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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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As a kid in England,

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we were living in the shadows
of the Second World War.

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Your parents
and your grandparents

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had been through
two World Wars.

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{\an8}And at the end of
the Second World War,

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{\an8}there was this great feeling
of hope towards the future.

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In London,

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there was lots of
damaged buildings

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and craters and...

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I mean,
it was an apres war zone.

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{\an8}There was rationing still.
I remember...

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{\an8}getting eggs and milk
and butter and stuff

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{\an8}with a little book with coupons.

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People were recovering.

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Outside of London,

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in the West Midlands,

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it was a post-war,
sort of semi-suburban

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quiet life.

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{\an8}So America was my dream...

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because it was
a totally different world

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to the one that we were in.

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I was listening to this
marvelous rock and roll

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coming in from America.

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You're hearing all this
electric guitar.

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I mean, it was almost like
it was coming from Mars,

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even though it was coming
from Memphis.

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{\an8}But here in Britain,

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{\an8}we were stuck
with these musicians

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who were really safe

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until this force of nature
called Lonnie Donegan arrived.

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I was so mesmerized

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by having seen
Lonnie Donegan play.

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It was like a portal.

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It gave some access

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to the sort of freedom that you
hadn't witnessed in England.

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Give it up, Jimmy!

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So, one day I come to school
and I see...

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this fellow standing up
in the field

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{\an8}with lots of people around him.

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{\an8}His name was Rod Wyatt,

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{\an8}and he's playing
the Lonnie Donegan songs

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{\an8}on an acoustic guitar.

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{\an8}So I went up to him and said,

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{\an8}"I've got one of those
at home."

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And he said, "Bring it along.
I'll show you how to tune it."

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And then...

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he showed me some chords
as well.

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I was absolutely
inseparable from the guitar.

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I'd play it before breakfast

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and then play it
on the way to school.

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I'd go there
and want to practice,

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but it would be confiscated

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and, uh, given back
at the end of the day.

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{\an8}My father was like,

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{\an8}"Well, I don't really
understand

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{\an8}all this guitar business,
but...

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{\an8}I'm with you on it,

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{\an8}providing you keep
all your schoolwork up."

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{\an8}But my mum was
really supportive to the idea

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of me carrying on
and starting in a group and...

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she really believed in me.

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I mean,
it was really a big deal.

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{\an8}My parents
were in vaudeville.

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{\an8}Mum was the straight singer
in the evening gown...

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{\an8}and my father was a comedian.

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{\an8}He would play the piano.

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And so I used to travel
around with them

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to all the bases,

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where they'd entertain
the troops.

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And there would be just one
international act after another.

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Accordion players
and banjo players.

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I took all this in.

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{\an8}So I was from
that musical tradition.

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{\an8}And it was all the basis

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for everything I ever did
afterwards.

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{\an8}I grew up in the West Midlands.

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{\an8}My father's bloodline
is from there,

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{\an8}and my mother's
side of the family

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are Romani Gypsy.

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My childhood
was very sheltered...

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{\an8}until my parents sent me
to a big school

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{\an8}in a big town.

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{\an8}Studied to be
a chartered accountant.

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{\an8}I mean, I'd really dug a lot
of what was going on at school,

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but when Little Richard
appeared,

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it was so provocative
and all-consuming

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and, uh, hypnotic

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that it kinda knocked everything
else out of the water.

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I knew then that
all I wanted to do was sing.

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I mean, that was it.

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The syringe was in the arm.
Forever.

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{\an8}Oh, well,
I'm John Bonham.

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I always liked making
drum sounds when I was a kid.

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I got my first drum kit
when I was ten.

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And we went to see a film
with Gene Krupa,

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{\an8}and it was just amazing.

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Up here in the Midlands,

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I used to buy completely
different records, you know.

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Johnny Kidd & the Pirates
were a strong influence then.

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You heard it
on all the jukeboxes.

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Of course, they've got those
huge 15-inch speakers.

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That's about all you could hear,
was the bass.

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I heard that and thought...

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that's a sound
I would really like to make.

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When I told my father,
he said,

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"Bass guitar
is a novelty instrument.

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And in two years' time it will
never be heard of again.

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Get yourself a saxophone,
you'll always work."

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So I said, "No.
I want a bass guitar, Dad."

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He heard me practicing
and went,

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"Hmm. You're coming with me.

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All you've got to do
is watch my left hand."

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On the piano. So, uh...

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I learnt all the standards
from that.

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I had a little band.

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We were playing
at the youth club.

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{\an8}And I got talking to their
very go-ahead young priest.

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{\an8}He went, "We'd really like
an organist."

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{\an8}I said, "Well, I could be an
organist for you if you like."

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Not thinking anything of it.

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He went, "Yeah. Okay."

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{\an8}In church music
you have to improvise.

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But as I wasn't very good
at playing from music anyway,

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I just improvised everything.

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I learnt the hymns.

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I could figure out
what the hymns were.

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I'm not particularly religious
but it was a good gig.

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All right?
And he was a really cool priest.

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And so I became organist
and choirmaster at 14.

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...which paid me
the princely sum of £25 a year

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which bought me a Fender bass.

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I use to go and jam
on Thursday night

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{\an8}at the Marquee Club.

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{\an8}And after a period
of doing this,

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{\an8}this band called Carter Lewis
and the Southerners

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{\an8}came up to me and asked me

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00:12:04,430 --> 00:12:06,180
{\an8}if I'd like to play
on their record.

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{\an8}I said, "Yeah, sure.
That sounds really good."

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So I went along with my kit.

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The DeArmond foot pedal
and the amplifier

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and my brand new
Gibson Les Paul.

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And the band'd say,

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"Well, just make something up
for the solo."

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By the second run-through,
I've already got a part for it.

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And the buzz
must have gone around

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about this young guitarist,

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because I started to get calls
for more studio dates.

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When I got into
this session world,

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I was, like, seven years younger
than anybody else.

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And they didn't have somebody
in the old guard,

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or the current guard,

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who really knew
all the influences

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and the points of reference
that the younger bands had.

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So, of course,
I knew all of it,

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whether it was, like, R&B
or whether it was blues

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or rock, whatever it was.

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Everybody was getting
these records

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that originally came over

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maybe with the American
merchant vessels.

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The R&B boom had kicked in.

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I went to see
Sonny Boy Williamson

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at the American Folk
Blues Festival.

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It was around the time I was
learning to play harmonica too.

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It was just this
amazing onslaught

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of music from whence
we had no idea.

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Sonny Boy was almost everything

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that's become my whole entire
musical bloodstream really.

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00:14:38,370 --> 00:14:41,420
But in my own hometown,
I had my own hero,

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{\an8}and it was Perry Foster.

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{\an8}And he had this kind of setup
called the Delta Blues Band.

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And somehow or another,
I managed to blag my way

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into this band.

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I was prepared to be a mod
or a rocker

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or a beatnik or anything
so long as I could sing

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and gather these looks
around me,

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just trying to make it
stick on the wall.

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{\an8}I used to play
and used to have a job as well.

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{\an8}Used to be working with my
father in the building trade.

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Used to be good builders then.

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But, you know, the job
gradually gets less

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{\an8}and the music more.
That's what seems to happen.

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{\an8}You know, we left school
and we formed small groups,

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{\an8}and things like that,

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{\an8}and played locally
and everything.

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You know, for me, soul music
was a strong influence then.

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James Brown
was a big favorite

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because the drum sound
was just amazing.

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I thought,
"I'm gonna get that sound."

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00:16:10,970 --> 00:16:12,470
When I was 16,

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I went to see a group
with Robert singing.

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00:16:15,640 --> 00:16:18,930
The gig went incredibly well
because he was bloody great.

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In the crowd
watching this

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{\an8}was some larger-than-life guy
with his beautiful girlfriend.

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00:16:25,860 --> 00:16:28,320
{\an8}He got a hold of me afterwards
and he said,

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00:16:28,440 --> 00:16:29,940
{\an8}"Well, you're okay,

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00:16:30,070 --> 00:16:32,950
{\an8}but you'd be a lot better with
a proper drummer behind you."

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00:16:33,490 --> 00:16:36,530
And I thought,
"Jesus Christ. Here we go."

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00:16:38,330 --> 00:16:40,120
The first time
we played together

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00:16:40,330 --> 00:16:41,370
we were about 16.

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00:16:41,370 --> 00:16:42,710
And it was really good.

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00:16:49,960 --> 00:16:51,420
John was amazing.

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He was a really
powerful drummer.

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00:16:54,880 --> 00:16:57,800
I watched him
with absolute amazement.

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00:16:57,930 --> 00:16:58,970
He was just...

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00:16:59,600 --> 00:17:00,770
fantastic.

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00:17:01,560 --> 00:17:04,390
But it's so competitive
playing locally anyway.

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00:17:04,520 --> 00:17:07,020
You'd, like, have a time
going on the road

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00:17:07,150 --> 00:17:08,610
and everything would be roses,

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00:17:08,730 --> 00:17:10,780
then all of a sudden,
no more gigs, no more money.

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00:17:10,860 --> 00:17:12,490
You're back to where
you started.

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00:17:12,860 --> 00:17:15,490
One time, we were running
out of fuel

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00:17:15,990 --> 00:17:18,700
and I had to siphon the gasoline
from another car

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00:17:18,910 --> 00:17:21,540
and I was caught by the police
in the middle of the night,

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00:17:21,540 --> 00:17:24,160
sucking a piece of rubber
into a can.

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00:17:24,250 --> 00:17:26,710
And him sitting in the back
shivering,

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00:17:27,380 --> 00:17:29,590
thinking,
"What the hell will Pat say?"

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00:17:31,000 --> 00:17:34,130
Pat became his wife
and she used to say,

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00:17:34,220 --> 00:17:37,090
"Don't you dare play
with that Planty.

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00:17:37,510 --> 00:17:38,890
He's a complete disaster."

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00:17:48,270 --> 00:17:51,190
I left school at 16.

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00:17:51,320 --> 00:17:52,780
I failed most of my exams

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00:17:52,900 --> 00:17:55,240
because I'd been playing
all night in some club

225
00:17:55,450 --> 00:17:57,490
the night before my O-Levels.

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00:17:57,610 --> 00:17:58,950
And my dad was saying,

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00:17:58,950 --> 00:18:02,120
"Well, I can get you a job
as a clerk somewhere."

228
00:18:03,120 --> 00:18:05,540
"No, no. I'll find a band, Dad.
I'll find a band."

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00:18:05,660 --> 00:18:07,420
So there used to be a place
in London

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00:18:07,420 --> 00:18:08,670
called Archer Street.

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00:18:08,750 --> 00:18:10,750
And every Monday morning,

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00:18:10,750 --> 00:18:14,630
all the local musicians
would congregate for work.

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00:18:15,300 --> 00:18:17,630
And so I went there as a kid.

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00:18:17,760 --> 00:18:19,430
Every Monday morning,
I was there.

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00:18:34,030 --> 00:18:36,570
And I started getting
booked with bands

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00:18:36,650 --> 00:18:38,660
and in the session scene.

237
00:18:41,780 --> 00:18:43,660
{\an8}Here comes Jimmy Page

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00:18:43,790 --> 00:18:45,450
{\an8}with his electric guitar.

239
00:18:45,830 --> 00:18:48,120
{\an8}That's my Les Paul,
my Black Beauty.

240
00:18:48,250 --> 00:18:50,670
And this guitar was the guitar

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00:18:50,790 --> 00:18:52,920
that I played most of
my sessions on.

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00:18:54,800 --> 00:18:56,630
There we are.
Going in there to see

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00:18:56,760 --> 00:18:59,760
what I'm gonna be faced with
on that music stand.

244
00:19:12,520 --> 00:19:15,150
Sessions were a lot of fun
in those days, actually.

245
00:19:15,820 --> 00:19:18,110
When I started, I ended up
playing a lot of sessions

246
00:19:18,240 --> 00:19:19,450
together with Jimmy.

247
00:19:21,660 --> 00:19:24,120
{\an8}The "Goldfinger" session
was at Abbey Road.

248
00:19:24,660 --> 00:19:27,120
{\an8}Jimmy and I
were in the rhythm section.

249
00:19:27,200 --> 00:19:28,710
{\an8}There was a full orchestra...

250
00:19:29,120 --> 00:19:31,370
and Shirley Bassey.

251
00:19:34,500 --> 00:19:37,170
The whole energy
just to be in there,

252
00:19:37,300 --> 00:19:40,050
I mean, for me,
I'm still a kid, really.

253
00:19:40,050 --> 00:19:42,640
And it's,
"Wow. It's Shirley Bassey."

254
00:19:42,800 --> 00:19:45,140
While you were playing,
you could see her.

255
00:19:45,220 --> 00:19:47,520
And she did the whole thing.

256
00:19:49,060 --> 00:19:50,600
It was wonderful to watch.

257
00:20:10,830 --> 00:20:14,540
These studios would work
with ruthless efficiency.

258
00:20:15,080 --> 00:20:17,250
So you couldn't be the one
to mess up

259
00:20:17,380 --> 00:20:19,010
so they went into overtime.

260
00:20:19,130 --> 00:20:20,510
'Course, if you messed up,

261
00:20:20,590 --> 00:20:22,010
you wouldn't have
been seen again.

262
00:20:34,730 --> 00:20:36,770
There'd be a pocket diary,
like this,

263
00:20:36,900 --> 00:20:39,280
that I'd be carrying with me.

264
00:20:39,690 --> 00:20:42,740
I played on sessions with
the Rolling Stones,

265
00:20:42,900 --> 00:20:44,820
David Bowie, Petula Clark...

266
00:20:44,910 --> 00:20:47,160
I was on the Kinks' records.

267
00:20:47,280 --> 00:20:48,990
The first Who record.

268
00:20:49,080 --> 00:20:51,580
I mean, it goes right
across the board.

269
00:20:51,960 --> 00:20:54,120
But I didn't do anything
with the Beatles.

270
00:21:21,570 --> 00:21:23,780
{\an8}I did quite a lot
of work with Donovan

271
00:21:23,990 --> 00:21:26,700
{\an8}and I really enjoyed
working with him.

272
00:21:27,200 --> 00:21:29,910
{\an8}And Mickie Most
was his producer.

273
00:21:32,330 --> 00:21:35,040
{\an8}These sessions were great
'cause I could watch

274
00:21:35,120 --> 00:21:38,000
and I could ask questions
about things,

275
00:21:38,080 --> 00:21:39,090
and I certainly did.

276
00:21:39,210 --> 00:21:42,010
I made it my business
to ask engineers

277
00:21:42,010 --> 00:21:43,630
how certain effects were done,

278
00:21:43,800 --> 00:21:45,630
like tape echo and reverb.

279
00:21:45,630 --> 00:21:48,470
And you could see the way
that they were miking

280
00:21:48,470 --> 00:21:50,100
various instruments.

281
00:21:50,760 --> 00:21:52,600
And, basically, that's what
I could do.

282
00:21:52,600 --> 00:21:54,350
I was allowed
to, sort of, do that.

283
00:21:54,480 --> 00:21:57,100
Not only that, I got a chance
to have a solo as well.

284
00:21:57,270 --> 00:21:58,520
So that was good.

285
00:22:08,820 --> 00:22:10,530
I went to Mickie Most and said,

286
00:22:10,530 --> 00:22:11,780
"Do you need an arranger?"

287
00:22:11,950 --> 00:22:13,790
- "You do arrang..."
- "Yeah, I do arrangements.

288
00:22:13,950 --> 00:22:16,210
Yeah. All the time."
And, uh...

289
00:22:16,660 --> 00:22:18,790
I hadn't really
done that before.

290
00:22:18,920 --> 00:22:22,840
But my dad had always taught me
never turn down work, right?

291
00:22:23,300 --> 00:22:26,840
And had a great working
relationship with him.

292
00:22:28,800 --> 00:22:31,050
{\an8}He used to drive by
in his yellow Rolls-Royce

293
00:22:31,180 --> 00:22:34,060
{\an8}and drop an acetate
through my letterbox

294
00:22:34,180 --> 00:22:37,190
with "You know what we want.
It's Friday."

295
00:22:37,310 --> 00:22:38,390
And that was it.

296
00:22:38,980 --> 00:22:41,730
I'd be playing bass in sessions
all day, seven days a week.

297
00:22:41,730 --> 00:22:43,690
So I had to write arrangements
at night.

298
00:22:43,690 --> 00:22:45,530
And then nine o'clock
in the morning

299
00:22:45,610 --> 00:22:47,860
I'd go to the session
and do the songs.

300
00:22:48,030 --> 00:22:51,200
I did all the arrangements
for Herman's Hermits

301
00:22:51,320 --> 00:22:52,450
and Donovan,

302
00:22:53,120 --> 00:22:55,750
and had quite a lot to do
with Lulu.

303
00:22:55,870 --> 00:22:58,000
Did all her arrangements
with Mickie Most as well.

304
00:23:13,890 --> 00:23:15,350
{\an8}I even did film work with her,

305
00:23:15,520 --> 00:23:18,940
{\an8}like To Sir, With Love,
which was a big hit in America.

306
00:23:19,940 --> 00:23:22,900
{\an8}This was considered the
pinnacle of the music business.

307
00:23:23,610 --> 00:23:25,730
My dad was incredibly proud...

308
00:23:26,150 --> 00:23:28,150
when people he knew
and respected

309
00:23:28,150 --> 00:23:30,700
would come, "Ooh, I saw your
John on so-and-so session

310
00:23:30,820 --> 00:23:33,450
the other day. He's okay.
He's good, you know."

311
00:23:33,570 --> 00:23:34,870
And...

312
00:23:35,280 --> 00:23:36,700
Puffed him up a lot.

313
00:23:40,080 --> 00:23:42,250
I was in
a lot of different bands

314
00:23:42,250 --> 00:23:43,420
around that time.

315
00:23:43,670 --> 00:23:46,800
I did a couple adventures
in recording studios.

316
00:23:46,800 --> 00:23:50,760
But my parents,
they weren't that keen at all.

317
00:23:51,260 --> 00:23:55,560
In fact, when I cut my record,
the first single on CBS,

318
00:23:56,060 --> 00:23:57,640
they didn't know anything
about it,

319
00:23:57,720 --> 00:23:59,640
'cause I, um...

320
00:24:00,480 --> 00:24:04,110
I was given the alternative
of staying in the world of

321
00:24:04,110 --> 00:24:05,480
academia and...

322
00:24:06,320 --> 00:24:09,190
my article--
training for my articles...

323
00:24:10,650 --> 00:24:12,990
as a chartered accountant or...

324
00:24:14,200 --> 00:24:16,580
you just go out into the world
and do what you gotta do.

325
00:24:16,700 --> 00:24:18,120
So I did.

326
00:24:18,580 --> 00:24:19,910
So I waved everybody goodbye.

327
00:24:28,630 --> 00:24:29,920
{\an8}I knew there were
singers

328
00:24:30,010 --> 00:24:31,300
who had more chops than me,

329
00:24:31,420 --> 00:24:33,130
but I was just out there,

330
00:24:33,470 --> 00:24:35,180
throwing it up in the air.

331
00:24:36,140 --> 00:24:39,430
I had caftans, painted faces,
bells ringing,

332
00:24:39,600 --> 00:24:41,180
incense blazing,

333
00:24:41,310 --> 00:24:42,350
and...

334
00:24:42,350 --> 00:24:43,350
...was just...

335
00:24:43,810 --> 00:24:45,350
{\an8}Robert used to get up
to more mischief

336
00:24:45,440 --> 00:24:48,650
{\an8}and little sort of things
than any of us do.

337
00:24:48,730 --> 00:24:50,400
{\an8}It's ridiculous, you know.

338
00:24:50,990 --> 00:24:54,820
John came up to me and said,
"Well, what's all that about?"

339
00:24:55,530 --> 00:24:58,530
I said, "Yeah, you're right.
What is that all about?"

340
00:24:59,080 --> 00:25:00,660
It was the end of '67.

341
00:25:00,830 --> 00:25:02,370
We got back together

342
00:25:02,460 --> 00:25:04,830
and the playing
went incredibly well.

343
00:25:20,260 --> 00:25:22,730
So we formed the Band of Joy.

344
00:25:22,850 --> 00:25:25,310
We wanted to mix the blues
with psychedelia.

345
00:25:25,310 --> 00:25:28,440
We wanted to be a part
of that huge movement.

346
00:25:28,520 --> 00:25:29,900
We played at Frank Freeman's.

347
00:25:30,070 --> 00:25:32,070
We played Middle Earth
in London.

348
00:25:32,780 --> 00:25:36,030
We went down to Tin Pan Alley
and we recorded "Memory Lane,"

349
00:25:36,490 --> 00:25:39,870
which was my first adventure
in songwriting.

350
00:25:40,830 --> 00:25:42,580
Sadly, we never
got it released.

351
00:25:43,160 --> 00:25:45,080
And not many people liked us.

352
00:25:45,500 --> 00:25:47,540
But we liked us.

353
00:26:15,360 --> 00:26:17,280
Pat was screaming
at John, saying,

354
00:26:17,450 --> 00:26:19,530
"I told you
to stay away from him.

355
00:26:19,870 --> 00:26:21,080
He'll get you nowhere."

356
00:26:21,200 --> 00:26:23,740
And so he went off with Tim Rose
and...

357
00:26:23,870 --> 00:26:26,410
played "I Got a Loneliness"
and "Morning Dew."

358
00:26:27,000 --> 00:26:28,920
{\an8}That's how
it used to go, really.

359
00:26:28,920 --> 00:26:30,250
{\an8}I mean, we had a kid then.

360
00:26:30,250 --> 00:26:31,790
{\an8}You'd end up
having to get a job

361
00:26:31,920 --> 00:26:33,960
{\an8}in a professional group
to get a bit of money

362
00:26:33,960 --> 00:26:35,420
{\an8}to sort of live with, really.

363
00:26:36,220 --> 00:26:40,140
I... I just fell from favor
everywhere.

364
00:26:41,220 --> 00:26:42,890
Things were pretty tough
for me then.

365
00:26:43,430 --> 00:26:47,310
I had a brown suitcase
and some penicillin,

366
00:26:47,440 --> 00:26:49,400
and I was homeless.
I had nowhere to live.

367
00:26:49,480 --> 00:26:50,480
So I, uh...

368
00:26:51,690 --> 00:26:54,530
I got a gig with this band
called Obs-Tweedle.

369
00:27:05,410 --> 00:27:07,330
I was totally accepted

370
00:27:07,460 --> 00:27:09,920
in the world of being
a studio musician.

371
00:27:10,420 --> 00:27:13,460
I had been caught up
doing the things

372
00:27:13,590 --> 00:27:16,920
that all of the real old-timers
when I joined in were doing.

373
00:27:17,050 --> 00:27:18,260
Like Muzak.

374
00:27:18,420 --> 00:27:21,470
Muzak is what they would
call, like, lift music.

375
00:27:21,590 --> 00:27:23,140
You know? Um...

376
00:27:23,260 --> 00:27:27,310
Very, very difficult to do a,
uh...

377
00:27:27,310 --> 00:27:28,310
a Muzak session,

378
00:27:28,480 --> 00:27:30,190
because you'd have
a whole ream of music

379
00:27:30,310 --> 00:27:32,610
and you'd have to keep
turning it and playing it,

380
00:27:32,730 --> 00:27:34,190
turning it and playing it.

381
00:27:34,320 --> 00:27:36,400
To do that, to actually get
halfway through

382
00:27:36,530 --> 00:27:39,570
without being physically sick
was quite a miracle.

383
00:27:39,700 --> 00:27:42,280
So I knew that... that...

384
00:27:42,700 --> 00:27:45,240
that it was time
to, sort of, come out of there.

385
00:27:45,330 --> 00:27:47,620
All my friends,
like Eric and Jeff,

386
00:27:47,700 --> 00:27:48,950
were all in bands

387
00:27:49,040 --> 00:27:50,500
and they were having
a great time.

388
00:27:50,620 --> 00:27:52,880
I thought, I've got a lot
that I really want

389
00:27:53,000 --> 00:27:54,630
to be able to offer.

390
00:27:55,460 --> 00:27:56,800
And Jeff Beck said,

391
00:27:57,090 --> 00:27:59,550
"It'd be really good if you
came in with The Yardbirds."

392
00:27:59,630 --> 00:28:01,840
So I thought, "How would you
really like to play

393
00:28:01,970 --> 00:28:03,470
if you had the chance?"

394
00:28:03,550 --> 00:28:06,390
"Right. You do it. Do it now.
This is your opportunity."

395
00:28:32,870 --> 00:28:34,750
Going into The Yardbirds
with Jeff,

396
00:28:34,880 --> 00:28:37,920
it was touring with a friend
and having a really good time.

397
00:28:38,550 --> 00:28:41,050
But in the middle of
an American tour,

398
00:28:41,170 --> 00:28:42,380
he left the band,

399
00:28:42,380 --> 00:28:44,090
and I... I was quite shocked.

400
00:28:44,680 --> 00:28:49,720
But it gave me the opportunity
to try a totally new direction.

401
00:28:49,720 --> 00:28:52,270
So I took over on lead guitar.

402
00:28:59,690 --> 00:29:02,110
Nobody was interested
in The Yardbirds

403
00:29:02,190 --> 00:29:03,860
over here in England anymore.

404
00:29:03,990 --> 00:29:07,620
So we started to really grow
our underground following

405
00:29:07,700 --> 00:29:08,910
in America.

406
00:29:09,450 --> 00:29:13,370
And it was just a thrill,
an absolute thrill,

407
00:29:13,460 --> 00:29:16,920
just really getting a feel
for the West Coast music scene.

408
00:29:24,220 --> 00:29:26,180
But we were up against
Mickie Most,

409
00:29:26,180 --> 00:29:27,800
who was our producer, so...

410
00:29:28,220 --> 00:29:30,430
we were recording
all these awful singles

411
00:29:30,560 --> 00:29:33,600
for the AM Radio,
which was the pop radio,

412
00:29:34,140 --> 00:29:37,480
and I didn't want to be
making singles anymore.

413
00:29:38,810 --> 00:29:40,150
Being in America

414
00:29:40,320 --> 00:29:42,530
and seeing the advent of
the FM underground radio,

415
00:29:42,610 --> 00:29:45,280
which was playing
whole sides of albums,

416
00:29:45,490 --> 00:29:49,330
I knew that this was gonna be
the way to go in the future.

417
00:29:49,830 --> 00:29:51,240
So that was my plan.

418
00:29:51,370 --> 00:29:53,700
To make albums that
would be played,

419
00:29:53,830 --> 00:29:55,080
a whole side,

420
00:29:55,160 --> 00:29:56,580
on the FM stations.

421
00:30:03,630 --> 00:30:05,800
I had this new sound
for The Yardbirds

422
00:30:05,800 --> 00:30:07,510
already worked out in my head.

423
00:30:07,510 --> 00:30:11,010
I already knew exactly what I
wanted to be doing, guitar-wise,

424
00:30:11,140 --> 00:30:13,020
on the new stuff
that I had in mind

425
00:30:13,100 --> 00:30:14,310
like "Dazed and Confused,"

426
00:30:14,430 --> 00:30:17,270
which was inspired
by Jake Holmes.

427
00:30:42,040 --> 00:30:44,460
That guitar was given to me

428
00:30:44,590 --> 00:30:45,760
by Jeff Beck.

429
00:30:46,300 --> 00:30:47,300
I painted it.

430
00:30:47,380 --> 00:30:49,390
I consecrated the guitar.

431
00:30:50,470 --> 00:30:54,100
This is the guitar that takes
the full journey

432
00:30:54,680 --> 00:30:58,890
like... Excalibur,
the mythical sword.

433
00:31:13,830 --> 00:31:17,200
I went to a palm reading in LA.

434
00:31:17,830 --> 00:31:19,580
And the palmist said,

435
00:31:19,580 --> 00:31:23,380
"You're gonna be
making a decision very soon

436
00:31:23,540 --> 00:31:25,380
which is gonna
change your life."

437
00:31:25,840 --> 00:31:29,510
A meeting happened two or three
days after the palmist...

438
00:31:30,010 --> 00:31:32,720
where the group said,
"That's it. We wanna fold."

439
00:31:34,430 --> 00:31:35,810
I mean, it was a shock.

440
00:31:38,680 --> 00:31:42,770
I immediately went, "Well,
now I know what I'm gonna do.

441
00:31:42,900 --> 00:31:44,480
I'm gonna form my own group,

442
00:31:44,480 --> 00:31:46,610
and I know exactly what it is
that I wanna do with it,"

443
00:31:46,730 --> 00:31:50,240
and I just needed to find
a powerful vocalist.

444
00:31:50,740 --> 00:31:52,950
And so there was a singer
called Terry Reid.

445
00:31:53,070 --> 00:31:54,370
He registered with me

446
00:31:54,490 --> 00:31:56,950
and I thought,
"I'm gonna aim for him."

447
00:31:57,540 --> 00:32:00,960
{\an8}I asked Peter Grant if he could
track down Terry Reid.

448
00:32:01,540 --> 00:32:03,750
{\an8}Peter Grant was the manager
of The Yardbirds

449
00:32:03,880 --> 00:32:05,840
{\an8}and, bless him,
he really believed in me.

450
00:32:05,920 --> 00:32:08,210
This is the thing,
once The Yardbirds folded,

451
00:32:08,380 --> 00:32:09,630
and I said,
"I wanna start a group,"

452
00:32:09,760 --> 00:32:12,760
he was there. You know?
He said, "Great.

453
00:32:12,890 --> 00:32:14,260
Whatever help I can give."

454
00:32:14,760 --> 00:32:18,430
Peter Grant and Mickie Most
were in the same office and...

455
00:32:18,890 --> 00:32:20,430
they had two desks,

456
00:32:20,560 --> 00:32:23,770
and they, more or less, faced
each other across the room.

457
00:32:25,150 --> 00:32:26,820
The next thing that I hear is,

458
00:32:26,940 --> 00:32:30,190
"Oh, unfortunately Terry Reid's
signed a solo deal

459
00:32:30,320 --> 00:32:31,320
with Mickie Most."

460
00:32:31,320 --> 00:32:32,820
And I, "Oh, yeah?"

461
00:32:33,240 --> 00:32:34,820
- Off the press?
- Right. I know that one.

462
00:32:34,910 --> 00:32:36,120
- For you.
- Right.

463
00:32:36,120 --> 00:32:37,490
I thought, "Wow.
This is super ruthless."

464
00:32:37,620 --> 00:32:39,830
But nevertheless,
Terry Reid suggested

465
00:32:40,000 --> 00:32:42,460
a singer from the Midlands
in a band called Obs-Tweedle.

466
00:32:42,580 --> 00:32:45,330
"This is an unusual name.
This is a bit odd."

467
00:32:46,090 --> 00:32:48,800
He and Peter Grant came up
to have a look at me.

468
00:32:49,880 --> 00:32:53,340
He asked me if I knew where
he could find Robert Plant.

469
00:32:54,300 --> 00:32:56,640
And I said, "Yeah. Right here."

470
00:32:56,970 --> 00:33:00,810
He was doing some wonderful
improvised vocals

471
00:33:00,930 --> 00:33:02,430
and I thought
they were marvelous.

472
00:33:02,600 --> 00:33:04,850
So I invited him
round my house.

473
00:33:05,400 --> 00:33:07,520
I still had nowhere to live,
sadly.

474
00:33:08,020 --> 00:33:11,400
So I took my suitcase
and got a train to Pangbourne

475
00:33:11,530 --> 00:33:13,490
and knocked on another door.

476
00:33:14,610 --> 00:33:16,660
Yeah. We had
a really good connection.

477
00:33:16,660 --> 00:33:20,040
And he was looking through
my records,

478
00:33:20,040 --> 00:33:21,330
"I've got that one."
You know?

479
00:33:21,450 --> 00:33:24,000
And I played him
a Joan Baez version

480
00:33:24,000 --> 00:33:25,540
of "Babe I'm Gonna Leave You"

481
00:33:25,540 --> 00:33:28,960
and said, "If you can sing
that top line there,

482
00:33:29,040 --> 00:33:30,960
I've got an arrangement
that goes with it."

483
00:33:31,050 --> 00:33:34,220
And it just really, really
dovetailed together.

484
00:33:34,340 --> 00:33:35,510
It was beautiful.

485
00:33:35,510 --> 00:33:37,850
He... He...
He just sang beautifully.

486
00:33:50,570 --> 00:33:52,900
We knew something
was in the air.

487
00:33:53,900 --> 00:33:56,280
I could feel this stuff
around me.

488
00:33:57,240 --> 00:34:01,620
Jimmy's guitar playing
was just tremendous. Amazing.

489
00:34:04,580 --> 00:34:07,880
Jimmy then said, "We've got
this drummer lined up."

490
00:34:08,000 --> 00:34:10,590
And before he went any further,
I said, "Wait a minute.

491
00:34:10,710 --> 00:34:12,550
There is no drummer
on the planet

492
00:34:12,670 --> 00:34:15,170
to compare with John Bonham.

493
00:34:15,300 --> 00:34:16,880
He's magnificent."

494
00:34:17,380 --> 00:34:19,090
He was playing with Tim Rose.

495
00:34:19,550 --> 00:34:21,260
Jimmy said, "Oh, well,
if that's the case,

496
00:34:21,260 --> 00:34:22,640
let's go and see him."

497
00:34:22,720 --> 00:34:26,270
And I said, "John, you've got
to listen to Jimmy play.

498
00:34:26,390 --> 00:34:27,440
He's amazing."

499
00:34:27,520 --> 00:34:29,350
John said, "Not a chance."

500
00:34:29,860 --> 00:34:33,570
I said, "You gotta be crazy.
You don't wanna do this stuff,"

501
00:34:33,650 --> 00:34:35,570
playing electric folk.

502
00:34:35,990 --> 00:34:38,950
"Come with me."
He said, "Pat would kill me."

503
00:34:38,950 --> 00:34:40,240
"Don't say that!"

504
00:34:40,370 --> 00:34:42,620
I said, "I'll talk to Pat,
and your mum."

505
00:34:45,040 --> 00:34:49,120
My wife Mo read that,
"Oh, Jimmy's forming a band.

506
00:34:49,540 --> 00:34:51,130
You should give him a call.

507
00:34:51,460 --> 00:34:52,920
See if he wants a bass player."

508
00:34:53,050 --> 00:34:54,300
Like, "No! I can't...

509
00:34:54,300 --> 00:34:56,050
I've got this to do,
I've got that to do.

510
00:34:56,220 --> 00:34:57,760
I got these arra--
and albums..."

511
00:34:57,760 --> 00:35:01,640
"No," she said. She insisted.
"Give him a call, please."

512
00:35:01,930 --> 00:35:03,100
So I did.

513
00:35:03,310 --> 00:35:05,720
I said, "Hello, Jim.
Heard you're forming a band."

514
00:35:05,810 --> 00:35:08,100
He went, "Yeah, yeah."
I said, "Uh...

515
00:35:08,440 --> 00:35:09,560
Do you want a bass player?"

516
00:35:09,730 --> 00:35:11,520
He went, "Well, actually, yes.

517
00:35:11,610 --> 00:35:13,650
But there's a problem."
I said, "What's that?"

518
00:35:13,770 --> 00:35:16,530
He said, "The drummer is
playing with Tim Rose

519
00:35:16,530 --> 00:35:19,700
and he's getting £40 a week.
Can we best it?"

520
00:35:22,030 --> 00:35:24,450
So we decided, yeah,
we probably could.

521
00:35:25,830 --> 00:35:29,410
{\an8}Peter Grant managed to
get a two-hour rehearsal space

522
00:35:29,580 --> 00:35:30,830
{\an8}in Gerrard Street.

523
00:35:31,250 --> 00:35:35,420
{\an8}So we all get there and
I've got my equipment set up.

524
00:35:35,550 --> 00:35:38,340
{\an8}John Paul Jones is there
with his session equipment,

525
00:35:38,420 --> 00:35:40,340
and John's got his drums.

526
00:35:40,340 --> 00:35:43,350
It literally was just
wall to wall amplifiers

527
00:35:43,350 --> 00:35:45,350
and we just picked one up...

528
00:35:45,470 --> 00:35:47,680
"Hello. How are you?"
"Right," you know?

529
00:35:47,810 --> 00:35:49,850
"I'm so-and-so.
He's so-and-so else."

530
00:35:50,270 --> 00:35:52,150
{\an8}It was quite strange really,

531
00:35:52,270 --> 00:35:53,440
{\an8}meeting John Paul and Jimmy.

532
00:35:53,650 --> 00:35:54,900
{\an8}Coming from
where I'd come from,

533
00:35:55,020 --> 00:35:56,900
{\an8}I'd sort of thought
it was a bit of a joke,

534
00:35:57,030 --> 00:35:59,070
{\an8}getting telegrams and things,
you know.

535
00:35:59,190 --> 00:36:01,490
There's a chance of becoming
one of The Yardbirds,

536
00:36:01,660 --> 00:36:03,570
it's like a gift from Heaven,
wasn't it?

537
00:36:03,990 --> 00:36:06,620
I said the first number
that I want to do

538
00:36:07,120 --> 00:36:08,370
is "Train Kept A-Rollin'."

539
00:36:08,540 --> 00:36:10,370
"Train Kept A-Rollin'."
"Do you know it?"

540
00:36:10,500 --> 00:36:11,790
I went, "Mm. Nope."

541
00:36:11,920 --> 00:36:14,540
He said, "Well, it's a 12-bar."

542
00:36:14,540 --> 00:36:17,000
"It's got this riff."
"Okay. Count it in."

543
00:36:17,000 --> 00:36:18,300
And that was it.

544
00:36:18,840 --> 00:36:20,510
And the room just exploded.

545
00:36:20,670 --> 00:36:23,050
We just kept playing it
and doing solo breaks

546
00:36:23,180 --> 00:36:26,140
and all the rest of it,
and Robert's improvising.

547
00:36:26,220 --> 00:36:27,850
I'd never heard
anything like it.

548
00:36:27,850 --> 00:36:29,680
I was expecting
some cool soul singer

549
00:36:29,680 --> 00:36:32,480
and there's this
screaming maniac...

550
00:36:33,150 --> 00:36:36,020
with this fantastic voice
and a fantastic range.

551
00:36:36,150 --> 00:36:37,770
I was like,
"What are you doing up there?

552
00:36:37,860 --> 00:36:39,610
You'll hurt yourself, man."

553
00:36:39,740 --> 00:36:43,030
It was devastating
because it seemed like...

554
00:36:43,950 --> 00:36:45,910
that had been
what I'd been waiting for.

555
00:36:45,910 --> 00:36:47,580
I was pretty shy.

556
00:36:47,660 --> 00:36:50,080
The best thing to do when
you're in a situation like that

557
00:36:50,160 --> 00:36:52,540
is not to say much
and just soldier along

558
00:36:52,540 --> 00:36:54,420
and suss it all out,
sort of thing.

559
00:36:54,420 --> 00:36:55,880
Well, being a bass player,

560
00:36:55,880 --> 00:36:57,840
and he was probably thinking
the same thing,

561
00:36:57,960 --> 00:36:59,590
you know,
because rhythm sections

562
00:36:59,710 --> 00:37:02,670
are very sensitive creatures
really...

563
00:37:03,300 --> 00:37:04,550
um...

564
00:37:05,180 --> 00:37:07,050
I just needed to know that

565
00:37:07,350 --> 00:37:08,600
we could work together.

566
00:37:08,720 --> 00:37:10,930
The first time
we played together

567
00:37:10,930 --> 00:37:12,940
you could tell it was
gonna be a good group.

568
00:37:12,940 --> 00:37:14,850
Not being sort of flashy
about it.

569
00:37:16,560 --> 00:37:19,570
But I am.

570
00:37:20,110 --> 00:37:21,320
Marvelous.

571
00:37:21,320 --> 00:37:23,070
When it finally came to a halt,

572
00:37:23,280 --> 00:37:25,030
I'm absolutely convinced

573
00:37:25,200 --> 00:37:28,830
that everyone knew that that was
a life-changing experience.

574
00:37:28,910 --> 00:37:30,950
I think there was
so much kinetic energy,

575
00:37:30,950 --> 00:37:33,960
so much energy that needed
to come out for everybody.

576
00:37:34,080 --> 00:37:36,920
Let's take it to the next stage
and let's take it to Pangbourne.

577
00:37:48,470 --> 00:37:50,470
Pangbourne is on
the River Thames.

578
00:37:50,850 --> 00:37:54,100
I remember when I first
came across this boat house,

579
00:37:54,230 --> 00:37:56,350
I just saw this absolute magic.

580
00:37:56,810 --> 00:37:58,440
It had a good energy to it.

581
00:37:58,560 --> 00:38:01,900
And it was just a cauldron
of creativity.

582
00:38:02,320 --> 00:38:06,450
This is the house I lived in
in 1967 through to 1970.

583
00:38:06,990 --> 00:38:10,370
We set up initially
in the upstairs of the house.

584
00:38:10,490 --> 00:38:12,240
Where those windows are
at the top,

585
00:38:12,330 --> 00:38:13,500
there's a largish room

586
00:38:13,620 --> 00:38:16,460
and that was where we did
the rehearsals.

587
00:38:22,380 --> 00:38:24,300
We were overlooking the river.

588
00:38:24,420 --> 00:38:25,550
It was beautiful.

589
00:38:25,630 --> 00:38:27,840
And we just got to know
each other

590
00:38:27,970 --> 00:38:29,260
and worked pretty hard.

591
00:38:29,430 --> 00:38:30,550
We weren't slackers.

592
00:38:30,640 --> 00:38:32,180
Our aim wasn't to be seen
on the telly.

593
00:38:32,260 --> 00:38:35,180
We all wanted to play music
very badly.

594
00:38:35,180 --> 00:38:38,060
We were working on
the material for the album,

595
00:38:38,480 --> 00:38:41,650
and then we were putting in
other material as well

596
00:38:41,820 --> 00:38:43,820
that was gonna
fill out the set.

597
00:38:44,650 --> 00:38:47,030
We were rehearsing for days,

598
00:38:47,150 --> 00:38:49,160
and it would have been
pretty loud.

599
00:38:49,660 --> 00:38:51,660
You'd hear it.
You'd hear it over here.

600
00:38:51,830 --> 00:38:54,580
I did expect somebody to be
knocking on the door

601
00:38:54,660 --> 00:38:56,370
to complain, but nobody did.

602
00:39:04,250 --> 00:39:06,090
We got together
very quickly

603
00:39:06,170 --> 00:39:09,130
because there was already
a tour that had to be done

604
00:39:09,260 --> 00:39:10,430
by The Yardbirds,

605
00:39:10,510 --> 00:39:12,430
which was a few dates
in Scandinavia.

606
00:39:12,510 --> 00:39:14,810
It was convenient that,
lo and behold,

607
00:39:14,890 --> 00:39:16,890
there was this tour
that we could do.

608
00:39:16,890 --> 00:39:18,690
So we could go there
and have the benefit

609
00:39:18,810 --> 00:39:20,230
of playing in front of
an audience

610
00:39:20,310 --> 00:39:22,610
away from London
and all the rest of it.

611
00:39:23,900 --> 00:39:25,730
{\an8}Off to Scandinavia we went

612
00:39:25,860 --> 00:39:28,860
{\an8}for our first concert
as The Yardbirds.

613
00:39:29,400 --> 00:39:30,700
And we went on an aeroplane,

614
00:39:30,820 --> 00:39:32,370
me and John sitting next
to each other

615
00:39:32,530 --> 00:39:33,740
having a cigarette,

616
00:39:33,870 --> 00:39:36,080
seeing lots and lots
of silverware,

617
00:39:36,080 --> 00:39:37,870
knives and forks
in front of us.

618
00:39:38,250 --> 00:39:40,250
Stuff that we would normally
have stolen

619
00:39:40,330 --> 00:39:41,880
was there in profusion.

620
00:39:42,330 --> 00:39:44,340
Couldn't have even got
enough of it in our bags

621
00:39:44,420 --> 00:39:46,630
to get off the plane without
having somebody help us.

622
00:39:46,710 --> 00:39:49,260
It was great.
Everything was there.

623
00:39:49,260 --> 00:39:50,340
Gin, tonic...

624
00:39:51,050 --> 00:39:52,140
people.

625
00:39:52,550 --> 00:39:54,760
People being kind
and charming.

626
00:39:55,310 --> 00:39:56,310
Air conditioning.

627
00:39:56,430 --> 00:39:57,560
It was off we went.

628
00:39:57,930 --> 00:40:00,060
Because you couldn't...
What could you do?

629
00:40:01,400 --> 00:40:03,190
Couldn't go back to Mummy then.

630
00:40:08,690 --> 00:40:10,570
{\an8}When I told my colleagues

631
00:40:10,700 --> 00:40:12,030
{\an8}and the people that employ me

632
00:40:12,110 --> 00:40:13,990
that I'm giving up
session work,

633
00:40:14,120 --> 00:40:16,200
I'm gonna join
a rock 'n' roll band...

634
00:40:16,280 --> 00:40:19,040
everybody said, "You're mad.
You're completely crazy."

635
00:40:25,090 --> 00:40:27,550
On bass guitar, John Paul Jones.

636
00:40:27,670 --> 00:40:29,210
John Paul Jones.

637
00:40:33,300 --> 00:40:34,390
On drums,

638
00:40:34,550 --> 00:40:35,890
John Bonham.

639
00:40:40,480 --> 00:40:42,770
Lead guitar, Jimmy Page.

640
00:40:48,110 --> 00:40:49,990
And myself, Robert Plant.

641
00:40:54,200 --> 00:40:56,280
Yes! All right!

642
00:41:05,080 --> 00:41:06,080
Yes!

643
00:41:10,960 --> 00:41:12,840
Come on. Ah, yeah!

644
00:43:39,860 --> 00:43:40,990
Yes!

645
00:45:42,280 --> 00:45:44,070
It went so well, really,

646
00:45:44,150 --> 00:45:46,280
that the group started
to make the album

647
00:45:46,280 --> 00:45:48,320
straight after coming back
from Scandinavia.

648
00:45:48,410 --> 00:45:52,250
How long had we been together
about then? What, a month?

649
00:45:53,000 --> 00:45:56,080
We went into
Olympic Studios at night

650
00:45:56,250 --> 00:45:57,830
over a few weeks.

651
00:45:58,460 --> 00:46:01,960
The very first time we go in
is the 25th of September

652
00:46:02,050 --> 00:46:03,210
in 1968.

653
00:46:03,340 --> 00:46:06,720
Arrival time
from 11:00 p.m. onwards.

654
00:46:08,220 --> 00:46:09,550
Let's take one.

655
00:46:09,680 --> 00:46:10,720
{\an8}Right.

656
00:46:11,260 --> 00:46:13,600
{\an8}There's Glyn Johns,
dear Glyn,

657
00:46:13,600 --> 00:46:16,140
at the controls of
the Helios desk

658
00:46:16,270 --> 00:46:18,650
that was custom-built
for Olympic Studios,

659
00:46:18,650 --> 00:46:20,730
and he was doing
the engineering on it.

660
00:46:21,360 --> 00:46:23,530
Drumming set one.

661
00:46:23,530 --> 00:46:25,030
John, Jimmy,
and John Paul

662
00:46:25,150 --> 00:46:26,700
were much more connected

663
00:46:26,820 --> 00:46:28,410
in these sessions than I was...

664
00:46:29,030 --> 00:46:31,450
because they were
recording it live.

665
00:46:32,240 --> 00:46:34,160
They had to make it work
on the floor.

666
00:46:34,290 --> 00:46:35,410
A take is a take.

667
00:46:35,540 --> 00:46:38,330
So it was an electric
atmosphere.

668
00:46:38,330 --> 00:46:41,170
And I just tried to land
on top of it all.

669
00:46:42,710 --> 00:46:45,510
John Paul Jones brought
the most amazing bass playing,

670
00:46:45,630 --> 00:46:48,970
and he was quite a force to be
reckoned with musically.

671
00:46:54,100 --> 00:46:56,770
I was very much in love
with John's right foot.

672
00:46:57,310 --> 00:47:00,150
I had great respect for it.

673
00:47:00,560 --> 00:47:03,230
And I used to try
and highlight it

674
00:47:03,360 --> 00:47:04,780
and help it along and...

675
00:47:05,320 --> 00:47:07,650
give it space.

676
00:47:08,030 --> 00:47:09,450
Uh, take three.

677
00:47:09,570 --> 00:47:12,370
So I could be doing a riff
and just leave a note out

678
00:47:12,490 --> 00:47:14,540
and something of his
would pop through

679
00:47:14,660 --> 00:47:17,330
and the rhythm would just
suddenly come alive.

680
00:50:05,500 --> 00:50:07,710
I was gonna throw
everything I could at it.

681
00:50:07,710 --> 00:50:09,960
I was gonna play
acoustic guitar,

682
00:50:10,040 --> 00:50:12,260
I played pedal steel guitar,

683
00:50:12,340 --> 00:50:14,510
I played slide guitar,
electric guitar.

684
00:50:14,970 --> 00:50:17,800
{\an8}I wanted to have so many
different textures

685
00:50:17,970 --> 00:50:18,850
{\an8}and moods on it,

686
00:50:18,970 --> 00:50:20,470
{\an8}that the whole album

687
00:50:20,560 --> 00:50:23,680
{\an8}would just
totally arrest the listeners

688
00:50:23,810 --> 00:50:28,810
{\an8}and take them to a realm that
they hadn't been in before.

689
00:50:28,900 --> 00:50:30,610
The guitar's not on
a regular tuning

690
00:50:30,730 --> 00:50:32,030
on "Black Mountain Side."

691
00:50:32,190 --> 00:50:33,820
It is very much like
a sitar tuning.

692
00:50:39,620 --> 00:50:41,240
{\an8}Jimmy and John Paul

693
00:50:41,370 --> 00:50:43,410
{\an8}were really
at the top of their game.

694
00:50:43,490 --> 00:50:46,370
They'd played on so many
diverse pieces of music

695
00:50:47,210 --> 00:50:49,540
that there was nowhere that they
couldn't find themselves

696
00:50:49,670 --> 00:50:50,960
comfortably going to.

697
00:50:51,040 --> 00:50:54,760
So that gave us a whole
magnificent bunch of colors

698
00:50:54,880 --> 00:50:55,670
to play with.

699
00:52:15,750 --> 00:52:17,340
Jimmy produced the album.

700
00:52:17,840 --> 00:52:20,010
Which is great because it's got
a different sound

701
00:52:20,090 --> 00:52:21,300
and I like that.

702
00:52:21,720 --> 00:52:23,890
He had all these ideas
of microphone placement

703
00:52:23,970 --> 00:52:27,680
to get distance, so he knew
what he wanted to hear.

704
00:52:27,770 --> 00:52:29,770
There were some
really complex things

705
00:52:29,850 --> 00:52:31,690
that went on during the mixing,

706
00:52:31,690 --> 00:52:34,980
like the backwards echo
that comes in "You Shook Me."

707
00:52:35,060 --> 00:52:37,730
When you turn the tape round
and apply the echo

708
00:52:37,860 --> 00:52:39,360
and then turn it back over

709
00:52:39,490 --> 00:52:41,570
and then you get the echo
coming in reverse.

710
00:52:54,670 --> 00:52:57,340
I was cross-fading
from one song into another

711
00:52:57,500 --> 00:52:58,880
and all these sort of tricks,

712
00:52:58,880 --> 00:53:01,130
so that when people
listened to the whole album,

713
00:53:01,260 --> 00:53:04,430
as I say, it would just
absolutely demand attention.

714
00:53:04,510 --> 00:53:07,220
Well, I mean, it's amazing.
Yeah. I had...

715
00:53:07,350 --> 00:53:10,520
I had a pair of those
big quad electrostatic speakers

716
00:53:10,520 --> 00:53:12,230
in my front room.

717
00:53:12,350 --> 00:53:14,400
You could sort of sit
almost in them.

718
00:53:14,810 --> 00:53:16,770
I just used to play it loud.

719
00:53:34,540 --> 00:53:37,590
If you finance
the album yourself,

720
00:53:37,590 --> 00:53:39,500
you're in a much better position

721
00:53:39,590 --> 00:53:42,420
than if you're going in with,
like, a demo tape.

722
00:53:42,550 --> 00:53:44,010
So, if you knew what you
were doing,

723
00:53:44,130 --> 00:53:47,680
it made sense
to complete the album

724
00:53:47,760 --> 00:53:50,220
and then go round
and do a deal.

725
00:53:54,270 --> 00:53:55,940
The American producer
Bert Berns

726
00:53:56,060 --> 00:53:59,940
had really done a great PR job
for me at Atlantic Records.

727
00:53:59,940 --> 00:54:02,820
When he took me there in 1964,

728
00:54:02,940 --> 00:54:05,660
and I said we should
aim at Atlantic...

729
00:54:06,200 --> 00:54:07,660
so that's what we did.

730
00:54:16,210 --> 00:54:17,330
Yeah.

731
00:54:17,420 --> 00:54:18,790
Yeah. We'd done our bit,

732
00:54:18,920 --> 00:54:21,090
and Jimmy and Peter
were going to convince people

733
00:54:21,210 --> 00:54:23,130
that they really needed it.

734
00:54:23,210 --> 00:54:26,630
Jimmy had the kind of keys
to the beginnings of a kingdom.

735
00:54:27,130 --> 00:54:29,550
And he went off to New York
with Peter

736
00:54:29,640 --> 00:54:32,060
and through them, they got
to see Jerry Wexler.

737
00:55:00,210 --> 00:55:02,380
We put it on,
and that was a great moment

738
00:55:02,460 --> 00:55:05,130
to actually be able to play it,
regardless of what they thought,

739
00:55:05,210 --> 00:55:09,640
to actually be playing it
to, you know, Jerry Wexler.

740
00:55:37,830 --> 00:55:40,370
Atlantic wasn't allowed
to remix anything.

741
00:55:40,500 --> 00:55:41,790
It was perfect. It was done.

742
00:55:41,920 --> 00:55:44,550
The sequencing was perfect.
There was nothing...

743
00:55:44,670 --> 00:55:46,710
Certainly no single's gonna be
taken off it.

744
00:55:49,510 --> 00:55:52,890
Having seen a situation
whereby singles

745
00:55:53,010 --> 00:55:55,140
have broken the spirit
of a band,

746
00:55:55,220 --> 00:55:57,890
I didn't want it to break
the spirit of this band.

747
00:55:58,020 --> 00:56:01,810
And I made a point of saying
we're an album band,

748
00:56:01,940 --> 00:56:03,860
we're not doing singles.

749
00:56:04,570 --> 00:56:07,610
We could call the shots
because we owned the album.

750
00:56:12,570 --> 00:56:15,200
And here I am,
signing a contract.

751
00:56:15,200 --> 00:56:18,290
Then there's Peter,
looking really cool.

752
00:56:18,370 --> 00:56:20,710
Looking quite like a Mafia don.

753
00:56:40,350 --> 00:56:42,190
Peter Grant and Jimmy
had fixed it

754
00:56:42,350 --> 00:56:47,110
so that Atlantic had no say
in what we did whatsoever.

755
00:56:48,110 --> 00:56:50,610
They went there saying,
"Look, you want this band,

756
00:56:50,740 --> 00:56:52,530
and we're gonna give you
the music."

757
00:56:52,610 --> 00:56:53,910
But...

758
00:56:54,700 --> 00:56:57,370
Peter Grant wouldn't let
any record executives

759
00:56:57,450 --> 00:56:59,450
anywhere near the studio.

760
00:56:59,580 --> 00:57:01,000
Or the band.

761
00:57:01,080 --> 00:57:03,210
They were terrified of him,
which was brilliant.

762
00:57:03,330 --> 00:57:05,790
To have that freedom,
I mean, it was unheard of.

763
00:57:10,710 --> 00:57:12,760
Rather than
keep The Yardbirds name,

764
00:57:12,760 --> 00:57:15,140
the group became strong enough
to start fresh,

765
00:57:15,260 --> 00:57:17,140
and it was a decision that
we'd change the name.

766
00:57:17,140 --> 00:57:19,100
Keith Moon
had suggested a name,

767
00:57:19,270 --> 00:57:20,220
Led Zeppelin.

768
00:57:20,390 --> 00:57:22,810
I thought that'd be
a great name to use.

769
00:57:22,810 --> 00:57:25,600
I thought, "Yeah.
That's a terrible name.

770
00:57:25,730 --> 00:57:28,070
Nobody's gonna remember that."

771
00:57:28,940 --> 00:57:30,690
But I couldn't come up
with a better one

772
00:57:30,820 --> 00:57:32,360
so Led Zeppelin we were.

773
00:57:34,990 --> 00:57:38,450
{\an8}So, suddenly I was a dad
and I was nearly married.

774
00:57:39,030 --> 00:57:41,410
{\an8}And I was in this group that
was now gonna be called

775
00:57:41,580 --> 00:57:42,710
{\an8}Led Zeppelin.

776
00:57:43,080 --> 00:57:46,290
So I went back to my parents
with an open heart.

777
00:57:46,920 --> 00:57:48,790
I called up my mum and dad
and said,

778
00:57:49,130 --> 00:57:52,510
"You might like to meet
your possible,

779
00:57:52,630 --> 00:57:55,800
most probable,
daughter-in-law-to-be."

780
00:57:55,930 --> 00:57:57,800
And so, of course,

781
00:57:59,100 --> 00:58:00,390
they opened the door.

782
00:58:03,600 --> 00:58:06,350
November the 9th, 1968,

783
00:58:06,350 --> 00:58:08,520
we played Middle Earth.

784
00:58:08,650 --> 00:58:12,570
And just to celebrate the fact
that we did that gig,

785
00:58:12,570 --> 00:58:13,940
I got married on the same day.

786
00:58:14,530 --> 00:58:17,910
Trying to get as many things in
in a day as I can.

787
00:58:18,910 --> 00:58:20,700
The car broke down
on the way to the gig.

788
00:58:20,830 --> 00:58:22,200
All that stuff, you know.

789
00:58:22,290 --> 00:58:24,410
We'd figured out
what we were gonna play

790
00:58:24,500 --> 00:58:25,790
and how we were gonna play it.

791
00:58:25,960 --> 00:58:28,380
The first three numbers
were just bam, bam, bam.

792
00:58:28,380 --> 00:58:32,000
You could see people going,
"What on Earth is going on?"

793
01:01:30,350 --> 01:01:32,060
It's a funny thing.

794
01:01:32,060 --> 01:01:33,640
You couldn't play big gigs
in England.

795
01:01:33,770 --> 01:01:36,520
You'd say, "Do you want to take
some dates on Led Zeppelin?"

796
01:01:36,650 --> 01:01:38,070
and all this sort of thing.

797
01:01:38,190 --> 01:01:41,070
People wouldn't even
book the band.

798
01:01:41,150 --> 01:01:43,240
So Atlantic decided that

799
01:01:43,320 --> 01:01:46,490
the record is going to come out
on the 12th of January,

800
01:01:46,620 --> 01:01:48,120
but only in America.

801
01:01:48,240 --> 01:01:51,580
So Peter gets a tour together
for us.

802
01:01:52,660 --> 01:01:55,040
It was Christmas Eve,
I think, we had to leave.

803
01:01:55,040 --> 01:01:57,210
You suddenly find
the album's coming out

804
01:01:57,330 --> 01:01:59,920
so we sort of had to go
to America to play.

805
01:02:00,840 --> 01:02:03,840
I was concerned I wouldn't
feel home there at all.

806
01:02:04,800 --> 01:02:07,720
Pat kept saying, "Told
you not to work with him."

807
01:02:07,850 --> 01:02:11,270
But she and my wife Maureen
were really good friends,

808
01:02:11,390 --> 01:02:15,230
so they had the mutual overview
of celebration

809
01:02:15,390 --> 01:02:18,360
for what John was doing
and what I was doing.

810
01:02:18,810 --> 01:02:20,400
We just rolled with it.

811
01:02:21,780 --> 01:02:25,610
{\an8}Going to America was my dream,
for every reason.

812
01:02:34,620 --> 01:02:38,710
We're supporting
Vanilla Fudge to begin with,

813
01:02:38,790 --> 01:02:42,420
and they were the only group
that took us under their wing.

814
01:02:44,010 --> 01:02:45,970
{\an8}They're good friends,
because they were friends

815
01:02:46,090 --> 01:02:47,800
{\an8}when we had nothing, you know?

816
01:02:49,220 --> 01:02:51,050
{\an8}Carmine and John Bonham
picked up

817
01:02:51,140 --> 01:02:52,680
{\an8}such a great repartee.

818
01:02:52,810 --> 01:02:56,310
{\an8}They used to watch and mimic
each other, play little parts.

819
01:02:56,440 --> 01:02:59,310
It was a great exchange of
energies between everybody.

820
01:03:02,270 --> 01:03:03,940
Denver was the first show.

821
01:03:04,490 --> 01:03:06,240
Like playing
in an aircraft hangar.

822
01:03:06,320 --> 01:03:08,110
There wasn't that many
people there either.

823
01:03:08,200 --> 01:03:09,660
I thought, "Oh, boy."

824
01:03:09,740 --> 01:03:13,160
But I said, "Look,
let's just group together

825
01:03:13,160 --> 01:03:15,290
as though we're playing
in a club,

826
01:03:15,370 --> 01:03:18,460
and just play to each other.

827
01:03:18,580 --> 01:03:20,000
Don't worry about whether
the place

828
01:03:20,130 --> 01:03:21,630
is half or totally full.

829
01:03:21,630 --> 01:03:24,670
Let's just play for ourselves
to get a feel."

830
01:03:37,430 --> 01:03:39,650
From the handful of dates
with the Fudge,

831
01:03:39,770 --> 01:03:43,650
then we go to
the Whisky a Go Go in LA,

832
01:03:43,770 --> 01:03:45,780
and then we're going
to San Francisco.

833
01:04:08,050 --> 01:04:10,180
{\an8}The album is already
being played

834
01:04:10,300 --> 01:04:11,840
{\an8}on the underground radio

835
01:04:11,970 --> 01:04:14,720
and people are really curious

836
01:04:14,810 --> 01:04:17,560
to see this band
that they're hearing.

837
01:04:17,560 --> 01:04:21,560
So we were gonna go in there
with a hatchet

838
01:04:21,690 --> 01:04:25,020
and just play like
we'd never played before.

839
01:04:25,110 --> 01:04:27,400
Just throw everything we'd got
into it.

840
01:04:28,780 --> 01:04:30,700
We're backstage
at The Fillmore,

841
01:04:30,820 --> 01:04:33,620
and, um, Peter Grant says,

842
01:04:33,700 --> 01:04:35,030
"Well, whatever happens,

843
01:04:35,120 --> 01:04:37,540
if you don't crack it here,
it's over."

844
01:07:13,900 --> 01:07:17,200
We knew after that one
that we were on the right track.

845
01:07:29,170 --> 01:07:32,210
{\an8}Everything is traveling
like wildfire.

846
01:07:32,210 --> 01:07:34,420
{\an8}The whole thing
is just building.

847
01:07:34,420 --> 01:07:36,300
{\an8}People were bashing down
the doors to get in

848
01:07:36,380 --> 01:07:39,010
{\an8}by the time we played
Boston Tea Party

849
01:07:39,090 --> 01:07:41,090
because we were working
across the States

850
01:07:41,180 --> 01:07:44,010
from the West Coast
to the East.

851
01:07:44,680 --> 01:07:46,930
On FM radio
they would play

852
01:07:47,020 --> 01:07:48,350
one side of your record

853
01:07:48,440 --> 01:07:50,020
and back announce
that side,

854
01:07:50,100 --> 01:07:53,320
have one word from a sponsor,
and then play the other side.

855
01:07:53,320 --> 01:07:54,730
People would just listen to it

856
01:07:54,900 --> 01:07:57,530
and they'd go, "They're playing
in your town tonight."

857
01:07:57,650 --> 01:08:00,570
And so they'd all come on down.

858
01:08:00,660 --> 01:08:02,070
Rock 'n' roll
with Led Zeppelin.

859
01:08:02,200 --> 01:08:05,790
Robert Plant is here and I know
you feel real good now.

860
01:08:07,250 --> 01:08:08,960
I'm gonna put another caller
on the phone here.

861
01:08:09,040 --> 01:08:11,290
- You're on the air, dear.
- Is this Robert Plant?

862
01:08:11,420 --> 01:08:13,590
- Occasionally, yeah.
- Oh, God.

863
01:08:13,590 --> 01:08:15,920
I want you to know that
I'm having heart failure.

864
01:08:16,050 --> 01:08:17,130
Oh, good God!

865
01:08:17,260 --> 01:08:19,050
Don't tell me.
You need a doctor!

866
01:08:19,760 --> 01:08:21,930
I just want you to know
that you are so sexy.

867
01:08:22,050 --> 01:08:23,640
- It's unbelievable!
- Okay, dear.

868
01:08:23,640 --> 01:08:24,970
Thank you very much.

869
01:08:24,970 --> 01:08:26,260
- Next?
- Hello?

870
01:08:26,390 --> 01:08:28,390
I was gonna go see you
last night

871
01:08:28,520 --> 01:08:29,770
but I couldn't get tickets.

872
01:08:29,890 --> 01:08:31,560
Oh, it was
really good last night.

873
01:08:31,730 --> 01:08:33,440
What's your name?
Oh, forget it.

874
01:08:34,610 --> 01:08:35,820
- Hello?
- Hi.

875
01:08:35,820 --> 01:08:36,980
Hi.

876
01:08:37,070 --> 01:08:38,610
Guess what?
I think you're a fox.

877
01:08:38,740 --> 01:08:39,820
What's that mean?

878
01:08:39,950 --> 01:08:41,660
You're a very good-looking man.

879
01:08:41,740 --> 01:08:42,780
Far out.

880
01:08:42,910 --> 01:08:45,030
I really dug the concert.

881
01:08:45,120 --> 01:08:46,280
I really liked it.

882
01:08:46,370 --> 01:08:47,740
I just really think
you're a fox

883
01:08:47,830 --> 01:08:49,500
and keep on doing
what you're doing.

884
01:08:49,620 --> 01:08:51,790
That's very nice of you.
We will.

885
01:09:24,490 --> 01:09:26,490
The anticipation
was overwhelming.

886
01:09:26,490 --> 01:09:28,580
I mean, really overwhelming.

887
01:09:57,770 --> 01:10:01,030
To come back to England
with what we'd experienced,

888
01:10:01,190 --> 01:10:03,200
I just had to keep quiet.

889
01:10:03,700 --> 01:10:06,740
{\an8}I mean, over here,
the record wasn't out yet.

890
01:10:06,740 --> 01:10:10,120
{\an8}So I just didn't have
anything to say.

891
01:10:11,490 --> 01:10:13,460
People would have laughed at me.

892
01:10:14,660 --> 01:10:17,250
So Bonzo and I
used to get together and go...

893
01:10:18,170 --> 01:10:20,880
"Well, what was that?"
"Well, I don't know."

894
01:10:21,500 --> 01:10:23,130
"What happened?"
"I don't know."

895
01:10:23,590 --> 01:10:25,720
It was just
absolutely stunning.

896
01:10:25,840 --> 01:10:27,180
You know? Ridiculous.

897
01:10:27,590 --> 01:10:28,890
We came back from America

898
01:10:29,010 --> 01:10:30,390
and we'd gone through
a big change,

899
01:10:30,510 --> 01:10:32,390
and feeling good about it all.

900
01:10:32,390 --> 01:10:34,020
But it does affect you.

901
01:10:34,640 --> 01:10:36,900
Think about it.
We're 20 years old,

902
01:10:37,400 --> 01:10:39,900
and suddenly there were drugs

903
01:10:40,320 --> 01:10:41,820
and there was a lot of girls,

904
01:10:41,940 --> 01:10:44,690
and so many characters that
suddenly arrive on the scene.

905
01:10:44,860 --> 01:10:49,120
This huge sort of sub-subculture
that spins around fame.

906
01:10:49,660 --> 01:10:51,620
Especially fame
in its very early stages.

907
01:10:51,740 --> 01:10:54,620
'Cause that's the place
where you can smell...

908
01:10:55,210 --> 01:10:56,540
something new coming.

909
01:10:56,710 --> 01:10:57,960
It felt good.

910
01:10:58,420 --> 01:11:00,290
As it might.

911
01:11:00,290 --> 01:11:02,590
Especially as we were doing it
without the press,

912
01:11:02,710 --> 01:11:03,880
who didn't seem to like us,

913
01:11:03,960 --> 01:11:05,720
the few reviews
we did seem to get,

914
01:11:06,220 --> 01:11:09,050
the obvious one being
the Rolling Stone review.

915
01:11:10,390 --> 01:11:12,060
I remember reading that review,

916
01:11:12,180 --> 01:11:14,640
thinking, "Who are they
talking about?

917
01:11:15,350 --> 01:11:17,020
Do they mean us?"

918
01:11:17,980 --> 01:11:19,980
A lot of those writers
at that time,

919
01:11:20,110 --> 01:11:21,860
I don't know whether they were
studying the music

920
01:11:21,980 --> 01:11:24,110
to criticize it or whether
they were more concerned

921
01:11:24,280 --> 01:11:27,240
about the sort of
social activities.

922
01:11:27,700 --> 01:11:31,620
But do you really care
about other people's responses

923
01:11:31,620 --> 01:11:33,240
if you're playing like that?

924
01:11:33,790 --> 01:11:35,330
Well, the answer is...

925
01:11:36,080 --> 01:11:37,790
unfortunately, yeah.

926
01:11:38,620 --> 01:11:41,000
That's where you can
come unstuck.

927
01:11:41,840 --> 01:11:46,170
Fortunately, as four guys,
we did not care that much.

928
01:11:46,260 --> 01:11:49,010
We were more caring about
how we turned ourselves on.

929
01:11:49,550 --> 01:11:52,640
The first album,
it just got ripped to pieces.

930
01:11:52,760 --> 01:11:54,180
Like, loads would say,
"Oh no.

931
01:11:54,180 --> 01:11:55,890
I don't like Zeppelin's
sort of music,"

932
01:11:55,970 --> 01:11:57,270
for some reason, you know?

933
01:11:57,680 --> 01:11:59,690
So we all thought
it was a bit of a joke.

934
01:12:00,770 --> 01:12:03,570
We worked really, really hard
and...

935
01:12:03,690 --> 01:12:06,360
people got it,
and you could see they got it.

936
01:12:06,860 --> 01:12:09,030
Then they told their friends
that they got it.

937
01:12:09,150 --> 01:12:10,280
"Get some too."

938
01:12:10,530 --> 01:12:13,740
The venues are jam-packed,
so what people are hearing

939
01:12:13,910 --> 01:12:16,040
as opposed
to what they're reading

940
01:12:16,040 --> 01:12:18,000
is what really makes the band.

941
01:12:32,890 --> 01:12:35,140
It was exciting
to be doing these concerts

942
01:12:35,220 --> 01:12:37,520
and being able to have
this communion

943
01:12:37,640 --> 01:12:38,770
with the four of us

944
01:12:38,890 --> 01:12:41,480
and be able to just change,
you know,

945
01:12:41,640 --> 01:12:43,860
things with a sense of humor
or an intensity

946
01:12:43,860 --> 01:12:46,610
or a level of aggression
or whatever.

947
01:12:46,690 --> 01:12:49,530
And this is how connected
we are,

948
01:12:49,610 --> 01:12:51,740
that we can be moving
in any direction

949
01:12:51,860 --> 01:12:53,030
and everyone's following.

950
01:12:53,160 --> 01:12:55,030
If the guitar's leading,
they're all following.

951
01:12:55,160 --> 01:12:57,200
I can just hold back
and change this.

952
01:12:57,200 --> 01:13:01,330
The improvisation is just
at an extraordinary level.

953
01:13:01,870 --> 01:13:03,920
With "Dazed and Confused,"

954
01:13:04,040 --> 01:13:07,210
the intensity is building.
It's positively evil.

955
01:13:37,330 --> 01:13:38,330
Uh!

956
01:16:17,320 --> 01:16:19,150
Oh! Ah!

957
01:18:12,850 --> 01:18:14,100
Hey!

958
01:19:59,620 --> 01:20:02,080
I knew what we had
and I just really wanted

959
01:20:02,170 --> 01:20:04,340
to knock everybody dead
with it.

960
01:20:04,460 --> 01:20:07,510
I had a whole vision
for the next album.

961
01:20:07,630 --> 01:20:10,590
It was going to be
very cinematic

962
01:20:10,680 --> 01:20:14,760
in its approach to how the music
is done in the first place,

963
01:20:14,850 --> 01:20:18,020
let alone what the overdubs
and the layers are gonna do.

964
01:20:18,600 --> 01:20:20,850
So I called for a rehearsal
at the house

965
01:20:20,980 --> 01:20:23,690
and we rehearsed two new songs,

966
01:20:23,860 --> 01:20:25,070
"Whole Lotta Love"

967
01:20:25,190 --> 01:20:27,190
and "What Is and What Should
Never Be."

968
01:20:27,570 --> 01:20:29,860
Jimmy would sit down
with an acoustic guitar

969
01:20:30,320 --> 01:20:31,950
and we'd work the songs out.

970
01:20:32,490 --> 01:20:35,080
He just comes in
and plays what we've written.

971
01:20:35,160 --> 01:20:36,990
Then we, all together,
suss it all out.

972
01:20:37,700 --> 01:20:41,330
{\an8}We went into Olympic Studios
in April

973
01:20:41,330 --> 01:20:44,460
{\an8}and we were just really excited
to be back in the studio again.

974
01:20:44,880 --> 01:20:48,800
{\an8}My songwriting capacity's
starting to kick in...

975
01:20:49,800 --> 01:20:52,590
because of the color of
the plane that surrounded me.

976
01:20:53,180 --> 01:20:54,550
So, with "Whole Lotta Love,"

977
01:20:54,550 --> 01:20:56,720
Jimmy had done some work
on the chorus.

978
01:20:56,720 --> 01:21:00,690
He showed me his riff
which was incredible really.

979
01:21:13,410 --> 01:21:16,410
And for the verse, I just sang
a Willie Dixon lyric.

980
01:21:26,920 --> 01:21:28,710
And, you know,
it was like...

981
01:21:29,460 --> 01:21:32,220
I was finding the best bits
of Black music

982
01:21:32,720 --> 01:21:34,840
and putting it
through the wringer,

983
01:21:34,930 --> 01:21:36,260
one way or another.

984
01:21:37,260 --> 01:21:40,430
I think there's no point
in having "Whole Lotta Love"

985
01:21:40,560 --> 01:21:41,730
and then having another riff

986
01:21:41,850 --> 01:21:44,230
which was pretty much
the same sort of sound.

987
01:21:47,020 --> 01:21:50,780
So, the thing with "What Is
and What Should Never Be"

988
01:21:50,860 --> 01:21:54,240
is that it's got these
laid-back, gentler verses

989
01:21:54,240 --> 01:21:56,070
and then it comes in with,

990
01:21:56,200 --> 01:21:57,580
I won't call them
a power chorus,

991
01:21:57,660 --> 01:22:00,120
but it's more intensity to it

992
01:22:00,290 --> 01:22:02,200
so that you could
then illustrate

993
01:22:02,290 --> 01:22:05,250
John Bonham's power
and the group's power as well,

994
01:22:05,370 --> 01:22:06,710
the whole thing.

995
01:22:25,100 --> 01:22:26,310
We had this tour coming up

996
01:22:26,440 --> 01:22:28,730
and I think it's going to be
really a hoot

997
01:22:28,810 --> 01:22:33,610
to be able to record
in various locations in America.

998
01:22:33,690 --> 01:22:36,950
The idea was to be
inspired by,

999
01:22:37,110 --> 01:22:39,120
you know,
the love of the people

1000
01:22:39,240 --> 01:22:41,370
and to get the reaction
of the audience.

1001
01:23:20,370 --> 01:23:22,200
It was just a joy
to be able

1002
01:23:22,330 --> 01:23:24,700
to go into studios
in the States.

1003
01:23:24,830 --> 01:23:27,330
You've got the energy
of being on the road

1004
01:23:27,500 --> 01:23:29,330
and you're actually
documenting it

1005
01:23:29,500 --> 01:23:31,170
within whatever
you're recording.

1006
01:23:48,390 --> 01:23:50,730
John Bonham's kit
was going to be spread

1007
01:23:50,730 --> 01:23:53,230
right across the stereo picture.

1008
01:23:53,230 --> 01:23:54,940
So then you could have
the placement

1009
01:23:55,070 --> 01:23:57,990
of the instruments within
and the layering within.

1010
01:24:04,450 --> 01:24:05,700
He knew how to tune.

1011
01:24:05,700 --> 01:24:07,870
He had the science
of tuning the drum.

1012
01:24:07,870 --> 01:24:09,420
So that when he hit it,

1013
01:24:09,540 --> 01:24:12,330
it just resonated
out of the top.

1014
01:24:12,420 --> 01:24:14,000
It just projected.

1015
01:24:16,050 --> 01:24:17,840
And he played with his wrists.

1016
01:24:17,920 --> 01:24:19,680
It's not all this
forearm smashing.

1017
01:24:19,760 --> 01:24:22,470
But he could also do an accent
on the bass drum

1018
01:24:22,550 --> 01:24:25,310
and you'd feel it, you know,
more or less in your gut.

1019
01:24:26,560 --> 01:24:28,430
He was so inventive.

1020
01:24:28,930 --> 01:24:31,270
And inspiring to play with,
you know.

1021
01:24:31,270 --> 01:24:34,150
You'd hear the stuff and,
well, I don't wanna just go...

1022
01:24:34,270 --> 01:24:35,730
...over that.

1023
01:24:36,320 --> 01:24:38,940
I want to do something that'll
fit in really well with it.

1024
01:24:39,070 --> 01:24:42,360
That's what bass players do best
is to fit in.

1025
01:24:42,740 --> 01:24:45,240
So everybody could be heard.

1026
01:24:45,370 --> 01:24:47,120
That was the important thing
for me,

1027
01:24:47,200 --> 01:24:48,580
that everybody could be heard,

1028
01:24:48,580 --> 01:24:51,290
what they were doing,
on a separate record.

1029
01:25:46,100 --> 01:25:48,680
We just recorded
what we liked.

1030
01:25:48,760 --> 01:25:51,770
Zeppelin always had completely
different influences.

1031
01:25:51,850 --> 01:25:53,940
We all listened
to different things.

1032
01:25:54,100 --> 01:25:57,900
I always said that Led Zeppelin
was the area in the middle.

1033
01:25:58,270 --> 01:25:59,360
In between us all.

1034
01:26:14,670 --> 01:26:18,000
It was very encouraging
to peel back

1035
01:26:18,130 --> 01:26:20,000
the vulnerabilities

1036
01:26:20,000 --> 01:26:23,510
of starting to create a writing
partnership with Jimmy,

1037
01:26:23,670 --> 01:26:26,220
where we were breaking down
the sensitivities

1038
01:26:26,300 --> 01:26:27,510
and the possible
embarrassments.

1039
01:26:28,010 --> 01:26:30,010
Writing is
a very intimate thing.

1040
01:26:30,140 --> 01:26:31,390
You expose yourself.

1041
01:26:31,970 --> 01:26:35,850
I had written some lyrics
on the first album,

1042
01:26:35,850 --> 01:26:37,560
and also on the second album,

1043
01:26:37,560 --> 01:26:40,360
but I wasn't as confident
about my lyrics

1044
01:26:40,440 --> 01:26:42,230
as I was about
my guitar playing.

1045
01:26:42,780 --> 01:26:45,030
I had to start thinking about

1046
01:26:45,150 --> 01:26:47,320
what do I do as a singer

1047
01:26:47,410 --> 01:26:50,120
and as a guy
who's gonna bring melody

1048
01:26:50,240 --> 01:26:52,080
or even a story to something.

1049
01:26:52,080 --> 01:26:56,080
The idea was to inspire him
through the music

1050
01:26:56,080 --> 01:26:57,250
to be inspired lyrically.

1051
01:26:57,500 --> 01:27:00,670
And then he came with
these lyrics for "Ramble On."

1052
01:27:01,170 --> 01:27:02,880
Yeah, this is, um...

1053
01:27:03,670 --> 01:27:06,050
a rough shot of "Ramble On."

1054
01:27:06,930 --> 01:27:08,760
"Leaves are falling all around.

1055
01:27:08,760 --> 01:27:10,220
Time I was on my way."

1056
01:27:11,350 --> 01:27:14,770
That is the story of my life.

1057
01:28:24,380 --> 01:28:28,470
I was really keen to have
a lot of texture and layering,

1058
01:28:28,590 --> 01:28:30,630
certainly on behalf
of the guitar,

1059
01:28:30,630 --> 01:28:32,090
with "Ramble On."

1060
01:28:32,180 --> 01:28:35,180
It has these various
guitar parts that go in it.

1061
01:28:35,260 --> 01:28:38,520
There's, like, guitar rolling

1062
01:28:38,640 --> 01:28:40,890
that is moving over
some of the verses.

1063
01:28:40,980 --> 01:28:42,980
Then there's the whole texture
of the solo.

1064
01:29:00,290 --> 01:29:04,000
It was just a joy to to be able
to do these tracks

1065
01:29:04,000 --> 01:29:07,170
and everyone do their part
and then come back

1066
01:29:07,170 --> 01:29:10,340
and go, "Wow.
What's he done with this?"

1067
01:29:11,010 --> 01:29:13,090
There were so many
diverse places

1068
01:29:13,260 --> 01:29:14,800
that it was coming from.

1069
01:29:14,970 --> 01:29:18,470
That very fact that we were
able to be intimate in writing,

1070
01:29:18,600 --> 01:29:20,770
that's the big breakthrough,

1071
01:29:20,890 --> 01:29:22,810
because it's a total exposure.

1072
01:29:23,850 --> 01:29:27,860
As a kid, my parents took me
to every mystical mountain top

1073
01:29:27,980 --> 01:29:31,320
and every beautiful ruin and...

1074
01:29:31,990 --> 01:29:36,030
all that sort of great
resonance of another people.

1075
01:29:36,120 --> 01:29:37,160
Well...

1076
01:29:37,740 --> 01:29:39,660
that's what that song's
all about really.

1077
01:29:39,790 --> 01:29:42,210
Me, you, and the other people.

1078
01:30:22,200 --> 01:30:24,080
{\an8}Gig after gig,
night after night,

1079
01:30:24,210 --> 01:30:27,330
maybe we had 20 songs to choose
from at that point in time.

1080
01:30:27,420 --> 01:30:29,130
Soon we'd have 40.

1081
01:30:29,210 --> 01:30:32,970
We'd opened the door to America
and there was a glint of light

1082
01:30:32,970 --> 01:30:36,140
and, obviously, you're gonna
kick the door open

1083
01:30:36,260 --> 01:30:39,390
and go in and really...
and really...

1084
01:30:39,470 --> 01:30:41,100
It's a massive continent.

1085
01:30:41,270 --> 01:30:43,390
We really wanted
to get the word across

1086
01:30:43,480 --> 01:30:45,020
through performances.

1087
01:30:48,690 --> 01:30:51,320
We toured horrendously at first.

1088
01:30:51,440 --> 01:30:54,190
We toured for months on end
pretty much.

1089
01:30:55,030 --> 01:30:57,660
Three of these guys
had families already

1090
01:30:57,780 --> 01:30:59,370
at that point in time,

1091
01:30:59,450 --> 01:31:02,620
{\an8}and this is our fifth tour
in seven months,

1092
01:31:03,120 --> 01:31:05,500
{\an8}so they were away from
their children

1093
01:31:05,620 --> 01:31:07,120
for a long time.

1094
01:31:08,040 --> 01:31:09,960
It is difficult
when you've got a family.

1095
01:31:10,420 --> 01:31:13,670
{\an8}I flew with my wife Mo
to all the good spots.

1096
01:31:14,090 --> 01:31:15,220
{\an8}She'd come to New York.

1097
01:31:15,300 --> 01:31:17,680
{\an8}She'd just take
the kids shopping.

1098
01:31:17,680 --> 01:31:19,470
Go to shows. It was great.

1099
01:31:19,600 --> 01:31:21,180
But then they'd go home
and leave us

1100
01:31:21,180 --> 01:31:23,970
to get on with
touring the rest of the country.

1101
01:31:26,140 --> 01:31:29,440
There weren't tour buses
or any niceties in those days.

1102
01:31:29,610 --> 01:31:32,070
It was just like getting
whatever transport you can,

1103
01:31:32,190 --> 01:31:35,030
get to the gig, play it,
then try have Richard Cole

1104
01:31:35,150 --> 01:31:38,320
find the next venue,
or even the city sometimes.

1105
01:31:39,030 --> 01:31:41,030
You could always tell,
when he was like,

1106
01:31:41,030 --> 01:31:43,330
you'd get to a junction
and see him going like this...

1107
01:31:43,450 --> 01:31:46,040
you'd go, "Oh no.
We're lost again."

1108
01:31:46,580 --> 01:31:49,210
It's so much easier
to tour around England.

1109
01:31:49,330 --> 01:31:52,210
If you're in America,
you're all day in a hotel

1110
01:31:52,210 --> 01:31:56,010
having arguments with bloody
turd heads and everything.

1111
01:31:56,470 --> 01:31:59,970
It does affect you, what's
happened previously in the day.

1112
01:32:00,800 --> 01:32:02,350
It was all commercial airlines

1113
01:32:02,350 --> 01:32:04,180
so you had to get up
early in the morning and go

1114
01:32:04,310 --> 01:32:08,020
and sit in some airport waiting
for a plane to somewhere.

1115
01:32:09,020 --> 01:32:11,400
But that's how everybody
got to hear us in America.

1116
01:32:40,380 --> 01:32:42,050
We came back
from America

1117
01:32:42,050 --> 01:32:43,850
and everybody wanted
to book the group.

1118
01:32:43,970 --> 01:32:45,010
It was a change of tune.

1119
01:32:45,140 --> 01:32:46,430
There was no publicity

1120
01:32:46,520 --> 01:32:48,890
and, strangely,
you'd get to a British show,

1121
01:32:48,980 --> 01:32:51,020
"How did these people
know we were coming?"

1122
01:32:51,190 --> 01:32:53,610
We figured out
it was just word of mouth.

1123
01:33:59,590 --> 01:34:01,970
I just liked the idea
of the stimulus

1124
01:34:02,090 --> 01:34:04,010
of travel and attention.

1125
01:34:04,090 --> 01:34:06,140
What do you know
if you don't seek?

1126
01:34:06,140 --> 01:34:08,310
You've got to go
and have a look for it.

1127
01:34:32,500 --> 01:34:34,410
We were playing
festivals in America

1128
01:34:34,500 --> 01:34:36,330
two years after
the Summer of Love.

1129
01:34:36,460 --> 01:34:39,040
I know that really has
no real significance,

1130
01:34:39,040 --> 01:34:40,750
but to me
it had every significance

1131
01:34:40,840 --> 01:34:44,840
'cause I was in a place
that I really wanted to be,

1132
01:34:44,840 --> 01:34:46,220
emotionally.

1133
01:35:21,500 --> 01:35:23,920
I can remember John
doing a sound check

1134
01:35:23,920 --> 01:35:25,470
at Newport Jazz Festival

1135
01:35:25,550 --> 01:35:28,340
and I could just see
all of James Brown's drummers

1136
01:35:28,430 --> 01:35:30,430
coming out of different doors

1137
01:35:30,550 --> 01:35:34,520
going, "What the...
What is going on here?"

1138
01:35:35,270 --> 01:35:37,600
He's going...

1139
01:35:37,690 --> 01:35:40,770
He's going, "Oh, yeah. I know.
I know who's watching me."

1140
01:35:40,900 --> 01:35:42,610
But it was great.

1141
01:35:43,610 --> 01:35:47,240
It's what made
Zeppelin unique in that way.

1142
01:35:47,400 --> 01:35:49,410
It's just the way
he approached rhythm

1143
01:35:49,570 --> 01:35:50,410
and what he did.

1144
01:36:50,300 --> 01:36:51,890
We recorded all the songs

1145
01:36:52,050 --> 01:36:54,140
for Led Zeppelin II
on that tour.

1146
01:36:54,140 --> 01:36:56,140
It was like a kind of
hurricane.

1147
01:36:56,600 --> 01:37:00,230
A whirlwind of energy
and release.

1148
01:37:01,190 --> 01:37:03,480
We hadn't really had a chance,
obviously,

1149
01:37:03,610 --> 01:37:06,360
with the amount of time that
we were spending in America,

1150
01:37:06,480 --> 01:37:08,990
to concentrate that much
at home.

1151
01:37:09,150 --> 01:37:11,200
So we came back
and actually played

1152
01:37:11,320 --> 01:37:12,700
our first British festival.

1153
01:37:12,700 --> 01:37:14,280
Would you welcome,
please, Led Zeppelin.

1154
01:37:14,410 --> 01:37:16,950
And, of course,
you still wonder, is this...

1155
01:37:17,450 --> 01:37:19,000
gonna have any resonance?

1156
01:37:19,120 --> 01:37:20,540
Is this gonna bring it on home?

1157
01:37:34,390 --> 01:37:35,550
Wow.

1158
01:38:05,750 --> 01:38:08,380
I've seen a photograph
of the first Bath Festival

1159
01:38:08,550 --> 01:38:10,380
but to see moving images of it,

1160
01:38:10,510 --> 01:38:12,470
well, that's absolutely amazing.

1161
01:38:13,340 --> 01:38:15,090
That was probably
the first festival

1162
01:38:15,090 --> 01:38:16,340
that we'd done in Britain.

1163
01:38:16,720 --> 01:38:18,850
And it didn't rain,
so it was really good,

1164
01:38:19,010 --> 01:38:20,270
and it was fun.

1165
01:38:22,680 --> 01:38:25,440
But how long do you want
off between a tour and a tour

1166
01:38:25,560 --> 01:38:26,900
and a tour? Not long, really.

1167
01:38:27,020 --> 01:38:29,480
I mean, we had no idea
of fatigue.

1168
01:38:30,110 --> 01:38:32,610
There's just energy and power.

1169
01:38:52,840 --> 01:38:55,010
32 minutes past the hour,

1170
01:38:55,090 --> 01:38:56,930
liftoff on Apollo 11.

1171
01:39:45,640 --> 01:39:48,270
That's one small step for man,

1172
01:39:50,610 --> 01:39:53,650
one giant leap for mankind.

1173
01:40:08,500 --> 01:40:10,170
I can just remember
we were in a tent

1174
01:40:10,170 --> 01:40:12,000
and somebody landed on the moon.

1175
01:40:16,340 --> 01:40:19,470
I mean, can you imagine
just being in America...

1176
01:40:19,970 --> 01:40:22,600
as a kid, more or less,
and just looking up...

1177
01:40:22,680 --> 01:40:24,470
You got this thing going on
with the music

1178
01:40:24,560 --> 01:40:26,980
and you look up
and there's a man on the moon.

1179
01:41:08,390 --> 01:41:10,810
You know,
it's a big old world out there,

1180
01:41:10,890 --> 01:41:14,650
{\an8}and I'm sure that 99% of people
are far more interested

1181
01:41:14,650 --> 01:41:18,610
{\an8}in the fact that these guys
got back safely from the moon.

1182
01:41:19,240 --> 01:41:23,200
But the day they got back,
that was a big day for us too.

1183
01:41:32,040 --> 01:41:34,290
That is the biggest deal

1184
01:41:34,420 --> 01:41:36,920
if you're a kid
and you want to be a singer.

1185
01:41:37,050 --> 01:41:38,380
You get a gold record.

1186
01:41:38,460 --> 01:41:41,470
I mean... [blows raspberry]
What happens next?

1187
01:41:42,050 --> 01:41:43,640
Doesn't matter, does it?

1188
01:41:48,390 --> 01:41:50,810
I just really wanted
to make sure that

1189
01:41:50,930 --> 01:41:54,270
this album was really gonna
get everybody excited.

1190
01:41:54,270 --> 01:41:57,570
I wanted it to be something
that they hadn't heard before.

1191
01:41:58,190 --> 01:42:02,070
The acoustic and the electrics
and the more radical

1192
01:42:02,200 --> 01:42:03,740
and even avant-garde.

1193
01:42:03,910 --> 01:42:06,120
So, when it came
to doing the mix

1194
01:42:06,280 --> 01:42:07,830
for Led Zeppelin II,

1195
01:42:07,910 --> 01:42:11,620
I'd mixed it with Eddie Kramer
at A&R Studios in New York.

1196
01:42:12,410 --> 01:42:14,120
I think he did an amazing job.

1197
01:42:14,120 --> 01:42:17,000
And, as was the case
with these mixing things,

1198
01:42:17,130 --> 01:42:19,840
there was often more
than two hands on the desk.

1199
01:42:22,760 --> 01:42:25,090
I really wanted to do something
with "Whole Lotta Love"

1200
01:42:25,260 --> 01:42:26,590
to stop it being a single.

1201
01:42:27,180 --> 01:42:31,980
So it was gonna have
a radical avant-garde section

1202
01:42:32,100 --> 01:42:35,520
in the middle that began with
a sonic wave.

1203
01:42:41,570 --> 01:42:43,490
Then when I put
the overdubs on it

1204
01:42:43,610 --> 01:42:45,320
for what was gonna go
in the middle,

1205
01:42:45,450 --> 01:42:47,990
I de-tuned the guitar
all the way down

1206
01:42:48,120 --> 01:42:52,370
and I was just pulling
the strings across and across.

1207
01:43:00,710 --> 01:43:02,050
Then there was
lots of panning.

1208
01:43:02,130 --> 01:43:04,420
That means moving things
from left to right.

1209
01:43:26,400 --> 01:43:28,410
And so that was it.

1210
01:43:28,410 --> 01:43:30,870
Led Zeppelin II
was completed...

1211
01:43:31,490 --> 01:43:33,330
and ready to be delivered.

1212
01:49:08,870 --> 01:49:11,710
{\an8}January the 9th, in 1970,

1213
01:49:12,210 --> 01:49:15,170
{\an8}we played the Royal Albert Hall
in London,

1214
01:49:15,250 --> 01:49:18,460
and if we're thinking back
a year,

1215
01:49:18,550 --> 01:49:21,590
January the 9th, 1969,

1216
01:49:21,720 --> 01:49:23,680
is when we were playing
in San Francisco.

1217
01:49:24,390 --> 01:49:28,060
So this is
a whole year's progress.

1218
01:49:28,180 --> 01:49:29,930
It was far out.

1219
01:49:30,020 --> 01:49:32,230
I mean, I was just having
a great time.

1220
01:49:33,520 --> 01:49:35,150
No chartered accountant here.

1221
01:49:35,270 --> 01:49:37,900
This is like a London concert,
so, of course,

1222
01:49:37,980 --> 01:49:39,740
this is where the families come.

1223
01:49:40,240 --> 01:49:42,570
Yeah, it's like a gathering
of the clans.

1224
01:49:43,280 --> 01:49:45,910
Just to go in there
and tread those boards

1225
01:49:45,910 --> 01:49:49,080
was just something else,
you know? Fabulous.

1226
01:49:49,620 --> 01:49:50,750
And it was our own show,

1227
01:49:50,830 --> 01:49:52,870
so we just went out there
and did it.

1228
01:49:58,210 --> 01:50:01,420
Led Zep! Led Zep!

1229
01:50:02,550 --> 01:50:06,100
Led Zep! Led Zep!

1230
01:50:06,600 --> 01:50:09,430
Led Zep! Led Zep!

1231
01:50:10,680 --> 01:50:12,310
Led Zep!

1232
01:54:52,720 --> 01:54:53,760
Thank you very much.

1233
01:55:07,270 --> 01:55:10,190
Led Zep! Led Zep!

1234
01:55:10,820 --> 01:55:13,990
Led Zep! Led Zep!

1235
01:55:15,070 --> 01:55:18,870
Led Zep! Led Zep!

1236
01:55:18,950 --> 01:55:20,370
Led Zep!

1237
01:55:21,240 --> 01:55:23,120
My dad came to see that show.

1238
01:55:23,120 --> 01:55:25,830
He was really proud,
which was great.

1239
01:55:26,870 --> 01:55:30,000
Said, got great passion
and fire and all that.

1240
01:55:30,090 --> 01:55:31,880
It was really nice.

1241
01:55:32,880 --> 01:55:35,930
John Paul and me,
we get on really good.

1242
01:55:35,930 --> 01:55:37,220
I mean, we all do, you know.

1243
01:55:37,720 --> 01:55:39,550
Each member of the group,
they're quite different,

1244
01:55:39,640 --> 01:55:41,970
but you find that
they're quite lads, actually.

1245
01:55:42,100 --> 01:55:44,140
They're their little category
on their own, really.

1246
01:55:44,680 --> 01:55:47,390
Um, it was at least
the middle of '69

1247
01:55:47,390 --> 01:55:49,610
before I got to really know
each of them.

1248
01:55:50,190 --> 01:55:51,940
It's a gradual thing, isn't it?

1249
01:55:52,820 --> 01:55:54,570
I could talk
about Robert forever

1250
01:55:54,690 --> 01:55:56,150
because I know him
so well really

1251
01:55:56,280 --> 01:55:57,660
that it's ridiculous.

1252
01:55:58,320 --> 01:56:00,660
And Jimmy's pretty shy,
actually.

1253
01:56:00,660 --> 01:56:03,080
But knowing him like I know,
he's really great.

1254
01:56:03,910 --> 01:56:06,460
You can like each one of them
for what they're doing.

1255
01:56:06,460 --> 01:56:08,920
But I always love
playing in the group so...

1256
01:56:09,290 --> 01:56:11,250
I don't need to do
anything else.

1257
01:56:13,460 --> 01:56:15,800
We got there
in the first place,

1258
01:56:15,800 --> 01:56:16,800
on the first day,

1259
01:56:16,920 --> 01:56:18,680
playing "Train Kept A Rollin',"

1260
01:56:18,760 --> 01:56:20,890
'cause we were drawn
to that moment

1261
01:56:20,970 --> 01:56:22,050
and it worked.

1262
01:56:22,470 --> 01:56:25,770
But all the preamble to that
was just out there,

1263
01:56:26,140 --> 01:56:27,640
throwing it up in the air.

1264
01:56:28,020 --> 01:56:30,020
So why should it ever stop?

1265
01:56:30,810 --> 01:56:34,020
If you have something
that you know is different

1266
01:56:34,150 --> 01:56:35,230
in yourself,

1267
01:56:35,360 --> 01:56:36,690
then you have
to put work into it.

1268
01:56:36,820 --> 01:56:38,490
You have to work
and work and work.

1269
01:56:38,490 --> 01:56:40,200
You also have to believe in it.

1270
01:56:40,320 --> 01:56:42,660
But as long as you can stay
really true,

1271
01:56:42,780 --> 01:56:43,950
your aim is true,

1272
01:56:44,200 --> 01:56:46,370
you can realize your dreams.
I do believe that.

1273
01:56:46,500 --> 01:56:49,500
I believe that that can be done,
'cause this is what happens.

1274
02:01:32,320 --> 02:01:33,450
Thank you.