WEBVTT FILE

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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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00:02:03.958 --> 00:02:06.459
And at the end of
the Second World War,

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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 après war zone.

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There was rationing still.
I remember

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uh, getting eggs and milk
and butter and stuff

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with a little book with coupons.

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People were recovering.

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Outside of London,
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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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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And you're hearing all this
electric guitar playing.

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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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But here in Britain, 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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with lots of people around him.

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His name was Rod Wyatt,

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and he's playing
the Lonnie Donegan songs

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on an acoustic guitar.

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So I went up to him and said,
"I've got one of those at home."

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And he said, "Bring it along

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"and I'll show you
how to tune it up."

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And then he showed me
some chords as well.

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I was absolutely
inseparable from the guitar.

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You know, 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 given back
at the end of the day.

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My father was like,

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"Well, I don't really understand
all this guitar business, but...

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"I'm with you on it,

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"providing you keep
all your schoolwork up."

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But my mum was
really supportive to the idea

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of me carrying on
and starting in a group,

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and she really believed in me.

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I mean,
it was really a big deal.

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My parents
were in vaudeville.

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My mum was the straight singer
in the evening gown

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and my father was a comedian.

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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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So I was from
that musical tradition.

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And it was all the basis

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for everything I ever did
afterwards.

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I grew up
in the West Midlands.

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My father's bloodline
is from there,

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and my mother's side of
the family are Romani Gypsy.

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My childhood was very sheltered,

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until my parents sent me
to a big school in a big town.

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Studied to be
a chartered accountant.

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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 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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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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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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00:10:00.559 --> 00:10:02.435
You heard it
on all the jukeboxes.

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00:10:02.436 --> 00:10:04.855
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,
"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...

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I learned 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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And I got talking to their
very go-ahead young priest.

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He went,
"We'd really like an organist."

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I said, "Well, I could be an
organist for you, if you like."

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Not thinking anything of it.
He went, "Yeah. Okay."

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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 learned 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 used to go and jam
on Thursday night

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at the Marquee Club.

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And after a period
of doing this,

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this band called Carter-Lewis
and the Southerners

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came up to me and asked me

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if I'd like to play
on their record.

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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 would 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 young 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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So 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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But in my own hometown,
I had my own hero,

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and it was Perry Foster.

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And he had this kind of setup
called the Delta Blues Band.

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And, um, 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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I used to play and
I used to have a job as well.

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I 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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and the music more, you know.
That's what seems to happen.

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You know, we left school
and we formed small groups,

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and things like that,

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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, you know,
the drum sound was just amazing.

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

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When I was 16,

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I went to see a group
with Robert singing.

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The gig went incredibly well
because he was bloody great.

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In the crowd
watching this

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was this larger-than-life guy
with his beautiful girlfriend.

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He got a hold of me afterwards
and he said,

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"Well, you're okay,

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00:16:31.116 --> 00:16:33.868
"but you'd be a lot better with
a proper drummer behind you."

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And I thought,
"Jesus Christ. Here we go."

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The first time
we played together

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we were about 16.

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And it was really good.

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John was amazing.

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He was a really
powerful drummer.

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I watched him
with absolute amazement.

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He was just fantastic.

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00:17:02.731 --> 00:17:05.482
But it's so competitive
playing locally anyway.

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You'd, like, have a time
going on the road

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and everything would be roses,

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and then all of a sudden,
no more gigs, no more money.

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You're back to where
you started, you know.

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One time, we were
running out of fuel

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00:17:17.203 --> 00:17:19.913
and I had to siphon gasoline
from another car

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00:17:19.914 --> 00:17:22.583
and I was caught by the police
in the middle of the night,

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sucking a piece of rubber
into a can.

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And him sitting in the back
shivering,

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thinking,
"What the hell will Pat say?"

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Pat became his wife,
and she used to say,

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00:17:35.180 --> 00:17:38.057
"Don't you dare play
with that Planty.

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00:17:38.600 --> 00:17:40.101
"He's a complete disaster."

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I left school at 16.

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I failed most of my exams

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because I'd been playing
all night in some club

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the night before my O-Levels.

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And my dad was saying,

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00:18:00.079 --> 00:18:03.041
"Well, I can get you a job
as a clerk somewhere."

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00:18:04.375 --> 00:18:06.710
"No, no. I'll find a band, Dad.
I'll find a band."

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So there used to be a place
in London

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called Archer Street.

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00:18:09.839 --> 00:18:11.882
And every Monday morning,

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all the local musicians
would congregate for work.

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And so I went there as a kid.

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Every Monday morning,
I was there.

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And I started getting
booked with bands

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and in the session scene.

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00:18:43.081 --> 00:18:46.459
Here comes Jimmy Page
with his electric guitar.

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That's my Les Paul,
my Black Beauty.

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00:18:49.170 --> 00:18:51.839
And this guitar was the guitar

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that I played most of
my sessions on.

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There we are.
Going in there to see

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00:18:57.846 --> 00:19:00.973
what I'm gonna be faced with
on that music stand.

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00:19:13.570 --> 00:19:15.905
Sessions were a lot of fun
in those days, actually.

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00:19:16.865 --> 00:19:19.074
When I started, I ended up
playing a lot of sessions

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00:19:19.075 --> 00:19:20.450
together with Jimmy.

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00:19:22.871 --> 00:19:25.707
The Goldfinger session
was at Abbey Road.

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00:19:25.832 --> 00:19:28.125
Jimmy and I
were in the rhythm section.

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There was a full orchestra

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00:19:30.128 --> 00:19:31.337
and Shirley Bassey.

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The whole energy...
Just to be in there...

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I mean, you know,
I'm still a kid, really.

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00:19:41.180 --> 00:19:43.807
And it's,
"Wow. It's Shirley Bassey."

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00:19:43.808 --> 00:19:46.143
While you were playing,
you could see her.

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00:19:46.144 --> 00:19:48.479
And she did the whole thing.

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00:19:49.647 --> 00:19:51.648
Like that.
It was wonderful to watch.

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00:20:12.045 --> 00:20:15.590
These studios would work
with ruthless efficiency.

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00:20:16.257 --> 00:20:18.258
So you couldn't be the one
to mess up

249
00:20:18.259 --> 00:20:20.010
so they went into overtime.

250
00:20:20.011 --> 00:20:21.553
Of course, if you messed up,

251
00:20:21.554 --> 00:20:23.181
you wouldn't have
been seen again.

252
00:20:35.944 --> 00:20:37.903
There'd be, like,
a pocket diary, like this,

253
00:20:37.904 --> 00:20:40.156
that I'd be carrying with me.

254
00:20:40.740 --> 00:20:43.909
I played on sessions with
the Rolling Stones,

255
00:20:43.910 --> 00:20:45.994
David Bowie, Petula Clark...

256
00:20:45.995 --> 00:20:48.163
I was on the Kinks' records.

257
00:20:48.164 --> 00:20:50.207
The first Who record.

258
00:20:50.208 --> 00:20:52.543
I mean, it goes right
across the board.

259
00:20:53.086 --> 00:20:55.046
But I didn't do anything
with the Beatles.

260
00:21:22.699 --> 00:21:24.950
I did quite a lot
of work with Donovan

261
00:21:24.951 --> 00:21:27.787
and I really enjoyed
working with him.

262
00:21:28.329 --> 00:21:30.998
And Mickie Most
was his producer.

263
00:21:33.459 --> 00:21:36.253
These sessions were great
'cause I could watch

264
00:21:36.254 --> 00:21:38.964
and I could ask questions
about things,

265
00:21:38.965 --> 00:21:40.298
and I certainly did.

266
00:21:40.299 --> 00:21:43.093
I made it my business
to ask engineers

267
00:21:43.094 --> 00:21:46.680
how certain effects were done,
like tape echo and reverb.

268
00:21:46.681 --> 00:21:49.474
And you could see the way
that they were miking

269
00:21:49.475 --> 00:21:50.977
various instruments.

270
00:21:51.853 --> 00:21:53.687
And, basically,
that's what I could do.

271
00:21:53.688 --> 00:21:55.605
I was allowed
to sort of do that.

272
00:21:55.606 --> 00:21:58.108
Not only that, I got a chance
to have a solo as well.

273
00:21:58.109 --> 00:21:59.444
So that was good.

274
00:22:09.829 --> 00:22:10.829
I went up to Mickie Most

275
00:22:10.830 --> 00:22:12.290
and said,
"Do you need an arranger?"

276
00:22:12.540 --> 00:22:14.958
"You do..."
"Yeah, I do arrangements.

277
00:22:14.959 --> 00:22:17.128
"Yeah. All the time." And...

278
00:22:17.754 --> 00:22:19.963
I hadn't really
done that before.

279
00:22:19.964 --> 00:22:23.926
But my dad had always taught me
never turn down work, right?

280
00:22:24.552 --> 00:22:27.972
And had a great working
relationship with him.

281
00:22:29.599 --> 00:22:32.350
He used to drive by
in his yellow Rolls-Royce

282
00:22:32.351 --> 00:22:35.270
and drop an acetate
through my letterbox

283
00:22:35.271 --> 00:22:39.400
with "You know what we want.
It's Friday." And that was it.

284
00:22:39.984 --> 00:22:42.736
I'd be playing bass in sessions
all day, seven days a week.

285
00:22:42.737 --> 00:22:44.696
So I had to write arrangements
at night.

286
00:22:44.697 --> 00:22:46.490
And then
nine o'clock in the morning

287
00:22:46.491 --> 00:22:49.076
I'd go to the session
and do the songs.

288
00:22:49.077 --> 00:22:52.204
I did all the arrangements
for Herman's Hermits

289
00:22:52.205 --> 00:22:53.456
and Donovan,

290
00:22:54.290 --> 00:22:56.542
and had quite a lot
to do with Lulu.

291
00:22:56.667 --> 00:22:57.959
'Cause I did all
her arrangements

292
00:22:57.960 --> 00:22:59.044
with Mickie Most as well.

293
00:23:14.936 --> 00:23:16.686
I even did
film work with her,

294
00:23:16.687 --> 00:23:19.774
like To Sir, With Love,
which was a big hit in America.

295
00:23:21.025 --> 00:23:23.611
This was considered the
pinnacle of the music business.

296
00:23:24.779 --> 00:23:26.739
My dad was incredibly proud

297
00:23:27.240 --> 00:23:29.199
when people he knew
and respected

298
00:23:29.200 --> 00:23:31.827
would come... "I saw your
John on so-and-so session

299
00:23:31.828 --> 00:23:34.496
"the other day. He's okay.
He's good, you know."

300
00:23:34.497 --> 00:23:35.665
And...

301
00:23:36.249 --> 00:23:37.416
Puffed him up a lot.

302
00:23:41.295 --> 00:23:43.171
I was in
a lot of different bands

303
00:23:43.172 --> 00:23:44.840
around that time.

304
00:23:44.841 --> 00:23:47.801
And I did a couple adventures
in recording studios.

305
00:23:47.802 --> 00:23:51.848
But my parents,
they weren't that keen at all.

306
00:23:52.390 --> 00:23:56.477
In fact, when I cut my record,
the first single on CBS,

307
00:23:57.186 --> 00:24:00.648
they didn't know anything
about it, 'cause I, um...

308
00:24:01.732 --> 00:24:04.985
I was given the alternative
of staying in the world of

309
00:24:04.986 --> 00:24:06.362
academia and...

310
00:24:07.530 --> 00:24:10.032
my article...
Training for my articles

311
00:24:11.701 --> 00:24:13.828
as a chartered accountant or...

312
00:24:15.329 --> 00:24:17.664
you just go out into the world
and do what you gotta do.

313
00:24:17.665 --> 00:24:18.916
So I did.

314
00:24:19.625 --> 00:24:21.169
So I waved everybody goodbye.

315
00:24:29.594 --> 00:24:32.345
I knew there were singers
who had more chops than me,

316
00:24:32.346 --> 00:24:36.017
but I was just out there,
throwing it up in the air.

317
00:24:37.310 --> 00:24:42.148
I had caftans, painted faces,
bells ringing, incense blazing,

318
00:24:42.523 --> 00:24:44.358
...and was just...

319
00:24:44.942 --> 00:24:47.402
Robert used to get into
more trouble and mischief

320
00:24:47.403 --> 00:24:49.613
than any other friends
I have up here, you know.

321
00:24:49.614 --> 00:24:50.907
It's ridiculous, you know.

322
00:24:52.074 --> 00:24:55.828
John came up to me and said,
"Well, what's all that about?"

323
00:24:56.913 --> 00:25:00.081
So I said, "Yeah, you're right.
What is that all about?"

324
00:25:00.082 --> 00:25:01.791
It was the end of '67.

325
00:25:01.792 --> 00:25:03.585
We got back together

326
00:25:03.586 --> 00:25:05.921
and the playing
went incredibly well.

327
00:25:21.437 --> 00:25:23.689
So we formed
the Band of Joy.

328
00:25:23.856 --> 00:25:26.483
We wanted to mix the blues
with psychedelia.

329
00:25:26.484 --> 00:25:29.361
We wanted to be a part
of that huge movement.

330
00:25:29.362 --> 00:25:31.029
We played at Frank Freeman's.

331
00:25:31.030 --> 00:25:32.907
We played Middle Earth
in London.

332
00:25:34.242 --> 00:25:37.203
We went down to Tin Pan Alley
and we recorded Memory Lane,

333
00:25:37.745 --> 00:25:40.623
which was my first adventure
in songwriting.

334
00:25:41.832 --> 00:25:43.542
Sadly, we never got it released.

335
00:25:44.293 --> 00:25:45.920
And not many people liked us.

336
00:25:46.462 --> 00:25:48.630
But we liked us.

337
00:26:16.575 --> 00:26:18.493
Pat was screaming
at John, saying,

338
00:26:18.494 --> 00:26:20.413
"I told you
to stay away from him.

339
00:26:20.955 --> 00:26:22.205
"He'll get you nowhere."

340
00:26:22.206 --> 00:26:24.833
And so he went off with Tim Rose

341
00:26:24.834 --> 00:26:27.378
and played I Got a Loneliness
and Morning Dew.

342
00:26:27.753 --> 00:26:29.714
That's how
it used to go, really.

343
00:26:30.047 --> 00:26:32.465
I mean, we had a kid then. So
you'd end up having to get a job

344
00:26:32.466 --> 00:26:34.467
in a professional group
to get a little bit of money

345
00:26:34.468 --> 00:26:36.387
to sort of live with, really.

346
00:26:37.305 --> 00:26:40.933
I just fell from favor
everywhere.

347
00:26:42.310 --> 00:26:43.936
Things were pretty tough
for me then.

348
00:26:44.603 --> 00:26:48.523
I had a brown suitcase
and some penicillin,

349
00:26:48.524 --> 00:26:50.317
and I was homeless.
I had nowhere to live.

350
00:26:50.318 --> 00:26:51.402
So I...

351
00:26:52.903 --> 00:26:55.406
I got a gig with this band
called Obs-Tweedle.

352
00:27:06.375 --> 00:27:08.543
I was totally accepted

353
00:27:08.544 --> 00:27:11.005
in the world of being
a studio musician.

354
00:27:11.547 --> 00:27:14.674
I had been caught up
doing the things

355
00:27:14.675 --> 00:27:18.053
that all of the real old-timers
when I joined in were doing.

356
00:27:18.054 --> 00:27:19.429
Like Muzak.

357
00:27:19.430 --> 00:27:22.515
Muzak is what they would
call, like, lift music.

358
00:27:22.516 --> 00:27:24.351
You know? Um...

359
00:27:24.352 --> 00:27:28.146
Very, very difficult to do

360
00:27:28.147 --> 00:27:29.439
a Muzak session,

361
00:27:29.440 --> 00:27:31.316
'cause you'd have
a whole ream of music

362
00:27:31.317 --> 00:27:33.568
and you'd have to keep
turning it and playing it,

363
00:27:33.569 --> 00:27:34.737
and turning it and playing it.

364
00:27:35.112 --> 00:27:37.572
To do that, to actually
get halfway through

365
00:27:37.573 --> 00:27:40.533
without being physically sick
was quite a miracle.

366
00:27:40.534 --> 00:27:43.412
So I knew

367
00:27:43.913 --> 00:27:46.414
that it was time
to sort of come out of there.

368
00:27:46.415 --> 00:27:50.001
All my friends, like Eric
and Jeff, were all in bands

369
00:27:50.002 --> 00:27:51.795
and they were having
a great time.

370
00:27:51.796 --> 00:27:53.922
And I thought, "I've got
a lot that I really want

371
00:27:53.923 --> 00:27:55.591
"to be able to offer."

372
00:27:56.425 --> 00:27:57.967
And Jeff Beck said,

373
00:27:57.968 --> 00:28:00.762
"It'd be really good if you
came in with the Yardbirds."

374
00:28:00.763 --> 00:28:02.972
So I thought, "How would you
really like to play

375
00:28:02.973 --> 00:28:04.599
"if you had the chance?"

376
00:28:04.600 --> 00:28:07.602
"Right. You do it. Do it now.
This is your opportunity."

377
00:28:33.838 --> 00:28:36.005
Going into the Yardbirds
with Jeff,

378
00:28:36.006 --> 00:28:37.173
it was touring with a friend

379
00:28:37.174 --> 00:28:38.968
and having, you know,
a really good time.

380
00:28:39.760 --> 00:28:42.137
But in the middle of
an American tour,

381
00:28:42.138 --> 00:28:45.141
he left the band,
and I was quite shocked.

382
00:28:45.933 --> 00:28:50.645
But it gave me the opportunity
to try a totally new direction.

383
00:28:50.646 --> 00:28:53.398
So I took over on lead guitar.

384
00:29:00.906 --> 00:29:03.241
Nobody was interested
in the Yardbirds

385
00:29:03.242 --> 00:29:05.118
over here in England anymore.

386
00:29:05.119 --> 00:29:08.580
So we started to really grow
our underground following

387
00:29:08.581 --> 00:29:09.874
in America.

388
00:29:10.624 --> 00:29:14.502
And it was just a thrill,
an absolute thrill,

389
00:29:14.503 --> 00:29:18.006
just really getting a feel
for the West Coast music scene.

390
00:29:25.306 --> 00:29:27.223
But we were up against
Mickie Most,

391
00:29:27.224 --> 00:29:28.767
who was our producer,

392
00:29:29.268 --> 00:29:31.686
so we were recording
all these awful singles

393
00:29:31.687 --> 00:29:34.565
for the AM radio,
which was the pop radio,

394
00:29:35.191 --> 00:29:38.360
and I didn't want to be
making singles anymore.

395
00:29:39.778 --> 00:29:41.154
Being in America

396
00:29:41.155 --> 00:29:43.698
and seeing the advent of
the FM underground radio,

397
00:29:43.699 --> 00:29:46.451
which was playing
whole sides of albums...

398
00:29:46.452 --> 00:29:50.164
I knew that this was gonna be
the way to go in the future.

399
00:29:50.706 --> 00:29:52.415
So that was my plan.

400
00:29:52.416 --> 00:29:54.709
To make albums that
would be played,

401
00:29:54.710 --> 00:29:57.505
a whole side,
on the FM stations.

402
00:30:04.762 --> 00:30:06.763
I had this new sound
for the Yardbirds

403
00:30:06.764 --> 00:30:08.598
already worked out in my head.

404
00:30:08.599 --> 00:30:12.143
I already knew exactly what I
wanted to be doing, guitar-wise,

405
00:30:12.144 --> 00:30:14.103
on the new stuff
that I had in mind,

406
00:30:14.104 --> 00:30:15.480
like Dazed and Confused,

407
00:30:15.481 --> 00:30:18.483
which was inspired
by Jake Holmes.

408
00:30:43.092 --> 00:30:46.679
That guitar
was given to me by Jeff Beck.

409
00:30:47.346 --> 00:30:50.224
I painted it.
I consecrated the guitar.

410
00:30:51.559 --> 00:30:55.104
This is the guitar that takes
the full journey,

411
00:30:55.854 --> 00:30:59.941
like Excalibur,
the mythical sword.

412
00:31:14.832 --> 00:31:17.918
I went to a palm reading
in LA.

413
00:31:18.836 --> 00:31:20.671
And the palmist said,

414
00:31:21.088 --> 00:31:24.591
"You're gonna be
making a decision very soon

415
00:31:24.592 --> 00:31:26.510
"which is gonna
change your life."

416
00:31:27.052 --> 00:31:30.639
A meeting happened, like, two
or three days after the palmist,

417
00:31:31.223 --> 00:31:32.390
where the rest of
the group said,

418
00:31:32.391 --> 00:31:33.684
"That's it. We wanna fold."

419
00:31:35.519 --> 00:31:36.729
I mean, it was a shock.

420
00:31:39.940 --> 00:31:43.818
I immediately went, "Well,
now I know what I'm gonna do.

421
00:31:43.819 --> 00:31:45.361
"I'm gonna form my own group,

422
00:31:45.362 --> 00:31:47.740
"and I know exactly what it is
that I wanna do with it,"

423
00:31:48.365 --> 00:31:51.285
and I just needed to find
a powerful vocalist.

424
00:31:51.827 --> 00:31:53.995
And so there was a singer
called Terry Reid.

425
00:31:53.996 --> 00:31:55.538
He registered with me

426
00:31:55.539 --> 00:31:57.916
and I thought,
"I'm gonna aim for him."

427
00:31:58.626 --> 00:32:02.004
I asked Peter Grant if he could
track down Terry Reid.

428
00:32:02.713 --> 00:32:05.006
Peter Grant was the manager
of the Yardbirds,

429
00:32:05.007 --> 00:32:07.091
and, bless him,
he really believed in me.

430
00:32:07.092 --> 00:32:09.219
This is the thing,
that once the Yardbirds folded,

431
00:32:09.345 --> 00:32:10.928
and I said,
"Well, I wanna start a group,"

432
00:32:10.929 --> 00:32:13.723
he was there. You know?
He said, "Great," you know?

433
00:32:13.724 --> 00:32:15.351
And "Whatever help I can give."

434
00:32:15.934 --> 00:32:19.271
Peter Grant and Mickie Most
were in the same office,

435
00:32:19.897 --> 00:32:21.606
and they had two desks,

436
00:32:21.607 --> 00:32:24.735
and they more or less faced
each other across the room.

437
00:32:26.070 --> 00:32:28.071
The next thing that I hear is,

438
00:32:28.072 --> 00:32:31.199
"Unfortunately Terry Reid's
signed a solo deal

439
00:32:31.200 --> 00:32:32.325
"with Mickie Most."

440
00:32:32.326 --> 00:32:33.744
And I... "Oh, yeah?"

441
00:32:34.328 --> 00:32:35.787
- Off the press?
- Right. I know that one.

442
00:32:35.788 --> 00:32:37.121
- For you.
- Right.

443
00:32:37.122 --> 00:32:38.665
I thought,
"Wow. This is super ruthless."

444
00:32:38.666 --> 00:32:41.084
But nevertheless,
Terry Reid suggested

445
00:32:41.085 --> 00:32:43.628
a singer from the Midlands
in a band called Obs-Tweedle.

446
00:32:43.629 --> 00:32:44.712
And I thought,

447
00:32:44.713 --> 00:32:46.799
"This is an unusual name.
This is a bit odd."

448
00:32:47.424 --> 00:32:49.718
He and Peter Grant came up
to have a look at me.

449
00:32:51.095 --> 00:32:54.139
He asked me if I knew where
he could find Robert Plant.

450
00:32:55.349 --> 00:32:57.726
And I said, "Yeah. Right here."

451
00:32:58.227 --> 00:33:02.021
He was doing some wonderful
improvised vocals

452
00:33:02.022 --> 00:33:03.606
and I thought
they were marvelous.

453
00:33:03.607 --> 00:33:05.734
So I invited him round my house.

454
00:33:06.485 --> 00:33:08.654
I still had nowhere to live, sadly.

455
00:33:09.154 --> 00:33:12.532
So I took my suitcase
and got a train to Pangbourne

456
00:33:12.533 --> 00:33:14.284
and knocked on another door.

457
00:33:15.744 --> 00:33:17.745
Yeah. We had
a really good connection.

458
00:33:17.746 --> 00:33:20.957
And, uh, I think he was sort of
looking through my records...

459
00:33:20.958 --> 00:33:22.417
"I've got that one." You know?

460
00:33:22.418 --> 00:33:24.961
And I played him
a Joan Baez version

461
00:33:24.962 --> 00:33:26.587
of Babe I'm Gonna Leave You

462
00:33:26.588 --> 00:33:30.174
and said, "Well, if you
can sing that top line there,

463
00:33:30.175 --> 00:33:32.176
"I've got an arrangement
that goes with it."

464
00:33:32.177 --> 00:33:35.304
And it just really, really
dovetailed together.

465
00:33:35.305 --> 00:33:36.472
It was beautiful.

466
00:33:36.473 --> 00:33:39.350
He just sang beautifully.

467
00:33:51.572 --> 00:33:53.824
We knew something
was in the air.

468
00:33:55.033 --> 00:33:57.453
I could feel this stuff
around me.

469
00:33:58.537 --> 00:34:02.458
Jimmy's guitar playing
was just tremendous. Amazing.

470
00:34:05.711 --> 00:34:06.878
Jimmy then said to me,

471
00:34:06.879 --> 00:34:09.047
"Well, we've got
this drummer lined up."

472
00:34:09.214 --> 00:34:11.716
And before he went any further,
I said, "Wait a minute.

473
00:34:11.717 --> 00:34:13.676
"There is no drummer
on the planet

474
00:34:13.677 --> 00:34:16.263
"to compare with John Bonham.

475
00:34:16.680 --> 00:34:18.140
"He's magnificent."

476
00:34:18.474 --> 00:34:20.100
He was playing with Tim Rose.

477
00:34:20.684 --> 00:34:22.226
Jimmy said, "Well,
if that's the case,

478
00:34:22.227 --> 00:34:23.811
"let's go and see him."

479
00:34:23.812 --> 00:34:27.356
And I said, "John, you've got
to listen to Jimmy play.

480
00:34:27.357 --> 00:34:30.319
"He's amazing."
John said, "Not a chance."

481
00:34:31.028 --> 00:34:32.904
I said, "You gotta be crazy.

482
00:34:32.905 --> 00:34:36.575
"You don't wanna do this stuff,
playing electric folk."

483
00:34:37.201 --> 00:34:39.786
"Come with me."
He said, "Pat would kill me."

484
00:34:39.787 --> 00:34:41.287
"Don't say that."

485
00:34:41.288 --> 00:34:43.457
I said, "I'll talk to Pat,
and your mom."

486
00:34:46.293 --> 00:34:50.088
My wife Mo read that
"Jimmy's forming a band.

487
00:34:50.631 --> 00:34:52.049
"You should give him a call.

488
00:34:52.549 --> 00:34:53.925
"See if he wants a bass player."

489
00:34:53.926 --> 00:34:55.134
Like, "No. I can't...

490
00:34:55.135 --> 00:34:57.094
"I've got this to do,
I've got that to do.

491
00:34:57.095 --> 00:34:58.846
"I got these... and albums..."

492
00:34:58.847 --> 00:35:00.807
"No," she said.
She just insisted.

493
00:35:00.808 --> 00:35:03.769
"Give him a call, please."
So I did.

494
00:35:04.353 --> 00:35:07.230
And I said, "Hey, Jim.
Heard you're forming a band."

495
00:35:07.231 --> 00:35:08.606
He went, "Yeah, yeah."

496
00:35:08.607 --> 00:35:10.733
I said,
"Do you want a bass player?"

497
00:35:10.734 --> 00:35:12.652
He went, "Well, actually, yes.

498
00:35:12.653 --> 00:35:14.821
"But there's a problem."
I said, "What's that?"

499
00:35:14.822 --> 00:35:17.490
He said, "Well, the drummer
is playing with Tim Rose

500
00:35:17.491 --> 00:35:20.536
"and he's getting 40 quid
a week. Can we best it?"

501
00:35:23.038 --> 00:35:25.207
So we decided, yeah,
we probably could.

502
00:35:27.042 --> 00:35:30.545
Peter Grant managed to
get a two-hour rehearsal space

503
00:35:30.546 --> 00:35:31.797
in Gerrard Street.

504
00:35:32.631 --> 00:35:36.551
So we all get there and
I've got my equipment set up.

505
00:35:36.552 --> 00:35:39.428
John Paul Jones is there
with his session equipment,

506
00:35:39.429 --> 00:35:41.556
uh, and John's got his drums.

507
00:35:41.557 --> 00:35:44.308
It literally was just
wall to wall amplifiers

508
00:35:44.309 --> 00:35:46.435
and we just picked one up...

509
00:35:46.436 --> 00:35:48.855
"Hello. How are you?"
"Right." You know?

510
00:35:48.856 --> 00:35:50.774
"I'm so-and-so.
He's so-and-so else."

511
00:35:51.483 --> 00:35:52.859
It was
quite strange, really,

512
00:35:52.860 --> 00:35:54.068
meeting John Paul and Jimmy.

513
00:35:54.069 --> 00:35:56.279
You know, coming from
where I'd come from, you know,

514
00:35:56.280 --> 00:35:58.155
I'd sort of thought, you know,
it was a bit of a joke,

515
00:35:58.156 --> 00:36:00.283
getting telegrams and things,
you know.

516
00:36:00.284 --> 00:36:02.660
There's a chance of becoming
one of the Yardbirds.

517
00:36:02.661 --> 00:36:04.621
It's like a gift from heaven,
wasn't it?

518
00:36:05.163 --> 00:36:07.457
I said the first number
that I want to do

519
00:36:08.083 --> 00:36:09.417
is Train Kept A-Rollin'.

520
00:36:09.418 --> 00:36:11.460
Train Kept A-Rollin'.
"Do you know it?"

521
00:36:11.461 --> 00:36:14.547
I went, "Nope."
He said, "Well, it's a 12-bar."

522
00:36:15.632 --> 00:36:17.925
"It's got this riff."
"Okay. Count it in."

523
00:36:17.926 --> 00:36:19.261
And that was it.

524
00:36:19.928 --> 00:36:21.679
And the room just exploded.

525
00:36:21.680 --> 00:36:24.265
We just kept playing it
and doing, like, solo breaks

526
00:36:24.266 --> 00:36:27.143
and all the rest of it,
and Robert's improvising.

527
00:36:27.144 --> 00:36:28.978
I'd never heard
anything like it.

528
00:36:28.979 --> 00:36:30.771
I was expecting
some cool soul singer

529
00:36:30.772 --> 00:36:33.442
and there's this
screaming maniac

530
00:36:34.401 --> 00:36:36.904
with this fantastic voice
and a fantastic range.

531
00:36:37.070 --> 00:36:38.905
You know, I was like,
"What are you doing up there?

532
00:36:38.906 --> 00:36:40.698
"You'll hurt yourself, man."

533
00:36:40.699 --> 00:36:43.911
It was devastating
because it seemed like

534
00:36:45.037 --> 00:36:46.996
that had been
what I'd been waiting for.

535
00:36:46.997 --> 00:36:48.623
I was pretty shy.

536
00:36:48.624 --> 00:36:51.250
The best thing to do when
you're in a situation like that

537
00:36:51.251 --> 00:36:53.586
is not to say much
and just soldier along

538
00:36:53.587 --> 00:36:55.379
and suss it all out,
sort of thing.

539
00:36:55.380 --> 00:36:57.006
Well, being a bass player,

540
00:36:57.007 --> 00:36:59.050
and he was probably thinking
the same thing,

541
00:36:59.051 --> 00:37:00.676
you know,
because rhythm sections

542
00:37:00.677 --> 00:37:03.430
are very sensitive creatures
really...

543
00:37:04.306 --> 00:37:05.307
Um...

544
00:37:06.141 --> 00:37:09.686
I just needed to know that
we could work together.

545
00:37:09.853 --> 00:37:12.021
The first time
we played together, you know,

546
00:37:12.022 --> 00:37:14.023
you could tell it was
gonna be a good group.

547
00:37:14.024 --> 00:37:15.733
You know, not being
sort of flashy about it.

548
00:37:17.611 --> 00:37:19.278
But I am.

549
00:37:20.989 --> 00:37:22.198
Marvelous.

550
00:37:22.199 --> 00:37:26.285
When it finally came to a halt,
I'm absolutely convinced

551
00:37:26.286 --> 00:37:29.956
that everyone knew that that was
a life-changing experience.

552
00:37:29.957 --> 00:37:32.041
And I think there was
so much kinetic energy,

553
00:37:32.042 --> 00:37:35.127
so much energy that needed
to come out for everybody.

554
00:37:35.128 --> 00:37:36.504
"Let's take it to the next stage

555
00:37:36.505 --> 00:37:38.089
"and let's take it
to Pangbourne."

556
00:37:49.559 --> 00:37:51.520
Pangbourne is on
the River Thames.

557
00:37:52.020 --> 00:37:55.106
I remember when I first
came across this boat house,

558
00:37:55.107 --> 00:37:57.359
I just thought,
"It's absolute magic."

559
00:37:57.901 --> 00:37:59.527
It had a good energy to it.

560
00:37:59.528 --> 00:38:02.990
And it was just a cauldron
of creativity.

561
00:38:03.365 --> 00:38:04.699
And this is the house
that I lived in

562
00:38:04.700 --> 00:38:07.327
in 1967 through to 1970.

563
00:38:08.036 --> 00:38:11.372
We set up initially
in the upstairs of the house.

564
00:38:11.373 --> 00:38:13.249
Where those windows are
at the top,

565
00:38:13.250 --> 00:38:14.500
there's a largish room

566
00:38:14.501 --> 00:38:17.503
and that was where we did
the rehearsals.

567
00:38:23.385 --> 00:38:26.637
We were overlooking the river.
It was beautiful.

568
00:38:26.638 --> 00:38:28.973
And we just got to know
each other

569
00:38:28.974 --> 00:38:30.307
and worked pretty hard.

570
00:38:30.308 --> 00:38:31.517
We weren't slackers.

571
00:38:31.518 --> 00:38:33.394
Our aim wasn't to be seen
on the telly.

572
00:38:33.395 --> 00:38:36.313
We all wanted to play music
very badly.

573
00:38:36.314 --> 00:38:39.192
We were working on
the material for the album,

574
00:38:39.693 --> 00:38:42.737
and then we were putting in
other material as well

575
00:38:42.738 --> 00:38:44.573
that was gonna fill out the set.

576
00:38:45.615 --> 00:38:48.200
We were rehearsing for days,

577
00:38:48.201 --> 00:38:49.995
and it would have been
pretty loud.

578
00:38:50.787 --> 00:38:52.788
You'd hear it.
You'd hear it over here.

579
00:38:52.789 --> 00:38:55.666
And I did expect somebody
to be knocking on the door

580
00:38:55.667 --> 00:38:57.418
to complain, but nobody did.

581
00:39:05.510 --> 00:39:07.303
We got together
very quickly

582
00:39:07.304 --> 00:39:09.180
because there was
already sort of a tour

583
00:39:09.181 --> 00:39:11.099
that had to be done
by the Yardbirds,

584
00:39:11.266 --> 00:39:13.559
which was a few dates
in Scandinavia.

585
00:39:13.560 --> 00:39:15.895
It was convenient that,
lo and behold,

586
00:39:15.896 --> 00:39:17.397
there was this tour
that we could do.

587
00:39:17.814 --> 00:39:19.857
So we could go there
and have the benefit

588
00:39:19.858 --> 00:39:21.442
of playing in front of
an audience

589
00:39:21.443 --> 00:39:23.487
away from London
and all the rest of it.

590
00:39:24.988 --> 00:39:26.822
Off to Scandinavia
we went

591
00:39:26.823 --> 00:39:30.242
for our first concert
as the Yardbirds.

592
00:39:30.243 --> 00:39:31.786
And we went on an airplane,

593
00:39:31.787 --> 00:39:33.454
me and John sitting next
to each other

594
00:39:33.455 --> 00:39:34.872
having a cigarette,

595
00:39:34.873 --> 00:39:37.166
seeing lots and lots
of silverware,

596
00:39:37.167 --> 00:39:38.919
knives and forks in front of us.

597
00:39:39.419 --> 00:39:41.253
Stuff that we would normally
have stolen

598
00:39:41.254 --> 00:39:42.881
was there in profusion.

599
00:39:43.507 --> 00:39:45.591
Couldn't have even got
enough of it in our bags

600
00:39:45.592 --> 00:39:47.718
to get off the plane without
having somebody help us.

601
00:39:47.719 --> 00:39:50.137
It was great.
Everything was there.

602
00:39:50.138 --> 00:39:52.766
Gin, tonic, people.

603
00:39:53.517 --> 00:39:55.519
People being kind and charming.

604
00:39:56.269 --> 00:39:58.522
Air conditioning.
It was... Off we went.

605
00:39:59.022 --> 00:40:00.857
Because you couldn't...
What could you do?

606
00:40:02.400 --> 00:40:04.027
Couldn't go back to Mommy then.

607
00:40:09.699 --> 00:40:13.202
When I told my colleagues
and the people that employ me

608
00:40:13.203 --> 00:40:15.162
that I'm giving up session work,

609
00:40:15.163 --> 00:40:17.414
I'm gonna join
a rock 'n' roll band,

610
00:40:17.415 --> 00:40:20.251
everybody said, "You're mad.
You're completely crazy."

611
00:40:26.174 --> 00:40:28.634
On bass guitar, John Paul Jones.

612
00:40:28.635 --> 00:40:30.053
John Paul Jones.

613
00:40:34.224 --> 00:40:36.726
On drums, John Bonham.

614
00:40:41.481 --> 00:40:43.525
Lead guitar, Jimmy Page.

615
00:40:49.156 --> 00:40:51.073
And myself, Robert Plant.

616
00:40:55.078 --> 00:40:57.122
Yes! All right!

617
00:41:05.964 --> 00:41:06.965
Yes!

618
00:41:12.053 --> 00:41:13.846
Yeah!

619
00:43:40.869 --> 00:43:42.119
Yes!

620
00:45:43.408 --> 00:45:45.117
It went so well, really,

621
00:45:45.118 --> 00:45:47.327
that, you know, the group
started to make the album

622
00:45:47.328 --> 00:45:49.913
straight after coming back
from Scandinavia. You know.

623
00:45:49.914 --> 00:45:53.126
How long had we been together
about then? What, a month?

624
00:45:54.085 --> 00:45:56.712
We went
into Olympic Studios

625
00:45:56.713 --> 00:45:58.756
at night over a few weeks.

626
00:45:59.591 --> 00:46:03.010
The very first time we go in
is the 25th of September

627
00:46:03.011 --> 00:46:04.386
in 1968.

628
00:46:04.387 --> 00:46:07.640
"Arrival time
from 11:00 p.m. onwards."

629
00:46:09.392 --> 00:46:10.559
Let's take one.

630
00:46:10.560 --> 00:46:11.644
Right.

631
00:46:12.437 --> 00:46:14.771
There's Glyn Johns, dear Glyn,

632
00:46:14.772 --> 00:46:17.232
at the controls of
the Helios desk

633
00:46:17.233 --> 00:46:19.776
that was custom-built
for Olympic Studios,

634
00:46:19.777 --> 00:46:21.613
and he was doing
the engineering on it.

635
00:46:22.489 --> 00:46:24.573
Drumming set one.

636
00:46:24.574 --> 00:46:26.116
John, Jimmy,
and John Paul

637
00:46:26.117 --> 00:46:29.287
were much more connected
in these sessions than I was,

638
00:46:29.996 --> 00:46:32.415
because they were
recording it live.

639
00:46:33.374 --> 00:46:35.292
They had to make it work
on the floor.

640
00:46:35.293 --> 00:46:36.627
A take is a take.

641
00:46:36.628 --> 00:46:39.379
So it was an electric
atmosphere.

642
00:46:39.380 --> 00:46:41.925
And I just tried to land
on top of it all.

643
00:46:43.968 --> 00:46:46.678
John Paul Jones brought
the most amazing bass playing,

644
00:46:46.679 --> 00:46:50.058
and he was quite a force to be
reckoned with, musically.

645
00:46:55.230 --> 00:46:57.690
I was very much in love
with John's right foot.

646
00:46:59.025 --> 00:47:01.152
I had great respect
for it.

647
00:47:01.736 --> 00:47:04.321
And I used to try
and highlight it

648
00:47:04.322 --> 00:47:05.698
and help it along

649
00:47:06.324 --> 00:47:08.493
and give it space.

650
00:47:09.035 --> 00:47:10.452
Uh, take three.

651
00:47:10.453 --> 00:47:13.539
So I could be doing a riff
and just leave a note out

652
00:47:13.540 --> 00:47:15.707
and something of his
would pop through

653
00:47:15.708 --> 00:47:18.211
and the rhythm would just
suddenly come alive.

654
00:50:06.587 --> 00:50:08.797
Well, I was gonna throw
everything I could at it.

655
00:50:08.798 --> 00:50:10.924
You know, I was gonna play
acoustic guitar,

656
00:50:10.925 --> 00:50:13.343
I played pedal steel guitar,

657
00:50:13.344 --> 00:50:15.638
I played slide guitar,
electric guitar.

658
00:50:16.305 --> 00:50:18.807
I wanted to have so many
different textures

659
00:50:18.808 --> 00:50:21.560
and moods on it
that the whole album

660
00:50:21.561 --> 00:50:24.896
would just
totally arrest the listeners

661
00:50:24.897 --> 00:50:28.985
and take them to a realm that
they hadn't been in before.

662
00:50:30.069 --> 00:50:31.695
The guitar's not on
a regular tuning

663
00:50:31.696 --> 00:50:33.113
on Black Mountain Side.

664
00:50:33.114 --> 00:50:34.991
It is very much like
a sitar tuning.

665
00:50:40.747 --> 00:50:43.750
Jimmy and John Paul were
really at the top of their game.

666
00:50:44.625 --> 00:50:47.378
They'd played on so many
diverse pieces of music

667
00:50:48.421 --> 00:50:50.672
that there was nowhere that they
couldn't find themselves

668
00:50:50.673 --> 00:50:52.174
comfortably going to.

669
00:50:52.175 --> 00:50:55.719
So that gave us a whole
magnificent bunch of colors

670
00:50:55.720 --> 00:50:56.803
to play with.

671
00:52:16.843 --> 00:52:18.344
Jimmy produced
the album.

672
00:52:18.845 --> 00:52:19.928
Which was great, you know,

673
00:52:19.929 --> 00:52:21.263
because it's got
a different sound,

674
00:52:21.264 --> 00:52:22.390
and I like that.

675
00:52:22.849 --> 00:52:25.100
He had all these ideas
of microphone placement

676
00:52:25.101 --> 00:52:27.562
to get distance, so he knew
what he wanted to hear.

677
00:52:28.938 --> 00:52:30.897
There were some
really complex things

678
00:52:30.898 --> 00:52:32.650
that went on during the mixing,

679
00:52:32.817 --> 00:52:36.111
like the backwards echo
that comes in You Shook Me.

680
00:52:36.112 --> 00:52:38.864
When you turn the tape round
and apply the echo

681
00:52:38.865 --> 00:52:40.448
and then turn it back over

682
00:52:40.449 --> 00:52:42.617
and then you get the echo
coming in reverse.

683
00:52:55.798 --> 00:52:58.425
I was cross-fading
from one song into another

684
00:52:58.426 --> 00:52:59.968
and all these sort of tricks,

685
00:52:59.969 --> 00:53:02.429
so that when people
listened to the whole album,

686
00:53:02.430 --> 00:53:05.515
as I say, it would just
absolutely demand attention.

687
00:53:05.516 --> 00:53:08.518
Well, I mean, it was amazing.
Yeah.

688
00:53:08.519 --> 00:53:11.521
I had a pair of those
big quad electrostatic speakers

689
00:53:11.522 --> 00:53:13.231
in my front room.

690
00:53:13.232 --> 00:53:15.526
You could sort of sit
almost in them.

691
00:53:15.985 --> 00:53:17.903
And I just used to play it loud.

692
00:53:35.630 --> 00:53:38.590
If you finance
the album yourself,

693
00:53:38.591 --> 00:53:40.550
you're in a much better position

694
00:53:40.551 --> 00:53:43.470
than if you're going in with,
like, a demo tape.

695
00:53:43.471 --> 00:53:45.263
So, if you knew what you
were doing,

696
00:53:45.264 --> 00:53:48.767
it made sense
to complete the album

697
00:53:48.768 --> 00:53:51.312
and then go round and do a deal.

698
00:53:55.274 --> 00:53:57.108
The American producer Bert Berns

699
00:53:57.109 --> 00:54:01.029
had really done a great PR job
for me at Atlantic Records.

700
00:54:01.030 --> 00:54:03.990
When he took me there in 1964,

701
00:54:03.991 --> 00:54:06.369
and I said we should
aim at Atlantic...

702
00:54:07.203 --> 00:54:08.496
So that's what we did.

703
00:54:17.171 --> 00:54:19.839
Yeah.
Yeah. We'd done our bit,

704
00:54:19.840 --> 00:54:22.300
and Jimmy and Peter
were going to convince people

705
00:54:22.301 --> 00:54:24.386
that they really needed it.

706
00:54:24.387 --> 00:54:27.640
Jimmy had the kind of keys
to the beginnings of a kingdom.

707
00:54:28.349 --> 00:54:30.600
And he went off to New York
with Peter,

708
00:54:30.601 --> 00:54:32.602
and through them,
they got to see Jerry Wexler.

709
00:55:01.424 --> 00:55:03.675
We put it on,
and that was a great moment

710
00:55:03.676 --> 00:55:06.344
to actually be able to play it,
regardless of what they thought,

711
00:55:06.345 --> 00:55:10.682
to actually be playing it
to, you know, Jerry Wexler.

712
00:55:39.003 --> 00:55:41.379
Atlantic wasn't allowed
to remix anything.

713
00:55:41.380 --> 00:55:42.964
It was perfect. It was done.

714
00:55:42.965 --> 00:55:45.592
The sequencing was perfect.
There was nothing...

715
00:55:45.593 --> 00:55:47.762
Certainly no singles
are gonna be taken off it.

716
00:55:50.473 --> 00:55:54.059
Having seen a situation
whereby singles

717
00:55:54.060 --> 00:55:56.311
have broken the spirit
of a band,

718
00:55:56.312 --> 00:55:59.064
I didn't want it to break
the spirit of this band.

719
00:55:59.065 --> 00:56:02.984
And I made a point of saying,
"We're an album band.

720
00:56:02.985 --> 00:56:04.904
"We're not doing singles."

721
00:56:05.738 --> 00:56:07.989
We could call the shots
because we owned the album.

722
00:56:13.579 --> 00:56:16.372
And here I am,
signing a contract.

723
00:56:16.373 --> 00:56:19.292
Then there's Peter,
looking really cool.

724
00:56:19.293 --> 00:56:21.753
Looking quite like a Mafia don.

725
00:56:41.565 --> 00:56:43.525
Peter Grant and Jimmy
had fixed it

726
00:56:43.526 --> 00:56:47.905
so that Atlantic had no say
in what we did whatsoever.

727
00:56:49.198 --> 00:56:51.658
They went there saying,
"Look, you want this band,

728
00:56:51.659 --> 00:56:54.370
"and we're gonna give you
the music." But...

729
00:56:55.788 --> 00:56:58.373
Peter Grant wouldn't let
any record executives

730
00:56:58.374 --> 00:57:00.042
anywhere near the studio.

731
00:57:00.584 --> 00:57:01.835
Or the band.

732
00:57:01.836 --> 00:57:04.462
And they were terrified of him,
which was brilliant.

733
00:57:04.463 --> 00:57:06.841
To have that freedom...
I mean, it was unheard of.

734
00:57:11.804 --> 00:57:13.805
Rather than
keep the Yardbirds name,

735
00:57:13.806 --> 00:57:16.182
the group became strong enough
to start fresh,

736
00:57:16.183 --> 00:57:18.184
and it was a decision that
we'd change the name.

737
00:57:18.185 --> 00:57:21.271
Keith Moon had suggested
a name, Led Zeppelin.

738
00:57:21.272 --> 00:57:23.815
I thought that'd be
a great name to use.

739
00:57:23.816 --> 00:57:26.651
I thought, "Yeah.
That's a terrible name.

740
00:57:26.652 --> 00:57:28.946
"Nobody's gonna remember that."

741
00:57:29.947 --> 00:57:31.698
But I couldn't come up
with a better one,

742
00:57:31.699 --> 00:57:33.284
so Led Zeppelin we were.

743
00:57:36.120 --> 00:57:39.373
So, suddenly I was a dad
and I was nearly married.

744
00:57:40.124 --> 00:57:42.458
And I was in this group that
was now gonna be called

745
00:57:42.459 --> 00:57:43.752
Led Zeppelin.

746
00:57:44.253 --> 00:57:47.131
So I went back to my parents
with an open heart.

747
00:57:48.007 --> 00:57:49.758
I called up my mom and dad
and said,

748
00:57:50.342 --> 00:57:53.511
"You might like to meet
your possible,

749
00:57:53.512 --> 00:57:56.890
"most probable,
daughter-in-law-to-be."

750
00:57:56.891 --> 00:57:58.559
And so, of course,

751
00:58:00.186 --> 00:58:01.353
they opened the door.

752
00:58:04.773 --> 00:58:09.236
November the 9th, 1968,
we played Middle Earth.

753
00:58:09.820 --> 00:58:13.448
And just to celebrate the fact
that we did that gig,

754
00:58:13.449 --> 00:58:15.034
I got married on the same day.

755
00:58:15.784 --> 00:58:18.746
Trying to get as many things in
in a day as I can.

756
00:58:19.955 --> 00:58:21.789
The car broke down
on the way to the gig.

757
00:58:21.790 --> 00:58:23.416
All that stuff, you know.

758
00:58:23.417 --> 00:58:25.418
We'd figured out
what we were gonna play

759
00:58:25.419 --> 00:58:26.878
and how we were gonna play it.

760
00:58:26.879 --> 00:58:29.505
And the first three numbers
were just bam, bam, bam.

761
00:58:29.506 --> 00:58:33.092
You could see people going,
"What on earth is going on?"

762
01:01:31.605 --> 01:01:33.106
It's a funny thing,
you know.

763
01:01:33.107 --> 01:01:34.774
You couldn't play big gigs
in England.

764
01:01:34.775 --> 01:01:35.858
You know, you'd say,

765
01:01:35.859 --> 01:01:37.693
"Do you want to take
some dates on Led Zeppelin?"

766
01:01:37.694 --> 01:01:39.112
and all this sort of thing.

767
01:01:39.113 --> 01:01:41.240
People wouldn't even
book the band.

768
01:01:42.199 --> 01:01:44.325
So Atlantic decided that

769
01:01:44.326 --> 01:01:47.412
the record is gonna come out
on the 12th of January,

770
01:01:47.413 --> 01:01:49.247
but only in America.

771
01:01:49.248 --> 01:01:52.209
So Peter gets a tour
together for us.

772
01:01:53.919 --> 01:01:56.129
It was Christmas Eve,
I think, we had to leave.

773
01:01:56.130 --> 01:01:58.423
You suddenly find
the album's coming out

774
01:01:58.424 --> 01:02:00.968
so we sort of had to go
to America to play.

775
01:02:02.052 --> 01:02:04.805
I was concerned I wouldn't
feel home there at all.

776
01:02:06.056 --> 01:02:07.056
Pat kept saying,

777
01:02:07.057 --> 01:02:09.016
"I told you
not to work with him."

778
01:02:09.017 --> 01:02:12.437
But she and my wife Maureen
were really good friends,

779
01:02:12.438 --> 01:02:16.399
so they had the mutual overview
of celebration

780
01:02:16.400 --> 01:02:19.278
for what John was doing
and what I was doing.

781
01:02:19.778 --> 01:02:21.196
We just rolled with it.

782
01:02:22.948 --> 01:02:26.784
Going to America was my dream,
for every reason.

783
01:02:35.961 --> 01:02:39.922
We're supporting
Vanilla Fudge to begin with,

784
01:02:39.923 --> 01:02:43.218
and they were the only group
that took us under their wing.

785
01:02:44.845 --> 01:02:46.762
They're good friends,
because they were friends

786
01:02:46.763 --> 01:02:48.182
when we had nothing, you know?

787
01:02:50.434 --> 01:02:52.101
Carmine and John Bonham
picked up

788
01:02:52.102 --> 01:02:53.936
such a great repartee.

789
01:02:53.937 --> 01:02:55.229
They used to watch each other

790
01:02:55.230 --> 01:02:57.482
and mimic each other
and play little parts.

791
01:02:57.483 --> 01:03:00.152
It was a great exchange of
energies between everybody.

792
01:03:03.280 --> 01:03:04.948
Denver was
the first show.

793
01:03:05.532 --> 01:03:07.366
Like playing
in an aircraft hangar.

794
01:03:07.367 --> 01:03:09.202
There wasn't that many
people there either.

795
01:03:09.203 --> 01:03:10.828
I thought, "Oh, boy."

796
01:03:10.829 --> 01:03:14.165
But I said, "Look,
let's just group together

797
01:03:14.166 --> 01:03:16.417
"as though we're playing
in a club,

798
01:03:16.418 --> 01:03:19.670
"and just play to each other.

799
01:03:19.671 --> 01:03:21.047
"Don't worry about
whether the place

800
01:03:21.048 --> 01:03:22.798
"is half full or totally full.

801
01:03:22.799 --> 01:03:25.635
"Let's just play for ourselves
to get a feel."

802
01:03:38.649 --> 01:03:40.900
From the handful of dates
with the Fudge,

803
01:03:40.901 --> 01:03:44.862
then we go to
the Whisky a Go Go in LA

804
01:03:44.863 --> 01:03:46.740
and then we're going
to San Francisco.

805
01:04:09.555 --> 01:04:11.264
The album is already
being played

806
01:04:11.265 --> 01:04:12.890
on the underground radio

807
01:04:12.891 --> 01:04:15.935
and people are really curious

808
01:04:15.936 --> 01:04:18.646
to see this band
that they're hearing.

809
01:04:18.647 --> 01:04:22.733
So we were gonna go in there,
like, with a hatchet

810
01:04:22.734 --> 01:04:25.987
and just play like
we'd never played before.

811
01:04:25.988 --> 01:04:28.240
Just throw everything
that we'd got into it.

812
01:04:29.908 --> 01:04:31.659
We're backstage
at the Fillmore,

813
01:04:31.660 --> 01:04:33.912
and, um, Peter Grant says,

814
01:04:34.663 --> 01:04:36.038
"Well, whatever happens,

815
01:04:36.039 --> 01:04:38.708
"if you don't crack it here,
it's over."

816
01:07:14.948 --> 01:07:18.325
We knew after that one
that we were on the right track.

817
01:07:30.505 --> 01:07:33.090
Everything is traveling
like wildfire.

818
01:07:33.091 --> 01:07:35.426
The whole thing
is just building.

819
01:07:35.427 --> 01:07:37.386
People were bashing down
the doors to get in

820
01:07:37.387 --> 01:07:40.222
by the time we played
Boston Tea Party,

821
01:07:40.223 --> 01:07:42.141
'cause we were working
across the States

822
01:07:42.142 --> 01:07:44.936
from the West Coast to the East.

823
01:07:45.854 --> 01:07:47.938
On FM radio
they would play

824
01:07:47.939 --> 01:07:51.233
one side of your record
and back announce that side,

825
01:07:51.234 --> 01:07:54.237
have one word from a sponsor,
and then play the other side.

826
01:07:54.488 --> 01:07:55.988
People would just listen to it

827
01:07:55.989 --> 01:07:58.366
and they'd go, "And they're
playing in your town tonight."

828
01:07:58.700 --> 01:08:01.660
And so
they'd all come on down.

829
01:08:01.661 --> 01:08:03.454
Rock 'n' roll with Led Zeppelin.

830
01:08:03.455 --> 01:08:06.500
Robert Plant is here and I know
you feel real good now.

831
01:08:07.793 --> 01:08:10.211
I'm gonna put another caller
on the phone here.

832
01:08:10.212 --> 01:08:12.463
- You're on the air, dear.
- Is this Robert Plant?

833
01:08:12.464 --> 01:08:14.673
- Occasionally, yeah.
- Oh, God.

834
01:08:14.674 --> 01:08:16.926
I want you to know that
I'm having heart failure.

835
01:08:16.927 --> 01:08:18.135
Oh, good God.

836
01:08:18.136 --> 01:08:20.055
Don't tell me.
You need a doctor.

837
01:08:20.847 --> 01:08:23.182
I just want you to know
that you are so sexy.

838
01:08:23.183 --> 01:08:24.600
- It's unbelievable.
- Okay, dear.

839
01:08:24.601 --> 01:08:26.018
- Thank you very much.
- Bless you.

840
01:08:26.019 --> 01:08:27.394
- Next? Next?
- Hello?

841
01:08:27.395 --> 01:08:29.522
I was gonna go see you
last night,

842
01:08:29.523 --> 01:08:30.940
but I couldn't get tickets.

843
01:08:30.941 --> 01:08:32.775
It was really good
last night.

844
01:08:32.776 --> 01:08:34.485
What's your name?
Oh, forget it.

845
01:08:35.570 --> 01:08:36.654
- Hello?
- Hi.

846
01:08:36.655 --> 01:08:39.740
Hi. Guess what.
I think you're a fox.

847
01:08:39.741 --> 01:08:40.908
What's that mean?

848
01:08:40.909 --> 01:08:42.827
It means you're
a very good-looking man.

849
01:08:42.828 --> 01:08:44.036
Far out.

850
01:08:44.037 --> 01:08:45.830
I really dug
the concert.

851
01:08:45.831 --> 01:08:47.206
I really liked it.

852
01:08:47.207 --> 01:08:48.874
I just really think you're a fox

853
01:08:48.875 --> 01:08:50.584
and keep on doing
what you're doing.

854
01:08:50.585 --> 01:08:52.711
That's very nice of you.
We will.

855
01:09:25.579 --> 01:09:27.496
The anticipation
was overwhelming.

856
01:09:27.497 --> 01:09:29.708
I mean, really overwhelming.

857
01:09:58.862 --> 01:10:02.072
To come back to England
with what we'd experienced,

858
01:10:02.073 --> 01:10:03.867
I just had to keep quiet.

859
01:10:04.701 --> 01:10:07.995
I mean, over here,
the record wasn't out yet.

860
01:10:07.996 --> 01:10:10.999
So I just didn't have
anything to say.

861
01:10:12.584 --> 01:10:14.210
People would have laughed at me.

862
01:10:15.754 --> 01:10:18.173
So Bonzo and I
used to get together and go...

863
01:10:19.382 --> 01:10:21.801
"Well, what was that?"
"Well, I don't know."

864
01:10:22.510 --> 01:10:24.137
"What happened?" "I don't know."

865
01:10:25.347 --> 01:10:29.058
Crikey. It was just
amazing. Just ridiculous.

866
01:10:29.059 --> 01:10:30.809
I mean, we came back
from America

867
01:10:30.810 --> 01:10:32.227
and we'd gone through
a big change.

868
01:10:32.228 --> 01:10:34.021
You know, we were feeling
really good, you know.

869
01:10:34.022 --> 01:10:35.648
But it does affect you,
you know.

870
01:10:35.649 --> 01:10:37.776
I mean, think about it.
We're 20 years old,

871
01:10:38.360 --> 01:10:40.737
and suddenly there were drugs

872
01:10:41.279 --> 01:10:42.863
and there was a lot of girls,

873
01:10:42.864 --> 01:10:45.866
and so many characters that
suddenly arrive on the scene.

874
01:10:45.867 --> 01:10:50.038
This huge sort of sub-subculture
that spins around fame.

875
01:10:50.664 --> 01:10:52.748
Especially fame
in its very early stages.

876
01:10:52.749 --> 01:10:55.418
'Cause that's the place
where you can smell

877
01:10:56.211 --> 01:10:57.671
something new coming.

878
01:10:57.921 --> 01:11:01.465
It felt good. As it might.

879
01:11:01.466 --> 01:11:03.717
Especially as we were doing it
without the press,

880
01:11:03.718 --> 01:11:05.052
who didn't seem to like us,

881
01:11:05.053 --> 01:11:06.888
the few reviews
we did seem to get,

882
01:11:07.430 --> 01:11:09.766
the obvious one being
the Rolling Stone review.

883
01:11:11.476 --> 01:11:13.394
I remember reading that review,

884
01:11:13.395 --> 01:11:15.772
thinking, "Who are they
talking about?

885
01:11:16.898 --> 01:11:18.149
"Do they mean us?"

886
01:11:19.317 --> 01:11:21.193
A lot of those writers
at that time,

887
01:11:21.194 --> 01:11:23.153
I don't know whether they were
studying the music

888
01:11:23.154 --> 01:11:25.322
to criticize it or whether
they were more concerned

889
01:11:25.323 --> 01:11:28.326
about the sort of
social activities.

890
01:11:28.868 --> 01:11:32.621
But do you really care
about other people's responses

891
01:11:32.622 --> 01:11:34.124
if you're playing like that?

892
01:11:34.958 --> 01:11:38.545
Well, the answer is,
unfortunately, yeah.

893
01:11:39.671 --> 01:11:41.923
That's where you can
come unstuck.

894
01:11:42.924 --> 01:11:47.386
Fortunately, as four guys,
we did not care that much.

895
01:11:47.387 --> 01:11:50.223
We were more caring about
how we turned ourselves on.

896
01:11:50.890 --> 01:11:53.809
The first album,
it just got ripped to pieces.

897
01:11:53.810 --> 01:11:55.310
Like, loads would say, "No.

898
01:11:55.311 --> 01:11:57.062
"I don't like Zeppelin's
sort of music,"

899
01:11:57.063 --> 01:11:58.231
for some reason, you know?

900
01:11:58.565 --> 01:12:00.483
So we all thought, you know,
it was a bit of a joke.

901
01:12:01.818 --> 01:12:04.611
We worked really, really hard,

902
01:12:04.612 --> 01:12:07.282
and people got it,
and you could see they got it.

903
01:12:07.866 --> 01:12:09.783
Then they told their friends
that they got it.

904
01:12:09.784 --> 01:12:10.994
"Get some too."

905
01:12:11.453 --> 01:12:14.872
The venues are jam-packed,
so what people are hearing,

906
01:12:14.873 --> 01:12:17.124
as opposed
to what they're reading,

907
01:12:17.125 --> 01:12:18.835
is what really makes the band.

908
01:12:34.017 --> 01:12:36.310
It was exciting
to be doing these concerts

909
01:12:36.311 --> 01:12:38.604
and being able to have
this communion

910
01:12:38.605 --> 01:12:39.813
with the four of us

911
01:12:39.814 --> 01:12:42.649
and be able to just change,
you know,

912
01:12:42.650 --> 01:12:44.943
things with a sense of humor
or an intensity

913
01:12:44.944 --> 01:12:47.655
or a level of aggression
or whatever.

914
01:12:47.864 --> 01:12:50.491
And this is how connected
we are,

915
01:12:50.492 --> 01:12:52.826
that we can be moving
in any direction

916
01:12:52.827 --> 01:12:54.203
and everyone's following.

917
01:12:54.204 --> 01:12:56.288
If the guitar's leading,
they're all following.

918
01:12:56.289 --> 01:12:58.373
I can just hold back
and change this.

919
01:12:58.374 --> 01:13:02.295
I mean, the improvisation is
just at an extraordinary level.

920
01:13:02.921 --> 01:13:05.089
With Dazed and Confused,

921
01:13:05.090 --> 01:13:08.343
the intensity is building.
It's positively evil.

922
01:13:38.206 --> 01:13:39.207
Uh!

923
01:18:13.856 --> 01:18:14.857
Hey!

924
01:20:00.880 --> 01:20:02.172
I knew what we had

925
01:20:02.173 --> 01:20:05.467
and I just really wanted
to knock everybody dead with it.

926
01:20:05.468 --> 01:20:08.678
I had a whole vision
for the next album.

927
01:20:08.679 --> 01:20:11.765
It was going to be
very cinematic

928
01:20:11.766 --> 01:20:16.019
in its approach to how the music
is done in the first place,

929
01:20:16.020 --> 01:20:19.148
let alone what the overdubs
and the layers are gonna do.

930
01:20:19.774 --> 01:20:21.858
So I called for a rehearsal
at the house,

931
01:20:21.859 --> 01:20:24.653
and we rehearsed two new songs,

932
01:20:24.654 --> 01:20:26.112
Whole Lotta Love

933
01:20:26.113 --> 01:20:28.115
and What Is and
What Should Never Be.

934
01:20:28.658 --> 01:20:30.910
Jimmy would sit down
with an acoustic guitar

935
01:20:31.327 --> 01:20:33.037
and we'd work the songs out.

936
01:20:33.663 --> 01:20:36.164
He just comes in
and plays what he's written.

937
01:20:36.165 --> 01:20:38.334
And then we, all together,
suss it all out.

938
01:20:38.876 --> 01:20:42.420
We went into Olympic Studios
in April,

939
01:20:42.421 --> 01:20:45.883
and we're just really excited
to be back in the studio again.

940
01:20:46.300 --> 01:20:49.887
My songwriting capacity
is starting to kick in

941
01:20:51.013 --> 01:20:53.516
because of the color of
the playing that surrounded me.

942
01:20:54.225 --> 01:20:55.642
So, with Whole Lotta Love,

943
01:20:55.643 --> 01:20:57.852
Jimmy had done some work
on the chorus.

944
01:20:57.853 --> 01:21:01.691
He showed me his riff,
which was incredible, really.

945
01:21:14.412 --> 01:21:17.455
And for the verse, I just
sang a Willie Dixon lyric.

946
01:21:27.925 --> 01:21:29.552
And, you know,
it was like...

947
01:21:30.595 --> 01:21:33.347
I was finding the best bits
of Black music

948
01:21:33.848 --> 01:21:35.807
and putting it
through the wringer,

949
01:21:35.808 --> 01:21:37.018
one way or another.

950
01:21:38.311 --> 01:21:41.605
I think there's no point
in having Whole Lotta Love

951
01:21:41.606 --> 01:21:42.981
and then having another riff

952
01:21:42.982 --> 01:21:45.318
which was pretty much
the same sort of sound.

953
01:21:48.321 --> 01:21:51.948
So, the thing with What Is
and What Should Never Be

954
01:21:51.949 --> 01:21:55.285
is that it's got these
laid-back, gentler verses

955
01:21:55.286 --> 01:21:57.120
and then it comes in with...

956
01:21:57.121 --> 01:21:58.747
I won't call them
a power chorus,

957
01:21:58.748 --> 01:22:01.207
but it's more intensity to it,

958
01:22:01.208 --> 01:22:03.251
so that you could
then illustrate

959
01:22:03.252 --> 01:22:06.338
John Bonham's power
and the group's power as well,

960
01:22:06.339 --> 01:22:07.673
the whole thing.

961
01:22:26.108 --> 01:22:27.400
We had this tour coming up

962
01:22:27.401 --> 01:22:29.903
and I think it's gonna be
really a hoot

963
01:22:29.904 --> 01:22:33.991
to be able to record
in various locations in America.

964
01:22:34.867 --> 01:22:40.163
The idea was to be inspired by,
you know, the love of the people

965
01:22:40.164 --> 01:22:42.500
and to get the reaction
of the audience.

966
01:23:21.414 --> 01:23:22.706
It was just a joy

967
01:23:22.707 --> 01:23:25.917
to be able to go into studios
in the States.

968
01:23:25.918 --> 01:23:28.461
You've got the energy
of being on the road

969
01:23:28.462 --> 01:23:30.463
and you're actually
documenting it

970
01:23:30.464 --> 01:23:32.257
within whatever
you're recording.

971
01:23:49.442 --> 01:23:51.818
John Bonham's kit
was gonna be spread

972
01:23:51.819 --> 01:23:54.195
right across the stereo picture.

973
01:23:54.196 --> 01:23:56.114
So then you could have
the placement

974
01:23:56.115 --> 01:23:58.950
of the instruments within
and the layering within.

975
01:24:05.541 --> 01:24:06.791
He knew how to tune.

976
01:24:06.792 --> 01:24:08.793
He had the science
of tuning the drum.

977
01:24:08.794 --> 01:24:10.545
So that when he hit it,

978
01:24:10.546 --> 01:24:13.381
it just resonated
out of the top.

979
01:24:13.382 --> 01:24:14.925
It just projected.

980
01:24:17.052 --> 01:24:19.012
And he played with his wrists.

981
01:24:19.013 --> 01:24:20.805
It's not all this
forearm smashing.

982
01:24:20.806 --> 01:24:23.600
But he could also do an accent
on the bass drum

983
01:24:23.601 --> 01:24:26.103
and you'd feel it, you know,
more or less in your gut.

984
01:24:27.730 --> 01:24:29.440
He was so inventive.

985
01:24:30.107 --> 01:24:32.484
And inspiring to play with,
you know.

986
01:24:32.485 --> 01:24:35.153
You'd hear the stuff and,
well, I don't wanna just go

987
01:24:35.154 --> 01:24:37.489
over that.

988
01:24:37.490 --> 01:24:40.200
I want to do something that'll
fit in really well with it.

989
01:24:40.201 --> 01:24:43.370
That's what I used to like
to do best, is to fit in.

990
01:24:43.871 --> 01:24:46.372
So everybody could be heard.

991
01:24:46.373 --> 01:24:48.166
That was the important thing
for me,

992
01:24:48.167 --> 01:24:49.667
that everybody could be heard,

993
01:24:49.668 --> 01:24:52.378
what they were doing,
on a Zeppelin record.

994
01:25:47.268 --> 01:25:49.395
We just recorded
what we liked.

995
01:25:49.895 --> 01:25:52.897
I mean, Zeppelin always had
completely different influences.

996
01:25:52.898 --> 01:25:55.233
We all listened
to different things.

997
01:25:55.234 --> 01:25:56.318
And I always said

998
01:25:56.485 --> 01:25:58.737
that Led Zeppelin
was the area in the middle.

999
01:25:59.238 --> 01:26:00.321
In between us all.

1000
01:26:15.754 --> 01:26:19.007
It was very encouraging
to peel back

1001
01:26:19.008 --> 01:26:21.175
the vulnerabilities

1002
01:26:21.176 --> 01:26:24.679
of starting to create a writing
partnership with Jimmy,

1003
01:26:24.680 --> 01:26:27.223
where we were breaking down
the sensitivities

1004
01:26:27.224 --> 01:26:28.559
and the possible embarrassments.

1005
01:26:29.143 --> 01:26:30.977
Writing is a very
intimate thing.

1006
01:26:30.978 --> 01:26:32.479
You expose yourself.

1007
01:26:33.147 --> 01:26:36.983
I'd written some lyrics
on the first album,

1008
01:26:36.984 --> 01:26:38.568
and also on the second album,

1009
01:26:38.569 --> 01:26:41.321
but I wasn't as confident
about my lyrics

1010
01:26:41.322 --> 01:26:43.198
as I was about
my guitar playing.

1011
01:26:43.824 --> 01:26:45.992
I had to start
thinking about

1012
01:26:45.993 --> 01:26:48.328
what do I do as a singer

1013
01:26:48.329 --> 01:26:51.080
and as a guy
who's gonna bring melody

1014
01:26:51.081 --> 01:26:52.875
or even a story to something?

1015
01:26:53.292 --> 01:26:56.961
The idea was to inspire him
through the music

1016
01:26:56.962 --> 01:26:58.421
to be inspired lyrically.

1017
01:26:58.422 --> 01:27:01.467
And then he came with
these lyrics for Ramble On.

1018
01:27:02.092 --> 01:27:03.802
Yeah, this is...

1019
01:27:04.720 --> 01:27:07.014
a rough shot of Ramble On.

1020
01:27:08.057 --> 01:27:11.185
"Leaves are falling all around.
Time I was on my way."

1021
01:27:12.353 --> 01:27:15.897
That is the story of my life.

1022
01:28:25.634 --> 01:28:29.554
I was really keen to have
a lot of texture and layering,

1023
01:28:29.555 --> 01:28:33.182
certainly on behalf
of the guitar, with Ramble On.

1024
01:28:33.183 --> 01:28:36.186
It has these various
guitar parts that go in it.

1025
01:28:36.478 --> 01:28:39.605
You know, there's,
like, guitar rolling

1026
01:28:39.606 --> 01:28:42.066
that is moving over
some of the verses.

1027
01:28:42.067 --> 01:28:44.193
Then there's the whole texture
of the solo.

1028
01:29:01.503 --> 01:29:05.131
It was just a joy to be able
to do these tracks

1029
01:29:05.132 --> 01:29:08.342
and everyone do their part
and then come back

1030
01:29:08.343 --> 01:29:11.388
and go, "Wow.
What's he done with this?"

1031
01:29:12.139 --> 01:29:14.140
There were so many
diverse places

1032
01:29:14.141 --> 01:29:15.767
that it was coming from.

1033
01:29:15.768 --> 01:29:19.562
The very fact that we were
able to be intimate in writing,

1034
01:29:19.563 --> 01:29:21.898
that's the big breakthrough,

1035
01:29:21.899 --> 01:29:23.650
because it's a total exposure.

1036
01:29:25.027 --> 01:29:28.988
As a kid, my parents took me
to every mystical mountaintop

1037
01:29:28.989 --> 01:29:32.242
and every beautiful ruin and...

1038
01:29:33.160 --> 01:29:36.954
all that sort of great
resonance of another people.

1039
01:29:36.955 --> 01:29:38.040
Well,

1040
01:29:38.832 --> 01:29:40.583
that's what that song's
all about, really.

1041
01:29:40.584 --> 01:29:42.960
Me, you, and the other people.

1042
01:30:23.293 --> 01:30:25.336
Gig after gig,
night after night,

1043
01:30:25.337 --> 01:30:28.339
maybe we had 20 songs to choose
from at that point in time.

1044
01:30:28.340 --> 01:30:30.341
Soon we'd have 40.

1045
01:30:30.342 --> 01:30:34.011
We'd opened a door to America
and there was a glint of light,

1046
01:30:34.012 --> 01:30:37.306
and, obviously, you're gonna
sort of kick the door open

1047
01:30:37.307 --> 01:30:40.351
and go in and really...

1048
01:30:40.352 --> 01:30:42.353
It's a massive continent.

1049
01:30:42.354 --> 01:30:44.397
And we really wanted
to get the word across

1050
01:30:44.398 --> 01:30:45.941
through live performances.

1051
01:30:49.653 --> 01:30:52.573
We toured horrendously at first.

1052
01:30:52.865 --> 01:30:55.159
We toured for months on end,
pretty much.

1053
01:30:56.076 --> 01:30:58.744
Three of these guys
had families already

1054
01:30:58.745 --> 01:31:00.538
at that point in time,

1055
01:31:00.539 --> 01:31:03.584
and this is our fifth tour
in seven months,

1056
01:31:04.251 --> 01:31:08.005
so they were away from
their children for a long time.

1057
01:31:09.173 --> 01:31:11.091
It is difficult
when you've got a family.

1058
01:31:11.675 --> 01:31:14.511
I flew with my wife Mo
to all the good spots.

1059
01:31:15.220 --> 01:31:16.429
She'd come to New York.

1060
01:31:16.430 --> 01:31:18.639
She'd just take
the kids shopping.

1061
01:31:18.640 --> 01:31:20.558
Go to shows. It was great.

1062
01:31:20.559 --> 01:31:22.268
But then they'd go home
and leave us

1063
01:31:22.269 --> 01:31:24.730
to get on with
touring the rest of the country.

1064
01:31:27.232 --> 01:31:30.735
There weren't tour buses
or any niceties in those days.

1065
01:31:30.736 --> 01:31:33.237
It was just like getting
whatever transport you can,

1066
01:31:33.238 --> 01:31:36.158
get to the gig, play it,
then try and have Richard Cole

1067
01:31:36.533 --> 01:31:39.286
find the next venue,
or even the city sometimes.

1068
01:31:40.037 --> 01:31:42.079
You could always tell,
when he was like...

1069
01:31:42.080 --> 01:31:44.582
You'd get at a junction
and see him going like this...

1070
01:31:44.583 --> 01:31:47.169
You'd go, "No.
We're lost again."

1071
01:31:47.878 --> 01:31:50.421
It's so much easier
to tour around England.

1072
01:31:50.422 --> 01:31:53.299
If you're in America, you're
all day in a hotel somewhere,

1073
01:31:53.300 --> 01:31:55.801
having arguments with bloody,
you know,

1074
01:31:55.802 --> 01:31:57.137
turdheads and everything.

1075
01:31:57.721 --> 01:31:59.096
You know, it does affect you,

1076
01:31:59.097 --> 01:32:00.933
like, what's happened
previously in the day.

1077
01:32:01.808 --> 01:32:03.517
It was
all commercial airlines

1078
01:32:03.518 --> 01:32:05.436
so you had to get up
early in the morning and go

1079
01:32:05.437 --> 01:32:08.857
and sit in some airport waiting
for a plane to somewhere.

1080
01:32:10.067 --> 01:32:12.361
But that's how everybody
got to hear us in America.

1081
01:32:41.598 --> 01:32:43.140
We came back
from America

1082
01:32:43.141 --> 01:32:44.684
and everybody wanted
to book the group.

1083
01:32:44.685 --> 01:32:46.185
And it was like
a change of tune, you know.

1084
01:32:46.186 --> 01:32:47.603
There was no publicity

1085
01:32:47.604 --> 01:32:49.981
and, strangely,
you'd get to a British show...

1086
01:32:49.982 --> 01:32:52.275
"How did these people
know we were coming?"

1087
01:32:52.276 --> 01:32:54.527
We figured out
it was just word of mouth.

1088
01:34:00.802 --> 01:34:03.137
I just liked the idea
of the stimulus

1089
01:34:03.138 --> 01:34:05.139
of travel and attention.

1090
01:34:05.140 --> 01:34:07.059
What do you know
if you don't seek?

1091
01:34:07.184 --> 01:34:08.727
You've got to go out
and have a look for it.

1092
01:34:33.710 --> 01:34:35.628
We were playing
festivals in America

1093
01:34:35.629 --> 01:34:37.588
two years after
the Summer of Love.

1094
01:34:37.589 --> 01:34:40.049
I know that really has
no real significance,

1095
01:34:40.050 --> 01:34:42.051
but to me
it had every significance,

1096
01:34:42.052 --> 01:34:45.846
'cause I was in a place
that I really wanted to be,

1097
01:34:45.847 --> 01:34:47.015
emotionally.

1098
01:35:22.717 --> 01:35:24.885
I can remember John
doing a sound check

1099
01:35:24.886 --> 01:35:26.679
at Newport Jazz Festival

1100
01:35:26.680 --> 01:35:29.473
and I could just see
all of James Brown's drummers

1101
01:35:29.474 --> 01:35:31.642
coming out of different doors

1102
01:35:31.643 --> 01:35:35.355
going, "What the...
What is going on here?"

1103
01:35:36.356 --> 01:35:38.816
And he's going...

1104
01:35:38.817 --> 01:35:41.735
He's going, "Yeah. I know.
I know who's watching me."

1105
01:35:41.736 --> 01:35:44.156
But it was great.
You know.

1106
01:35:44.739 --> 01:35:48.409
It's what made
Zeppelin unique in that way.

1107
01:35:48.410 --> 01:35:50.411
It's just the way
he approached rhythm

1108
01:35:50.412 --> 01:35:51.662
and what he did.

1109
01:36:51.389 --> 01:36:53.015
We recorded all the songs

1110
01:36:53.016 --> 01:36:55.184
for Led Zeppelin II
on that tour.

1111
01:36:55.185 --> 01:36:57.229
It was like a kind of hurricane.

1112
01:36:57.729 --> 01:37:01.024
A whirlwind of energy
and release.

1113
01:37:02.234 --> 01:37:04.735
We hadn't really had a chance,
obviously,

1114
01:37:04.736 --> 01:37:07.446
with the amount of time that
we were spending in America,

1115
01:37:07.447 --> 01:37:10.032
to concentrate that much
at home.

1116
01:37:10.033 --> 01:37:12.284
So we came back
and actually played

1117
01:37:12.285 --> 01:37:13.536
our first British festival.

1118
01:37:13.537 --> 01:37:15.412
Would you welcome,
please, Led Zeppelin?

1119
01:37:15.413 --> 01:37:17.248
And, of course,
you still wonder,

1120
01:37:17.249 --> 01:37:20.084
is this gonna
have any resonance?

1121
01:37:20.085 --> 01:37:21.753
Is this gonna bring it on home?

1122
01:37:35.392 --> 01:37:36.560
Wow.

1123
01:38:07.007 --> 01:38:09.592
I've seen a photograph
of the first Bath Festival

1124
01:38:09.593 --> 01:38:13.346
but to see moving images of it,
well, that's absolutely amazing.

1125
01:38:14.431 --> 01:38:16.056
That was probably
the first festival

1126
01:38:16.057 --> 01:38:17.434
that we'd done in Britain.

1127
01:38:17.976 --> 01:38:19.893
And it didn't rain,
so it was really good,

1128
01:38:19.894 --> 01:38:21.021
and it was fun.

1129
01:38:23.857 --> 01:38:25.232
But how long
do you want off

1130
01:38:25.233 --> 01:38:26.567
in between a tour and a tour

1131
01:38:26.568 --> 01:38:27.943
and a tour? Not long, really.

1132
01:38:27.944 --> 01:38:30.280
I mean, we had no idea
of fatigue.

1133
01:38:31.239 --> 01:38:33.490
There's just energy and power.

1134
01:38:54.054 --> 01:38:56.055
At 32 minutes past the hour,

1135
01:38:56.056 --> 01:38:57.807
liftoff on Apollo 11.

1136
01:39:46.731 --> 01:39:49.025
That's one small step for man,

1137
01:39:51.778 --> 01:39:54.489
one giant leap for mankind.

1138
01:40:09.587 --> 01:40:11.171
I can just remember
we were in a tent

1139
01:40:11.172 --> 01:40:12.924
and somebody landed on the moon.

1140
01:40:17.429 --> 01:40:20.306
I mean, can you imagine
just being in America,

1141
01:40:21.141 --> 01:40:23.767
as a kid, more or less,
and just looking up...

1142
01:40:23.768 --> 01:40:26.145
You got this thing going on
with the music

1143
01:40:26.146 --> 01:40:27.897
and you look up
and there's a man on the moon.

1144
01:41:09.522 --> 01:41:12.024
You know,
it's a big old world out there,

1145
01:41:12.025 --> 01:41:15.694
and I'm sure that 99% of people
are far more interested

1146
01:41:15.695 --> 01:41:19.741
in the fact that these guys
got back safely from the moon.

1147
01:41:20.450 --> 01:41:24.204
But the day they got back,
that was a big day for us too.

1148
01:41:32.879 --> 01:41:35.380
That is the biggest deal

1149
01:41:35.381 --> 01:41:37.966
if you're a kid
and you want to be a singer.

1150
01:41:37.967 --> 01:41:42.222
You get a gold record.
I mean, what happens next?

1151
01:41:43.056 --> 01:41:44.474
Doesn't matter, does it?

1152
01:41:49.521 --> 01:41:51.980
I just really wanted
to make sure that

1153
01:41:51.981 --> 01:41:55.359
this album was just really gonna
get everybody excited.

1154
01:41:55.360 --> 01:41:58.571
I wanted it to be something
that they hadn't heard before.

1155
01:41:59.197 --> 01:42:03.033
The acoustics and the electrics
and the more radical

1156
01:42:03.034 --> 01:42:04.952
and even avant-garde.

1157
01:42:04.953 --> 01:42:07.204
So, when it came
to doing the mix

1158
01:42:07.205 --> 01:42:08.997
for Led Zeppelin II,

1159
01:42:08.998 --> 01:42:12.418
I'd mixed it with Eddie Kramer
at A&R Studios in New York.

1160
01:42:13.461 --> 01:42:15.337
I think he did an amazing job.

1161
01:42:15.338 --> 01:42:18.215
And, as was the case
with these mixing things,

1162
01:42:18.216 --> 01:42:20.718
there was often more than
two hands on the desk.

1163
01:42:23.888 --> 01:42:26.139
I really wanted to do something
with Whole Lotta Love

1164
01:42:26.140 --> 01:42:27.642
to stop it being a single.

1165
01:42:28.434 --> 01:42:33.230
So it was gonna have
a radical avant-garde section

1166
01:42:33.231 --> 01:42:36.608
in the middle that began with
a sonic wave.

1167
01:42:42.657 --> 01:42:44.575
Then when I put
the overdubs on it

1168
01:42:44.576 --> 01:42:46.368
for what was gonna go
in the middle,

1169
01:42:46.369 --> 01:42:49.204
I de-tuned the guitar
all the way down

1170
01:42:49.205 --> 01:42:53.417
and I was just pulling
the strings across and across.

1171
01:43:01.843 --> 01:43:03.302
And then there
was lots of panning.

1172
01:43:03.303 --> 01:43:05.512
That means moving things
from left to right.

1173
01:43:27.327 --> 01:43:29.369
And so that was it.

1174
01:43:29.370 --> 01:43:31.789
Led Zeppelin II was completed

1175
01:43:32.582 --> 01:43:34.334
and ready to be delivered.

1176
01:49:09.794 --> 01:49:12.713
January the 9th, in 1970,

1177
01:49:13.297 --> 01:49:16.299
we played the Royal Albert Hall
in London,

1178
01:49:16.300 --> 01:49:19.469
and if we're thinking back
a year,

1179
01:49:19.470 --> 01:49:22.681
January the 9th, 1969,

1180
01:49:22.682 --> 01:49:24.642
is when we were playing
in San Francisco.

1181
01:49:25.559 --> 01:49:29.230
So this is
a whole year's progress.

1182
01:49:29.605 --> 01:49:31.064
It was far out.

1183
01:49:31.065 --> 01:49:33.108
I mean, I was just having
a great time.

1184
01:49:34.443 --> 01:49:36.319
No chartered accountant here.

1185
01:49:36.320 --> 01:49:38.905
This is like a London concert,
so, of course,

1186
01:49:38.906 --> 01:49:40.741
this is where the families come.

1187
01:49:41.284 --> 01:49:43.536
Yeah, it's like a gathering
of the clans.

1188
01:49:44.412 --> 01:49:46.955
Just to go in there
and tread those boards

1189
01:49:46.956 --> 01:49:49.959
was just something else,
you know? It was fabulous.

1190
01:49:50.584 --> 01:49:51.751
And it was our own show,

1191
01:49:51.752 --> 01:49:53.671
so we just went out there
and did it.

1192
01:49:57.216 --> 01:49:58.592
Led Zep!

1193
01:49:59.343 --> 01:50:02.388
Led Zep! Led Zep!

1194
01:50:03.514 --> 01:50:06.851
Led Zep! Led Zep!

1195
01:50:07.601 --> 01:50:10.271
Led Zep! Led Zep!

1196
01:50:11.605 --> 01:50:13.232
Led Zep!

1197
01:54:53.554 --> 01:54:54.638
Thank you very much.

1198
01:55:07.484 --> 01:55:10.904
Led Zep! Led Zep!

1199
01:55:11.614 --> 01:55:14.867
Led Zep! Led Zep!

1200
01:55:16.076 --> 01:55:19.079
Led Zep! Led Zep!

1201
01:55:19.955 --> 01:55:21.165
Led Zep!

1202
01:55:22.249 --> 01:55:24.083
My dad came to see that show.

1203
01:55:24.084 --> 01:55:26.754
He was really proud,
which was great.

1204
01:55:28.088 --> 01:55:31.049
Said, "He's got great passion
and fire and all that."

1205
01:55:31.050 --> 01:55:32.926
It was really nice.

1206
01:55:34.178 --> 01:55:36.888
John Paul and me,
you know, we get on really good.

1207
01:55:36.889 --> 01:55:38.265
I mean, we all do, you know.

1208
01:55:38.849 --> 01:55:40.642
Each member of the group,
they're quite different,

1209
01:55:40.643 --> 01:55:43.269
personality-wise,
but they're good lads, actually.

1210
01:55:43.270 --> 01:55:45.314
They're, like, a category
on their own, really.

1211
01:55:45.981 --> 01:55:48.483
Um, it was at least
the middle of '69

1212
01:55:48.484 --> 01:55:50.527
before I got to really know
each of them.

1213
01:55:51.195 --> 01:55:52.863
It's a gradual thing, isn't it?

1214
01:55:54.031 --> 01:55:55.698
I could talk
about Robert forever

1215
01:55:55.699 --> 01:55:58.201
because I know him so well,
really, that it's ridiculous.

1216
01:55:58.202 --> 01:56:01.704
You know? And Jimmy's
pretty shy, actually.

1217
01:56:01.705 --> 01:56:04.166
But knowing him like I have,
he's really great, you know.

1218
01:56:05.125 --> 01:56:07.543
I like each of them
for what they're doing.

1219
01:56:07.544 --> 01:56:09.838
And, you know, I always love
playing in the group,

1220
01:56:10.339 --> 01:56:11.965
so I don't need to do
anything else.

1221
01:56:14.593 --> 01:56:16.719
We got there
in the first place,

1222
01:56:16.720 --> 01:56:17.804
on the first day,

1223
01:56:17.805 --> 01:56:19.847
playing Train Kept A-Rollin',

1224
01:56:19.848 --> 01:56:21.891
'cause we were drawn
to that moment

1225
01:56:21.892 --> 01:56:23.018
and it worked.

1226
01:56:23.519 --> 01:56:26.730
But all the preamble to that
was just out there,

1227
01:56:27.189 --> 01:56:28.440
throwing it up in the air.

1228
01:56:29.024 --> 01:56:31.068
So why should it ever stop?

1229
01:56:31.944 --> 01:56:34.987
If you have something
that you know is different

1230
01:56:34.988 --> 01:56:36.280
in yourself,

1231
01:56:36.281 --> 01:56:37.865
then you have
to put work into it.

1232
01:56:37.866 --> 01:56:39.534
You have to work
and work and work.

1233
01:56:39.535 --> 01:56:41.202
But you also have
to believe in it.

1234
01:56:41.203 --> 01:56:43.663
But as long as you can
stay really true,

1235
01:56:43.664 --> 01:56:46.416
your aim is true,
you can realize your dreams.

1236
01:56:46.417 --> 01:56:47.500
I do believe that.

1237
01:56:47.501 --> 01:56:50.254
I believe that that can be done,
'cause this is what happens.

1238
02:01:33.328 --> 02:01:34.495
Thank you.