're a great band the Black Crowes I thought this is this this would be really good the only unfortunate thing about the Black Crowes the recording of it was the fact that we we did it at the Greek and we did their music as well as like Zeppelin music but their record label wouldn't let them do a rerecord on it so all the stuff that I did would then never came out so basically what comes out with the Black Crowes is just just a Zeppelin stuff which is a shame from from their side of it I felt you know I wasn't right but you know what record company's gonna be like and finally for this part the evening it's the what the final ever Zeppelin show the o2 the celebration day gig was this a good way to bring the story of Zeppelin as a working band to an end well it certainly it was certainly an honourable way of revisiting it and the Aptus you know if it was sort of over by 1980 and so there was just a hot there were generations of people who knew Led Zeppelin's music and it was an opportunity to be able to sort of play as a unit together with Jason which I mean I played with Jason or Jason of paper would mean whichever way you want to look at it on the outrider to an 88 but you know Jason had been accomplished musician he was then even in 88 but it was something to really be able to do properly initially it was put to us that we could do like 20 minutes I mean it was I one is know am I gonna do 20 minutes you know so so a set was outlined to put together and we did rehearsals and we took it very very seriously because Jason Jason we'd known Jason Jason and song remains the same he's sort of like four years old playing drums with his dad we knew him as as Jason Jones kid you know and Jason had to come into the band as Jason the man and Jason the group member so there was rehearsals that needed needed to be done so that there was a confidence really within each other each of us you know so that John Paul Jones and I worked with Jason over a period of time so that we so that we could mutate the music and feel confident with it so that when Robert came in to the rehearsals it would just be flying underneath him you know it would be like us or the raging animal which it was you know so so okay so we did it and we didn't have any sort of warm-up gigs we just had like production rehearsals and that with the sort of the crew that we we're gonna use them we went on there and and did it and then and it was it was great did it surprise you that all those tens of millions of people applied for tickets that or do you think well of course they would it's much that plain no it it became quite a phenomena didn't they it really did and yeah I wish there was only the one because originally it was going to be two concerts there was going to be one of us and then one of Eric Clapton was going to do the following night but then he didn't do it so I never really knew why we didn't do two nights but anyway we did the one night so well in a moment one of my colleagues is going to bring me some of the question you submitted but in the meantime Jimmy Page okay the first one from you lot Trevor Rudd is Trevor Raj here wave if you hear we can't really you but Trevor asks given today's environment for young bands with things like Pop Idol and X Factor do you think Zeppelin would have made it if you've been competing today well given the way the X Factor maybe not directly on earth more Briton Scott do you think Zeppelin would have made it today fundamentally and I guess what the reality of it is it's just four extraordinary talents coming together and playing as one you know that's that's the thing and that really sets it apart from even really amazing bands of it's day two and I guess also people romanticize the past but if you look back at the charts of 1968 you'll find an awful lot of crap in there it's not all you know Odyssey and Oracle and any of that stuff is it there's an awful lot of rubbish frankly our Karl and Simon asked have you ever been asked to produce any other bands and are there any artists you would like to produce well during the time of of Led Zeppelin I was very keen to keep it very sort of insular at the time so I didn't do I didn't do any any sort of production outside of Led Zeppelin because I mean to be honest with you it was I was just fully committed to what that was I mean I was committed to it before there was a Led Zeppelin to the idea of what the what what the you know the overall task of it was if you like before there was even a band I mean I knew what my commitment was going to be to this if I was going to do it then I was going to do it and just did 36 hour days you know so there wasn't there wasn't any time to be able to to even consider putting that sort of effort and worth work ethic into another sort of Union or whatever I did do some some recordings with Roy Roy Harper but that that's about it really and you've never thought since you know I'm hearing a jack white record or Oman having a bash producing him then I guess someone like Jack know things like what he's doing himself doesn't he I think William T asks what's the thing you wish you knew when you were 16 years old what did I wish I knew in our 16 years what do you wish now that you had known when you were 16 well I tell you I'll ask that question of everybody have a myriad multitude of answers wouldn't we I don't know there's no one thing that I could answer that with here's a specific specific one then from Andy Adams what's your favorite guitar amp set up hahaha well favorite guitar and setup work unfortunately mr. numerous you see but but on the first album there's a little amplifier that the school is a super amplifier and it's just got a little small speaker when it's literally about this size and that whole album was done with one Fender Telecaster guitar and that amp and yet it sounds huge in the essence just this little tiny amplifier so I mean that's you can't find those having the fires anymore anyway but yeah that I'll cry I've been using Marshall amplifiers to them when he gets more powerful now mindell reed doesn't quite ask which one of your children prefer you prefer he asks which some are you most proud of and why you're less tricky they're all there but they've they've all got they've all got incredible they're all individual they were played in such a way that they are all very different to each other the the time that well is more than one you see that the fact the enduring quality of something like whole lot of love is really quite extraordinary and the fact that they're all those sort of mashups that I've seen like on YouTube would it be but but but we like James Brown and the whole lot of love and this all these versions of whole lot of love with various visuals and mashups of people have done and so that's pretty you know it's pretty amazing that there's there's been this sort of that's been a point of reference to people to want to even do all of that I mean this one we don't James Brown as I said it's just just astonishing yeah I mean cake Kashmir was something which is really extraordinary or I guess it's all the ones that everybody really knows I mean Achilles last was something that I really thought was pretty amazing that it's time to but it's but just plucking them out of the air like that there's something about all of the tracks that I've done I mean I can really relate to that that's why they saw on the album's if you see actually talking of new versions of your song how did you feel about that version of whole lot I loved being the top of the pop scene forever because when I was a kid and I first heard leading into I thought what have they done to the top of the pop scene this is terrible it didn't take me long to know better but what it was interesting because we we went to that we went to the states and and and we sort of we played in San Francisco and it was just instant from that point and that was in the January of 69 and then we spent a lot of time going to America because if you if you could see that door just sort of crack open the then you're gonna kick it down and just go marching in and you know sort of being part bombastic about things so we played sort of dates here but there weren't so many of them but then that got taken up as as the because first album came out cause it's on the second album it becomes a theme for Top of the Pops isn't instrumental so by the time we come back and with hang you know the whole lot of love in the same but there was this sort of thing or maybe people think it's Top of the Pops it was all of a product who says that you are the reason he plays guitar says as a young guitarist he sometimes lacks inspiration what are the things that inspire you when nothing seems to be working well it's quite it's quite easy really it's the records that really turned me on my in the early stages of things and they're they can still have a real profound effect on me listening to them so so whether that could be that can that can be blues or it can be so that sort of certain rockabilly thing so let's pool or whatever amazing it might be loud when you're in your your house and you put on rumble by link wray yeah and you're dancing around and I'm playing a guitar like a 13 year old all over again well but that's it because I'm not but underneath it all I'm just a real fan of it also guitar music and and various styles of guitar music as well that's always been part and parcel of what I've been all about what I'm trying to reflect through things I like the first album of Led Zeppelin that's exactly what that is I supposed to be showing so many so many applications to various styles of guitar playing acoustic electric bottleneck and everything you know it's it's all part of the whole large picture for me really Eric Richardson asks will you ever reveal the meaning behind zoso no an anonymous one here but an interesting one how would you describe the difference in sound between the original LP pressings of Zeppelin and the current remastering of the catalogue okay well the thing is that the very first let's let's go back to the point of Led Zeppelin to when but because after Led Zeppelin one we'd really we'd really made such an inroad in America and and we've really changed things over there the the Led Zeppelin's who was so eagerly anticipated and and and it was a really good it was a really good album that's all there is to it but when he went to the pressing plant it didn't he'd get a test pressing and it comes back and it jumps so now that the the record company are in there they're in you know they've got their knickers in a twist so to speak because they want this album we want to put it out and we got and the first test pressing is jumping so what has to be done it has to be recut with the with the level taken down so can sort of press in in in you know hundreds of thousands so without any getting any returns of the thing jumping so what happens is when you work with with these albums that you find that the the first test pressings are pretty good but once they get them on the production line and then the quality sort of it starts to disappear a bit or lack so with the new with with the with with all of the the the the advance of technology that is that that is sort of preceded the point that we can I could revisit the albums and we cut them then it gave the opportunity to give the best possible quality at this point and really actually by HiFi standards this is in you know it reviews in high five magazines that they're that they're you know that they're better than what the original ones were which of course that's always the object of the exercise to improve on everything that you're doing so so that that's really that that's like mission accomplished if you like Kevin Witcher wonders how important was the album cover artwork to you and what was your favorite Zeppelin cover well I think I think the the artwork was always certainly in the in the days of LP records it became not quite an art art form and everyone was you know bands and individual solo singers or whatever we're treating it in that way and the record companies it was it was really important to have evocative artwork on the covers but then it got to the point by the fourth album where we didn't have any information at all no title and no name with the group and this this caused quite a bit of friction with the record company because they they said now you've got to have you've got to have this you got a thousand not going to do it and she yeah michaei min with all sort of actually it was myself and Peter Grant who went to Atlantic Records with all of this and and they were bringing in all these sort of statutory books with legal this sudden we're not going to do it so so that's what that's what you had to do really you have to put your foot down so they so there was an album that came out basically with no information and and then the album that follows it just has like a bit of belly what they call a belly band on it again that's really got no information on it too so so yeah we we were able to we had some sort of clout and so it it was foolish not to take full advantage of what how you could push things around and move it and then and then put out albums with no information on and see what's going to happen because it was it was a calculated risk because I knew how good the material was on the fourth album and it was it was imperative really to get it to get the whole thing right and not just throw this opportunity away and so it was worth pushing the record company and of course yeah was tough they had all their legal people in and everything so you can't do this you've got to have the name of the record company or you've got to have the all the group's name we're not going to do that presumably you also had the record labels accountants coming in when you have things on you know die-cut cover for Physical Graffiti the brown paper bag through the end through the outdoor the spinning disc with three going don't you do something cheaper well three was definitely a bit a bit of a problem for them yeah because that was really difficult to construct that with this moving wheel so we've got more difficult with them really as time went on so they did sort of got over the trauma of having to do something with a moving wheel in it to the point and now this band doesn't want to put their name on the album yeah slowed it out but slowed the album coming out but you know it was it was the right way to go about it Keith Joe asks do you think your achievements as a producer deserve as much recognition as your achievements as a songwriter and performer would Zeppelin well thanks yeah yeah I guess so yes or no answer really isn't it well he's really you know the thing is that that the the actual subsonic perspectives of the album's are really you know we're really calculated and they were meant to be have all this sort of depth to them and it was it was good to be able to remaster everything because by the time it comes down to sort of the mp3 file and it comes down to sort of it just really starts getting squashed and it and it was sort of said like they also might have been mixed by the same recording engineer they just get so sort of squashed down and it loses so much of the dynamics that's in there and in the separate of music so I was really more than keen to be able to remaster all the stuff again and yeah it wasn't before time learning Annie asks that Jimmy seeing as there's been so much photographic intrusion in your life are there any plans to make a volume 2 or volume 3 of this because she says she'll buy them all oh that's very kind of you it was it was really it was really interesting to do this because I knew it was going to be an epic but but the amount of photographers that you had to deal with was really it's a fascinating world the world of photographers and the fact that in the past and the days of Led Zeppelin you get loads of contact sheets but now you'll find that the photographer's would have their images with agency and you'd only get selective images and I'd go yeah but I remember there was this photograph and that photograph they may not get used at the time but I know that photographers got them so it was a real sort of trawl to bring everything in you know and that that took quite a lot of time really getting right to the nitty-gritty of the photographer's files rather than stuff that had been sort of service to agencies and it's a good a long time but it was worth it too to be able to give a really sort of an honest picture of life like a working a life in music because that that's basically what this is and Patrick Casey asks it's been 34 years since the breakup after all that time how do you feel about the longevity of the music and you're still so significant to millions of music lovers worldwide yeah well I think I think what it will it is without doubt it's the quality of musicianship from everybody that is a member of Led Zeppelin you know and and as I was saying earlier about you know my guitar part of it was the even though I had this that you know the whole idea of what the bomb was going to be before we even had the band you know I mean I I did I knew exactly what sort of material to be doing but I hadn't played guitar in that in that way and and nobody no none of the other members of the band had played to that degree in intensity because the the gel of the four of us was just it was just phenomenal and and and that that unfortunately that does get captured on on the recordings without saying that that that that happens yeah it was it was extraordinary privilege to have been in a band like that and to get in the way that it came together so quickly was almost so it was divine intervention putnis the really but we were there that and and and and it was sort of on a mission to sort of change things not just that was a good thing about not putting out singles because we didn't have to keep getting route routed back to this format we could just keep expanding and it's and and that's it the musical expansion of it is clearly what it was so it's and because of musicianship from everybody on there it's just so fine that every year it's new musicians and new years are coming to listen to it because it's four guys at the top of their game and unquestionably and it takes on this fifth element and yeah it's it's it's it's it's gone through the years in that way so that's effing and hasn't been something that's just a you know had a sort of moment every sort of eight years or something like that it's because of the sheer musicianship of those you know master musicians that are on it and the way that they play together and weave is is the sort of thing you you you can hear Led Zeppelin if you really listen to it then you get all this counterpoint that's going on and it's just pork musicians to it every year and that's and that's that's fantastic explain ladies and gentlemen the great Jimmy Page [Music] what I wanted to share with you today is my concern about education not just in Africa but everywhere it's in like a privilege

Channel: Guardian Live

Views: 1,077,134

Rating: 4.8497996 out of 5

Keywords: jimmy page, jimmy, page, robert plant, plant, led zep, led zeppelin, whole lotta love, live aid, wembley, cadagon hall, led, zep, zeppelin, zepelin, led zepelin, guitar, guitars, jimmy page guitars, marrakesh, jimmy page marrakesh, live 8, bob geldof, music, musician, kashmir, stairway to heaven, jimmy page interview, jimmy page speaks, jimmy page interview 2014, guardian music, guardian, the guardian, stairway, wales, welsh, Performance

Id: XIeQWy2SR9s

Length: 89min 58sec (5398 seconds)

Published: Mon Dec 01 2014