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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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[GOOD TIMES BAD TIMES PLAYING]

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JIMMY PAGE: 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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00:02:01,455 --> 00:02:03,207
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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JOHN PAUL JONES: 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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ROBERT PLANT: 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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[THE TRAIN
KEPT A-ROLLIN' PLAYING]

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I was listening to this
marvelous rock and roll

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00:03:27,750 --> 00:03:29,543
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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[JACK O'DIAMONDS PLAYING]

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PAGE: 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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[ROCKING, FUNKY GUITAR SOLO]

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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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00:04:55,838 --> 00:04:58,006
"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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[MAMA DON'T ALLOW PLAYING]

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[JAUNTY GUITAR MELODY PLAYING]

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PAGE: 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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[SONG CONTINUES]

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PAGE: 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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[LIVELY PIANO MUSIC PLAYING]

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JONES: 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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[LIVELY PIANO MUSIC CONTINUES]

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JONES: 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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[SONG FADES]

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PLANT: I grew up
in the West Midlands.

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My father's bloodline
is from there,

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00:07:11,890 --> 00:07:15,144
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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[LONG TALL SALLY PLAYING]

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

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PLANT: I mean, that was it.

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The syringe was in the arm.
Forever.

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[MUSIC CONTINUES]

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[SONG FADES]

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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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[LAUGHS HEARTILY]

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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-TEMPO, SWINGING DRUM SOLO]

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[UPBEAT JAZZ MUSIC PLAYING]

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[MUSIC STOPS]

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BONHAM: 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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[SHAKIN' ALL OVER PLAYING]

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JONES: 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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00:10:13,864 --> 00:10:14,948
[SONG CONTINUES]

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00:10:16,867 --> 00:10:19,702
JONES: When I told my father,
he said,

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00:10:19,703 --> 00:10:21,747
"Bass guitar
is a novelty instrument.

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00:10:22,414 --> 00:10:25,083
"And in two years' time it will
never be heard of again.

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00:10:26,460 --> 00:10:28,587
"Get yourself a saxophone,
you'll always work."

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00:10:29,421 --> 00:10:30,588
[CHUCKLES]

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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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00:10:37,179 --> 00:10:39,139
"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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00:10:46,646 --> 00:10:48,022
I had a little band.

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We were playing
at the youth club.

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00:10:49,900 --> 00:10:53,611
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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00:10:56,031 --> 00:10:59,576
I said, "Well, I could be an
organist for you, if you like."

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00:11:00,077 --> 00:11:02,536
Not thinking anything of it.
He went, "Yeah. Okay."

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00:11:02,537 --> 00:11:04,623
[JERUSALEM ON ORGAN PLAYING]

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00:11:06,625 --> 00:11:08,959
JONES: In church music
you have to improvise.

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00:11:08,960 --> 00:11:12,546
But as I wasn't very good
at playing from music anyway,

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00:11:12,547 --> 00:11:14,383
I just improvised everything.

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00:11:15,008 --> 00:11:16,384
I learned the hymns.

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00:11:16,385 --> 00:11:18,260
I could figure out
what the hymns were.

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00:11:18,261 --> 00:11:21,347
I'm not particularly religious,
but it was a good gig.

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00:11:21,348 --> 00:11:23,475
All right?
And he was a really cool priest.

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00:11:24,059 --> 00:11:28,854
And so I became organist
and choirmaster at 14.

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[CONGREGATION SINGING]

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00:11:41,451 --> 00:11:44,329
Which paid me
the princely sum of £25 a year,

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00:11:45,372 --> 00:11:47,040
which bought me a Fender bass.

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00:11:51,670 --> 00:11:53,338
[MUSIC FADES]

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00:11:54,381 --> 00:11:57,133
PAGE: I used to go and jam
on Thursday night

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00:11:57,134 --> 00:11:58,467
at the Marquee Club.

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00:11:58,468 --> 00:12:01,637
And after a period
of doing this,

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00:12:01,638 --> 00:12:04,223
this band called Carter-Lewis
and the Southerners

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00:12:04,224 --> 00:12:05,307
came up to me and asked me

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00:12:05,308 --> 00:12:07,101
if I'd like to play
on their record.

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00:12:07,102 --> 00:12:09,395
I said, "Yeah, sure.
That sounds really good."

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00:12:09,396 --> 00:12:11,272
So I went along with my kit.

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00:12:11,273 --> 00:12:13,649
The DeArmond foot pedal
and the amplifier

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00:12:13,650 --> 00:12:16,278
and my brand-new
Gibson Les Paul.

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00:12:17,362 --> 00:12:18,696
And the band would say,

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00:12:18,697 --> 00:12:20,907
"Well, just make something up
for the solo."

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00:12:21,533 --> 00:12:24,660
By the second run-through,
I've already got a part for it.

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00:12:24,661 --> 00:12:26,746
[UPBEAT ROCK MUSIC PLAYING]

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00:12:37,757 --> 00:12:40,009
PAGE: 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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00:12:49,644 --> 00:12:52,230
I was, like, seven years younger
than anybody else.

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00:12:52,814 --> 00:12:57,193
And they didn't have somebody
in the old guard,

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00:12:57,194 --> 00:12:58,652
or the current guard,

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00:12:58,653 --> 00:13:00,571
who really knew
all the influences

171
00:13:00,572 --> 00:13:03,366
and the points of reference
that the young bands had.

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00:13:04,075 --> 00:13:05,868
So, of course, I knew all of it,

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00:13:05,869 --> 00:13:08,746
whether it was, like, R&B
or whether it was blues

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00:13:08,747 --> 00:13:10,956
or rock, whatever it was.

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00:13:10,957 --> 00:13:12,791
Everybody was getting
these records

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00:13:12,792 --> 00:13:14,585
that originally came over

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00:13:14,586 --> 00:13:18,215
maybe with the American
merchant vessels.

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00:13:18,840 --> 00:13:22,134
The R&B boom had kicked in.

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00:13:22,135 --> 00:13:24,221
[KEEP IT TO YOURSELF PLAYING]

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00:13:34,314 --> 00:13:36,232
PLANT: I went to see
Sonny Boy Williamson

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00:13:36,233 --> 00:13:38,276
at the American Folk
Blues Festival.

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00:13:38,818 --> 00:13:41,487
It was around the time I was
learning to play harmonica too.

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00:13:41,488 --> 00:13:44,198
So it was just this
amazing onslaught

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00:13:44,199 --> 00:13:48,118
of music from whence
we had no idea.

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00:13:48,119 --> 00:13:51,456
[SONG CONTINUES]

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00:14:20,277 --> 00:14:23,280
[MELLOW HARMONICA SOLO PLAYING]

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00:14:25,782 --> 00:14:27,741
PLANT: Sonny Boy
was almost everything

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00:14:27,742 --> 00:14:32,121
that's become my whole entire
musical bloodstream really.

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00:14:32,122 --> 00:14:34,207
[SONG CONTINUES]

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00:14:39,462 --> 00:14:42,215
But in my own hometown,
I had my own hero,

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00:14:42,966 --> 00:14:44,718
and it was Perry Foster.

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00:14:45,093 --> 00:14:48,847
And he had this kind of setup
called the Delta Blues Band.

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00:14:49,347 --> 00:14:52,641
And, um, somehow or another,
I managed to blag my way

194
00:14:52,642 --> 00:14:54,144
into this band.

195
00:14:55,937 --> 00:14:57,980
I was prepared to be a mod
or a rocker

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00:14:57,981 --> 00:15:00,608
or a beatnik or anything
so long as I could sing

197
00:15:00,609 --> 00:15:03,319
and gather these looks
around me,

198
00:15:03,320 --> 00:15:05,780
just trying to make it
stick on the wall.

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00:15:08,241 --> 00:15:10,743
BONHAM: I used to play and
I used to have a job as well.

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00:15:10,744 --> 00:15:13,371
I used to be working with
my father in the building trade.

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00:15:13,913 --> 00:15:16,166
Used to be good builders then.

202
00:15:17,083 --> 00:15:18,667
But, you know,
the job gradually gets less

203
00:15:18,668 --> 00:15:21,545
and the music more, you know.
That's what seems to happen.

204
00:15:21,546 --> 00:15:24,173
You know, we left school
and we formed small groups,

205
00:15:24,174 --> 00:15:25,549
and things like that,

206
00:15:25,550 --> 00:15:27,344
and played locally
and everything.

207
00:15:28,428 --> 00:15:31,221
You know, for me, soul music
was a strong influence then.

208
00:15:31,222 --> 00:15:32,849
[PLEASE PLEASE PLEASE PLAYING]

209
00:15:37,312 --> 00:15:40,315
[WOMEN SCREAMING]

210
00:15:56,539 --> 00:15:58,457
BONHAM: James Brown
was a big favorite

211
00:15:58,458 --> 00:16:00,960
because, you know,
the drum sound was just amazing.

212
00:16:01,461 --> 00:16:03,295
I thought,
"I'm gonna get that sound."

213
00:16:03,296 --> 00:16:05,382
[SONG CONTINUES]

214
00:16:10,887 --> 00:16:12,262
[CROWD CHEERING]

215
00:16:12,263 --> 00:16:13,597
BONHAM: When I was 16,

216
00:16:13,598 --> 00:16:15,975
I went to see a group
with Robert singing.

217
00:16:16,768 --> 00:16:19,896
The gig went incredibly well
because he was bloody great.

218
00:16:20,814 --> 00:16:22,439
PLANT: In the crowd
watching this

219
00:16:22,440 --> 00:16:26,152
was this larger-than-life guy
with his beautiful girlfriend.

220
00:16:27,153 --> 00:16:29,405
He got a hold of me afterwards
and he said,

221
00:16:29,406 --> 00:16:31,115
"Well, you're okay,

222
00:16:31,116 --> 00:16:33,868
"but you'd be a lot better with
a proper drummer behind you."

223
00:16:34,494 --> 00:16:37,372
And I thought,
"Jesus Christ. Here we go."

224
00:16:39,332 --> 00:16:41,208
BONHAM: The first time
we played together

225
00:16:41,209 --> 00:16:42,376
we were about 16.

226
00:16:42,377 --> 00:16:43,669
And it was really good.

227
00:16:43,670 --> 00:16:45,755
[SLOW ROCK MUSIC PLAYING]

228
00:16:51,177 --> 00:16:52,512
PLANT: John was amazing.

229
00:16:53,012 --> 00:16:54,889
He was a really
powerful drummer.

230
00:16:56,099 --> 00:16:58,809
I watched him
with absolute amazement.

231
00:16:58,810 --> 00:17:01,730
He was just fantastic.

232
00:17:02,731 --> 00:17:05,482
BONHAM: But it's so competitive
playing locally anyway.

233
00:17:05,483 --> 00:17:08,068
You'd, like, have a time
going on the road

234
00:17:08,069 --> 00:17:09,653
and everything would be roses,

235
00:17:09,654 --> 00:17:11,947
and then all of a sudden,
no more gigs, no more money.

236
00:17:11,948 --> 00:17:13,783
You're back to where
you started, you know.

237
00:17:14,033 --> 00:17:16,536
One time, we were
running out of fuel

238
00:17:17,203 --> 00:17:19,913
and I had to siphon gasoline
from another car

239
00:17:19,914 --> 00:17:22,583
and I was caught by the police
in the middle of the night,

240
00:17:22,584 --> 00:17:25,169
sucking a piece of rubber
into a can.

241
00:17:25,170 --> 00:17:27,505
And him sitting in the back
shivering,

242
00:17:28,423 --> 00:17:30,425
thinking,
"What the hell will Pat say?"

243
00:17:32,218 --> 00:17:35,179
Pat became his wife,
and she used to say,

244
00:17:35,180 --> 00:17:38,057
"Don't you dare play
with that Planty.

245
00:17:38,600 --> 00:17:40,101
"He's a complete disaster."

246
00:17:40,226 --> 00:17:42,228
[ROCK 'N' ROLL MUSIC PLAYING]

247
00:17:49,319 --> 00:17:52,197
JONES: I left school at 16.

248
00:17:52,447 --> 00:17:54,324
I failed most of my exams

249
00:17:54,491 --> 00:17:56,366
because I'd been playing
all night in some club

250
00:17:56,367 --> 00:17:58,577
the night before my O-Levels.

251
00:17:58,578 --> 00:18:00,078
And my dad was saying,

252
00:18:00,079 --> 00:18:03,041
"Well, I can get you a job
as a clerk somewhere."

253
00:18:04,375 --> 00:18:06,710
"No, no. I'll find a band, Dad.
I'll find a band."

254
00:18:06,711 --> 00:18:08,420
So there used to be a place
in London

255
00:18:08,421 --> 00:18:09,838
called Archer Street.

256
00:18:09,839 --> 00:18:11,882
And every Monday morning,

257
00:18:11,883 --> 00:18:15,428
all the local musicians
would congregate for work.

258
00:18:16,304 --> 00:18:18,764
And so I went there as a kid.

259
00:18:18,765 --> 00:18:20,516
Every Monday morning,
I was there.

260
00:18:20,517 --> 00:18:22,602
[MUSIC CONTINUES]

261
00:18:35,198 --> 00:18:37,658
JONES: And I started getting
booked with bands

262
00:18:37,659 --> 00:18:39,452
and in the session scene.

263
00:18:43,081 --> 00:18:46,459
PAGE: Here comes Jimmy Page
with his electric guitar.

264
00:18:47,001 --> 00:18:49,169
That's my Les Paul,
my Black Beauty.

265
00:18:49,170 --> 00:18:51,839
And this guitar was the guitar

266
00:18:51,840 --> 00:18:53,758
that I played most of
my sessions on.

267
00:18:55,885 --> 00:18:57,845
There we are.
Going in there to see

268
00:18:57,846 --> 00:19:00,973
what I'm gonna be faced with
on that music stand.

269
00:19:00,974 --> 00:19:04,060
[GOLDFINGER PLAYING]

270
00:19:13,570 --> 00:19:15,905
Sessions were a lot of fun
in those days, actually.

271
00:19:16,865 --> 00:19:19,074
When I started, I ended up
playing a lot of sessions

272
00:19:19,075 --> 00:19:20,450
together with Jimmy.

273
00:19:20,451 --> 00:19:22,870
[MUSIC CONTINUES]

274
00:19:22,871 --> 00:19:25,707
JONES: The Goldfinger session
was at Abbey Road.

275
00:19:25,832 --> 00:19:28,125
Jimmy and I
were in the rhythm section.

276
00:19:28,126 --> 00:19:29,544
There was a full orchestra

277
00:19:30,128 --> 00:19:31,337
and Shirley Bassey.

278
00:19:35,550 --> 00:19:38,260
PAGE: The whole energy...
Just to be in there...

279
00:19:38,261 --> 00:19:41,179
I mean, you know,
I'm still a kid, really.

280
00:19:41,180 --> 00:19:43,807
And it's,
"Wow. It's Shirley Bassey."

281
00:19:43,808 --> 00:19:46,143
JONES: While you were playing,
you could see her.

282
00:19:46,144 --> 00:19:48,479
And she did the whole thing.

283
00:19:49,647 --> 00:19:51,648
Like that.
It was wonderful to watch.

284
00:19:51,649 --> 00:19:53,860
[SINGING]

285
00:20:12,045 --> 00:20:15,590
PAGE: These studios would work
with ruthless efficiency.

286
00:20:16,257 --> 00:20:18,258
So you couldn't be the one
to mess up

287
00:20:18,259 --> 00:20:20,010
so they went into overtime.

288
00:20:20,011 --> 00:20:21,553
Of course, if you messed up,

289
00:20:21,554 --> 00:20:23,181
you wouldn't have
been seen again.

290
00:20:35,944 --> 00:20:37,903
There'd be, like,
a pocket diary, like this,

291
00:20:37,904 --> 00:20:40,156
that I'd be carrying with me.

292
00:20:40,740 --> 00:20:43,909
I played on sessions with
the Rolling Stones,

293
00:20:43,910 --> 00:20:45,994
David Bowie, Petula Clark...

294
00:20:45,995 --> 00:20:48,163
I was on the Kinks' records.

295
00:20:48,164 --> 00:20:50,207
The first Who record.

296
00:20:50,208 --> 00:20:52,543
I mean, it goes right
across the board.

297
00:20:53,086 --> 00:20:55,046
But I didn't do anything
with the Beatles.

298
00:21:07,684 --> 00:21:08,684
[MUSIC STOPS]

299
00:21:08,685 --> 00:21:11,980
[SUNSHINE SUPERMAN PLAYING]

300
00:21:22,699 --> 00:21:24,950
PAGE: I did quite a lot
of work with Donovan

301
00:21:24,951 --> 00:21:27,787
and I really enjoyed
working with him.

302
00:21:28,329 --> 00:21:30,998
And Mickie Most
was his producer.

303
00:21:30,999 --> 00:21:33,458
[DONOVAN SINGING]

304
00:21:33,459 --> 00:21:36,253
PAGE: These sessions were great
'cause I could watch

305
00:21:36,254 --> 00:21:38,964
and I could ask questions
about things,

306
00:21:38,965 --> 00:21:40,298
and I certainly did.

307
00:21:40,299 --> 00:21:43,093
I made it my business
to ask engineers

308
00:21:43,094 --> 00:21:46,680
how certain effects were done,
like tape echo and reverb.

309
00:21:46,681 --> 00:21:49,474
And you could see the way
that they were miking

310
00:21:49,475 --> 00:21:50,977
various instruments.

311
00:21:51,853 --> 00:21:53,687
And, basically,
that's what I could do.

312
00:21:53,688 --> 00:21:55,605
I was allowed
to sort of do that.

313
00:21:55,606 --> 00:21:58,108
Not only that, I got a chance
to have a solo as well.

314
00:21:58,109 --> 00:21:59,444
So that was good.

315
00:21:59,652 --> 00:22:04,157
[BRIGHT, FUNKY GUITAR SOLO]

316
00:22:09,829 --> 00:22:10,829
JONES: I went up to Mickie Most

317
00:22:10,830 --> 00:22:12,290
and said,
"Do you need an arranger?"

318
00:22:12,540 --> 00:22:14,958
"You do..."
"Yeah, I do arrangements.

319
00:22:14,959 --> 00:22:17,128
"Yeah. All the time." And...

320
00:22:17,754 --> 00:22:19,963
I hadn't really
done that before.

321
00:22:19,964 --> 00:22:23,926
But my dad had always taught me
never turn down work, right?

322
00:22:24,552 --> 00:22:27,972
And had a great working
relationship with him.

323
00:22:29,599 --> 00:22:32,350
He used to drive by
in his yellow Rolls-Royce

324
00:22:32,351 --> 00:22:35,270
and drop an acetate
through my letterbox

325
00:22:35,271 --> 00:22:39,400
with "You know what we want.
It's Friday." And that was it.

326
00:22:39,984 --> 00:22:42,736
I'd be playing bass in sessions
all day, seven days a week.

327
00:22:42,737 --> 00:22:44,696
So I had to write arrangements
at night.

328
00:22:44,697 --> 00:22:46,490
And then
nine o'clock in the morning

329
00:22:46,491 --> 00:22:49,076
I'd go to the session
and do the songs.

330
00:22:49,077 --> 00:22:52,204
I did all the arrangements
for Herman's Hermits

331
00:22:52,205 --> 00:22:53,456
and Donovan,

332
00:22:54,290 --> 00:22:56,542
and had quite a lot
to do with Lulu.

333
00:22:56,667 --> 00:22:57,959
'Cause I did all
her arrangements

334
00:22:57,960 --> 00:22:59,044
with Mickie Most as well.

335
00:22:59,045 --> 00:23:00,713
[SINGING]

336
00:23:14,936 --> 00:23:16,686
JONES: I even did
film work with her,

337
00:23:16,687 --> 00:23:19,774
like To Sir, With Love,
which was a big hit in America.

338
00:23:21,025 --> 00:23:23,611
This was considered the
pinnacle of the music business.

339
00:23:24,779 --> 00:23:26,739
My dad was incredibly proud

340
00:23:27,240 --> 00:23:29,199
when people he knew
and respected

341
00:23:29,200 --> 00:23:31,827
would come... "I saw your
John on so-and-so session

342
00:23:31,828 --> 00:23:34,496
"the other day. He's okay.
He's good, you know."

343
00:23:34,497 --> 00:23:35,665
And...

344
00:23:36,249 --> 00:23:37,416
Puffed him up a lot.

345
00:23:41,295 --> 00:23:43,171
PLANT: I was in
a lot of different bands

346
00:23:43,172 --> 00:23:44,840
around that time.

347
00:23:44,841 --> 00:23:47,801
And I did a couple adventures
in recording studios.

348
00:23:47,802 --> 00:23:51,848
But my parents,
they weren't that keen at all.

349
00:23:52,390 --> 00:23:56,477
In fact, when I cut my record,
the first single on CBS,

350
00:23:57,186 --> 00:24:00,648
they didn't know anything
about it, 'cause I, um...

351
00:24:01,732 --> 00:24:04,985
I was given the alternative
of staying in the world of

352
00:24:04,986 --> 00:24:06,362
academia and...

353
00:24:07,530 --> 00:24:10,032
my article...
Training for my articles

354
00:24:11,701 --> 00:24:13,828
as a chartered accountant or...

355
00:24:15,329 --> 00:24:17,664
you just go out into the world
and do what you gotta do.

356
00:24:17,665 --> 00:24:18,916
So I did.

357
00:24:19,625 --> 00:24:21,169
So I waved everybody goodbye.

358
00:24:21,836 --> 00:24:22,837
[YOU BETTER RUN PLAYING]

359
00:24:29,594 --> 00:24:32,345
PLANT: I knew there were singers
who had more chops than me,

360
00:24:32,346 --> 00:24:36,017
but I was just out there,
throwing it up in the air.

361
00:24:37,310 --> 00:24:42,148
I had caftans, painted faces,
bells ringing, incense blazing,

362
00:24:42,523 --> 00:24:44,358
...and was just...

363
00:24:44,942 --> 00:24:47,402
BONHAM: Robert used to get into
more trouble and mischief

364
00:24:47,403 --> 00:24:49,613
than any other friends
I have up here, you know.

365
00:24:49,614 --> 00:24:50,907
It's ridiculous, you know.

366
00:24:52,074 --> 00:24:55,828
John came up to me and said,
"Well, what's all that about?"

367
00:24:56,913 --> 00:25:00,081
So I said, "Yeah, you're right.
What is that all about?"

368
00:25:00,082 --> 00:25:01,791
BONHAM: It was the end of '67.

369
00:25:01,792 --> 00:25:03,585
We got back together

370
00:25:03,586 --> 00:25:05,921
and the playing
went incredibly well.

371
00:25:05,922 --> 00:25:08,007
[MEMORY LANE PLAYING]

372
00:25:21,437 --> 00:25:23,689
PLANT: So we formed
the Band of Joy.

373
00:25:23,856 --> 00:25:26,483
We wanted to mix the blues
with psychedelia.

374
00:25:26,484 --> 00:25:29,361
We wanted to be a part
of that huge movement.

375
00:25:29,362 --> 00:25:31,029
We played at Frank Freeman's.

376
00:25:31,030 --> 00:25:32,907
We played Middle Earth
in London.

377
00:25:34,242 --> 00:25:37,203
We went down to Tin Pan Alley
and we recorded Memory Lane,

378
00:25:37,745 --> 00:25:40,623
which was my first adventure
in songwriting.

379
00:25:41,832 --> 00:25:43,542
Sadly, we never got it released.

380
00:25:44,293 --> 00:25:45,920
And not many people liked us.

381
00:25:46,462 --> 00:25:48,630
But we liked us.

382
00:25:48,631 --> 00:25:50,341
[MUSIC PLAYING]

383
00:26:16,575 --> 00:26:18,493
PLANT: Pat was screaming
at John, saying,

384
00:26:18,494 --> 00:26:20,413
"I told you
to stay away from him.

385
00:26:20,955 --> 00:26:22,205
"He'll get you nowhere."

386
00:26:22,206 --> 00:26:24,833
And so he went off with Tim Rose

387
00:26:24,834 --> 00:26:27,378
and played I Got a Loneliness
and Morning Dew.

388
00:26:27,753 --> 00:26:29,714
BONHAM: That's how
it used to go, really.

389
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

390
00:26:32,466 --> 00:26:34,467
in a professional group
to get a little bit of money

391
00:26:34,468 --> 00:26:36,387
to sort of live with, really.

392
00:26:37,305 --> 00:26:40,933
I just fell from favor
everywhere.

393
00:26:42,310 --> 00:26:43,936
Things were pretty tough
for me then.

394
00:26:44,603 --> 00:26:48,523
I had a brown suitcase
and some penicillin,

395
00:26:48,524 --> 00:26:50,317
and I was homeless.
I had nowhere to live.

396
00:26:50,318 --> 00:26:51,402
So I...

397
00:26:52,903 --> 00:26:55,406
I got a gig with this band
called Obs-Tweedle.

398
00:26:58,367 --> 00:27:00,369
[MELLOW BASS CHORDS PLAY]

399
00:27:06,375 --> 00:27:08,543
I was totally accepted

400
00:27:08,544 --> 00:27:11,005
in the world of being
a studio musician.

401
00:27:11,547 --> 00:27:14,674
I had been caught up
doing the things

402
00:27:14,675 --> 00:27:18,053
that all of the real old-timers
when I joined in were doing.

403
00:27:18,054 --> 00:27:19,429
Like Muzak.

404
00:27:19,430 --> 00:27:22,515
Muzak is what they would
call, like, lift music.

405
00:27:22,516 --> 00:27:24,351
You know? Um...

406
00:27:24,352 --> 00:27:28,146
Very, very difficult to do

407
00:27:28,147 --> 00:27:29,439
a Muzak session,

408
00:27:29,440 --> 00:27:31,316
'cause you'd have
a whole ream of music

409
00:27:31,317 --> 00:27:33,568
and you'd have to keep
turning it and playing it,

410
00:27:33,569 --> 00:27:34,737
and turning it and playing it.

411
00:27:35,112 --> 00:27:37,572
To do that, to actually
get halfway through

412
00:27:37,573 --> 00:27:40,533
without being physically sick
was quite a miracle.

413
00:27:40,534 --> 00:27:43,412
So I knew

414
00:27:43,913 --> 00:27:46,414
that it was time
to sort of come out of there.

415
00:27:46,415 --> 00:27:50,001
All my friends, like Eric
and Jeff, were all in bands

416
00:27:50,002 --> 00:27:51,795
and they were having
a great time.

417
00:27:51,796 --> 00:27:53,922
And I thought, "I've got
a lot that I really want

418
00:27:53,923 --> 00:27:55,591
"to be able to offer."

419
00:27:56,425 --> 00:27:57,967
And Jeff Beck said,

420
00:27:57,968 --> 00:28:00,762
"It'd be really good if you
came in with the Yardbirds."

421
00:28:00,763 --> 00:28:02,972
So I thought, "How would you
really like to play

422
00:28:02,973 --> 00:28:04,599
"if you had the chance?"

423
00:28:04,600 --> 00:28:07,602
"Right. You do it. Do it now.
This is your opportunity."

424
00:28:07,603 --> 00:28:10,147
[OVER UNDER
SIDEWAYS DOWN PLAYING]

425
00:28:27,331 --> 00:28:30,500
[SONG ENDS WITH FLOURISH]

426
00:28:30,501 --> 00:28:32,211
[CROWD CLAPPING]

427
00:28:33,838 --> 00:28:36,005
Going into the Yardbirds
with Jeff,

428
00:28:36,006 --> 00:28:37,173
it was touring with a friend

429
00:28:37,174 --> 00:28:38,968
and having, you know,
a really good time.

430
00:28:39,760 --> 00:28:42,137
But in the middle of
an American tour,

431
00:28:42,138 --> 00:28:45,141
he left the band,
and I was quite shocked.

432
00:28:45,933 --> 00:28:50,645
But it gave me the opportunity
to try a totally new direction.

433
00:28:50,646 --> 00:28:53,398
So I took over on lead guitar.

434
00:28:53,399 --> 00:28:55,651
[GLIMPSES PLAYING]

435
00:29:00,906 --> 00:29:03,241
PAGE: Nobody was interested
in the Yardbirds

436
00:29:03,242 --> 00:29:05,118
over here in England anymore.

437
00:29:05,119 --> 00:29:08,580
So we started to really grow
our underground following

438
00:29:08,581 --> 00:29:09,874
in America.

439
00:29:10,624 --> 00:29:14,502
And it was just a thrill,
an absolute thrill,

440
00:29:14,503 --> 00:29:18,006
just really getting a feel
for the West Coast music scene.

441
00:29:18,007 --> 00:29:20,926
[SONG CONTINUES]

442
00:29:25,306 --> 00:29:27,223
PAGE: But we were up against
Mickie Most,

443
00:29:27,224 --> 00:29:28,767
who was our producer,

444
00:29:29,268 --> 00:29:31,686
so we were recording
all these awful singles

445
00:29:31,687 --> 00:29:34,565
for the AM radio,
which was the pop radio,

446
00:29:35,191 --> 00:29:38,360
and I didn't want to be
making singles anymore.

447
00:29:39,778 --> 00:29:41,154
Being in America

448
00:29:41,155 --> 00:29:43,698
and seeing the advent of
the FM underground radio,

449
00:29:43,699 --> 00:29:46,451
which was playing
whole sides of albums...

450
00:29:46,452 --> 00:29:50,164
I knew that this was gonna be
the way to go in the future.

451
00:29:50,706 --> 00:29:52,415
So that was my plan.

452
00:29:52,416 --> 00:29:54,709
To make albums that
would be played,

453
00:29:54,710 --> 00:29:57,505
a whole side,
on the FM stations.

454
00:30:04,762 --> 00:30:06,763
I had this new sound
for the Yardbirds

455
00:30:06,764 --> 00:30:08,598
already worked out in my head.

456
00:30:08,599 --> 00:30:12,143
I already knew exactly what I
wanted to be doing, guitar-wise,

457
00:30:12,144 --> 00:30:14,103
on the new stuff
that I had in mind,

458
00:30:14,104 --> 00:30:15,480
like Dazed and Confused,

459
00:30:15,481 --> 00:30:18,483
which was inspired
by Jake Holmes.

460
00:30:18,484 --> 00:30:20,569
[DAZED AND CONFUSED PLAYING]

461
00:30:43,092 --> 00:30:46,679
PAGE: That guitar
was given to me by Jeff Beck.

462
00:30:47,346 --> 00:30:50,224
I painted it.
I consecrated the guitar.

463
00:30:51,559 --> 00:30:55,104
This is the guitar that takes
the full journey,

464
00:30:55,854 --> 00:30:59,941
like Excalibur,
the mythical sword.

465
00:30:59,942 --> 00:31:02,778
[WARBLING GUITAR MELODY]

466
00:31:14,832 --> 00:31:17,918
PAGE: I went to a palm reading
in LA.

467
00:31:18,836 --> 00:31:20,671
And the palmist said,

468
00:31:21,088 --> 00:31:24,591
"You're gonna be
making a decision very soon

469
00:31:24,592 --> 00:31:26,510
"which is gonna
change your life."

470
00:31:27,052 --> 00:31:30,639
A meeting happened, like, two
or three days after the palmist,

471
00:31:31,223 --> 00:31:32,390
where the rest of
the group said,

472
00:31:32,391 --> 00:31:33,684
"That's it. We wanna fold."

473
00:31:35,519 --> 00:31:36,729
I mean, it was a shock.

474
00:31:39,940 --> 00:31:43,818
I immediately went, "Well,
now I know what I'm gonna do.

475
00:31:43,819 --> 00:31:45,361
"I'm gonna form my own group,

476
00:31:45,362 --> 00:31:47,740
"and I know exactly what it is
that I wanna do with it,"

477
00:31:48,365 --> 00:31:51,285
and I just needed to find
a powerful vocalist.

478
00:31:51,827 --> 00:31:53,995
And so there was a singer
called Terry Reid.

479
00:31:53,996 --> 00:31:55,538
He registered with me

480
00:31:55,539 --> 00:31:57,916
and I thought,
"I'm gonna aim for him."

481
00:31:58,626 --> 00:32:02,004
I asked Peter Grant if he could
track down Terry Reid.

482
00:32:02,713 --> 00:32:05,006
Peter Grant was the manager
of the Yardbirds,

483
00:32:05,007 --> 00:32:07,091
and, bless him,
he really believed in me.

484
00:32:07,092 --> 00:32:09,219
This is the thing,
that once the Yardbirds folded,

485
00:32:09,345 --> 00:32:10,928
and I said,
"Well, I wanna start a group,"

486
00:32:10,929 --> 00:32:13,723
he was there. You know?
He said, "Great," you know?

487
00:32:13,724 --> 00:32:15,351
And "Whatever help I can give."

488
00:32:15,934 --> 00:32:19,271
Peter Grant and Mickie Most
were in the same office,

489
00:32:19,897 --> 00:32:21,606
and they had two desks,

490
00:32:21,607 --> 00:32:24,735
and they more or less faced
each other across the room.

491
00:32:26,070 --> 00:32:28,071
The next thing that I hear is,

492
00:32:28,072 --> 00:32:31,199
"Unfortunately Terry Reid's
signed a solo deal

493
00:32:31,200 --> 00:32:32,325
"with Mickie Most."

494
00:32:32,326 --> 00:32:33,744
And I... "Oh, yeah?"

495
00:32:34,328 --> 00:32:35,787
- Off the press?
- Right. I know that one.

496
00:32:35,788 --> 00:32:37,121
- For you.
- Right.

497
00:32:37,122 --> 00:32:38,665
I thought,
"Wow. This is super ruthless."

498
00:32:38,666 --> 00:32:41,084
But nevertheless,
Terry Reid suggested

499
00:32:41,085 --> 00:32:43,628
a singer from the Midlands
in a band called Obs-Tweedle.

500
00:32:43,629 --> 00:32:44,712
And I thought,

501
00:32:44,713 --> 00:32:46,799
"This is an unusual name.
This is a bit odd."

502
00:32:47,424 --> 00:32:49,718
He and Peter Grant came up
to have a look at me.

503
00:32:51,095 --> 00:32:54,139
He asked me if I knew where
he could find Robert Plant.

504
00:32:55,349 --> 00:32:57,726
And I said, "Yeah. Right here."

505
00:32:58,227 --> 00:33:02,021
He was doing some wonderful
improvised vocals

506
00:33:02,022 --> 00:33:03,606
and I thought
they were marvelous.

507
00:33:03,607 --> 00:33:05,734
So I invited him round my house.

508
00:33:06,485 --> 00:33:08,654
I still had nowhere to live, sadly.

509
00:33:09,154 --> 00:33:12,532
So I took my suitcase
and got a train to Pangbourne

510
00:33:12,533 --> 00:33:14,284
and knocked on another door.

511
00:33:15,744 --> 00:33:17,745
PAGE: Yeah. We had
a really good connection.

512
00:33:17,746 --> 00:33:20,957
And, uh, I think he was sort of
looking through my records...

513
00:33:20,958 --> 00:33:22,417
"I've got that one." You know?

514
00:33:22,418 --> 00:33:24,961
And I played him
a Joan Baez version

515
00:33:24,962 --> 00:33:26,587
of Babe I'm Gonna Leave You

516
00:33:26,588 --> 00:33:30,174
and said, "Well, if you
can sing that top line there,

517
00:33:30,175 --> 00:33:32,176
"I've got an arrangement
that goes with it."

518
00:33:32,177 --> 00:33:35,304
And it just really, really
dovetailed together.

519
00:33:35,305 --> 00:33:36,472
It was beautiful.

520
00:33:36,473 --> 00:33:39,350
He just sang beautifully.

521
00:33:39,351 --> 00:33:41,270
[BABE I'M GONNA LEAVE YOU
PLAYING]

522
00:33:51,572 --> 00:33:53,824
We knew something
was in the air.

523
00:33:55,033 --> 00:33:57,453
I could feel this stuff
around me.

524
00:33:58,537 --> 00:34:02,458
Jimmy's guitar playing
was just tremendous. Amazing.

525
00:34:05,711 --> 00:34:06,878
Jimmy then said to me,

526
00:34:06,879 --> 00:34:09,047
"Well, we've got
this drummer lined up."

527
00:34:09,214 --> 00:34:11,716
And before he went any further,
I said, "Wait a minute.

528
00:34:11,717 --> 00:34:13,676
"There is no drummer
on the planet

529
00:34:13,677 --> 00:34:16,263
"to compare with John Bonham.

530
00:34:16,680 --> 00:34:18,140
"He's magnificent."

531
00:34:18,474 --> 00:34:20,100
He was playing with Tim Rose.

532
00:34:20,684 --> 00:34:22,226
Jimmy said, "Well,
if that's the case,

533
00:34:22,227 --> 00:34:23,811
"let's go and see him."

534
00:34:23,812 --> 00:34:27,356
And I said, "John, you've got
to listen to Jimmy play.

535
00:34:27,357 --> 00:34:30,319
"He's amazing."
John said, "Not a chance."

536
00:34:31,028 --> 00:34:32,904
I said, "You gotta be crazy.

537
00:34:32,905 --> 00:34:36,575
"You don't wanna do this stuff,
playing electric folk."

538
00:34:37,201 --> 00:34:39,786
"Come with me."
He said, "Pat would kill me."

539
00:34:39,787 --> 00:34:41,287
"Don't say that."

540
00:34:41,288 --> 00:34:43,457
I said, "I'll talk to Pat,
and your mom."

541
00:34:46,293 --> 00:34:50,088
JONES: My wife Mo read that
"Jimmy's forming a band.

542
00:34:50,631 --> 00:34:52,049
"You should give him a call.

543
00:34:52,549 --> 00:34:53,925
"See if he wants a bass player."

544
00:34:53,926 --> 00:34:55,134
Like, "No. I can't...

545
00:34:55,135 --> 00:34:57,094
"I've got this to do,
I've got that to do.

546
00:34:57,095 --> 00:34:58,846
"I got these... and albums..."

547
00:34:58,847 --> 00:35:00,807
"No," she said.
She just insisted.

548
00:35:00,808 --> 00:35:03,769
"Give him a call, please."
So I did.

549
00:35:04,353 --> 00:35:07,230
And I said, "Hey, Jim.
Heard you're forming a band."

550
00:35:07,231 --> 00:35:08,606
He went, "Yeah, yeah."

551
00:35:08,607 --> 00:35:10,733
I said,
"Do you want a bass player?"

552
00:35:10,734 --> 00:35:12,652
He went, "Well, actually, yes.

553
00:35:12,653 --> 00:35:14,821
"But there's a problem."
I said, "What's that?"

554
00:35:14,822 --> 00:35:17,490
He said, "Well, the drummer
is playing with Tim Rose

555
00:35:17,491 --> 00:35:20,536
"and he's getting 40 quid
a week. Can we best it?"

556
00:35:21,829 --> 00:35:23,037
[CHUCKLES]

557
00:35:23,038 --> 00:35:25,207
So we decided, yeah,
we probably could.

558
00:35:27,042 --> 00:35:30,545
PAGE: Peter Grant managed to
get a two-hour rehearsal space

559
00:35:30,546 --> 00:35:31,797
in Gerrard Street.

560
00:35:32,631 --> 00:35:36,551
So we all get there and
I've got my equipment set up.

561
00:35:36,552 --> 00:35:39,428
John Paul Jones is there
with his session equipment,

562
00:35:39,429 --> 00:35:41,556
uh, and John's got his drums.

563
00:35:41,557 --> 00:35:44,308
JONES: It literally was just
wall to wall amplifiers

564
00:35:44,309 --> 00:35:46,435
and we just picked one up...

565
00:35:46,436 --> 00:35:48,855
"Hello. How are you?"
"Right." You know?

566
00:35:48,856 --> 00:35:50,774
"I'm so-and-so.
He's so-and-so else."

567
00:35:51,483 --> 00:35:52,859
BONHAM: It was
quite strange, really,

568
00:35:52,860 --> 00:35:54,068
meeting John Paul and Jimmy.

569
00:35:54,069 --> 00:35:56,279
You know, coming from
where I'd come from, you know,

570
00:35:56,280 --> 00:35:58,155
I'd sort of thought, you know,
it was a bit of a joke,

571
00:35:58,156 --> 00:36:00,283
getting telegrams and things,
you know.

572
00:36:00,284 --> 00:36:02,660
There's a chance of becoming
one of the Yardbirds.

573
00:36:02,661 --> 00:36:04,621
It's like a gift from heaven,
wasn't it?

574
00:36:05,163 --> 00:36:07,457
I said the first number
that I want to do

575
00:36:08,083 --> 00:36:09,417
is Train Kept A-Rollin'.

576
00:36:09,418 --> 00:36:11,460
Train Kept A-Rollin'.
"Do you know it?"

577
00:36:11,461 --> 00:36:14,547
I went, "Nope."
He said, "Well, it's a 12-bar."

578
00:36:14,548 --> 00:36:15,631
[SCATS]

579
00:36:15,632 --> 00:36:17,925
"It's got this riff."
"Okay. Count it in."

580
00:36:17,926 --> 00:36:19,261
And that was it.

581
00:36:19,928 --> 00:36:21,679
And the room just exploded.

582
00:36:21,680 --> 00:36:24,265
We just kept playing it
and doing, like, solo breaks

583
00:36:24,266 --> 00:36:27,143
and all the rest of it,
and Robert's improvising.

584
00:36:27,144 --> 00:36:28,978
I'd never heard
anything like it.

585
00:36:28,979 --> 00:36:30,771
I was expecting
some cool soul singer

586
00:36:30,772 --> 00:36:33,442
and there's this
screaming maniac

587
00:36:34,401 --> 00:36:36,904
with this fantastic voice
and a fantastic range.

588
00:36:37,070 --> 00:36:38,905
You know, I was like,
"What are you doing up there?

589
00:36:38,906 --> 00:36:40,698
"You'll hurt yourself, man."

590
00:36:40,699 --> 00:36:43,911
It was devastating
because it seemed like

591
00:36:45,037 --> 00:36:46,996
that had been
what I'd been waiting for.

592
00:36:46,997 --> 00:36:48,623
BONHAM: I was pretty shy.

593
00:36:48,624 --> 00:36:51,250
The best thing to do when
you're in a situation like that

594
00:36:51,251 --> 00:36:53,586
is not to say much
and just soldier along

595
00:36:53,587 --> 00:36:55,379
and suss it all out,
sort of thing.

596
00:36:55,380 --> 00:36:57,006
Well, being a bass player,

597
00:36:57,007 --> 00:36:59,050
and he was probably thinking
the same thing,

598
00:36:59,051 --> 00:37:00,676
you know,
because rhythm sections

599
00:37:00,677 --> 00:37:03,430
are very sensitive creatures
really...

600
00:37:04,306 --> 00:37:05,307
Um...

601
00:37:06,141 --> 00:37:09,686
I just needed to know that
we could work together.

602
00:37:09,853 --> 00:37:12,021
BONHAM: The first time
we played together, you know,

603
00:37:12,022 --> 00:37:14,023
you could tell it was
gonna be a good group.

604
00:37:14,024 --> 00:37:15,733
You know, not being
sort of flashy about it.

605
00:37:15,734 --> 00:37:17,610
[BONHAM LAUGHS]

606
00:37:17,611 --> 00:37:19,278
- But I am.
- [CHUCKLES]

607
00:37:19,279 --> 00:37:20,364
[CHUCKLES]

608
00:37:20,989 --> 00:37:22,198
Marvelous.

609
00:37:22,199 --> 00:37:26,285
When it finally came to a halt,
I'm absolutely convinced

610
00:37:26,286 --> 00:37:29,956
that everyone knew that that was
a life-changing experience.

611
00:37:29,957 --> 00:37:32,041
And I think there was
so much kinetic energy,

612
00:37:32,042 --> 00:37:35,127
so much energy that needed
to come out for everybody.

613
00:37:35,128 --> 00:37:36,504
"Let's take it to the next stage

614
00:37:36,505 --> 00:37:38,089
"and let's take it
to Pangbourne."

615
00:37:38,090 --> 00:37:40,175
[ROCK MUSIC PLAYING]

616
00:37:49,559 --> 00:37:51,520
PAGE: Pangbourne is on
the River Thames.

617
00:37:52,020 --> 00:37:55,106
I remember when I first
came across this boat house,

618
00:37:55,107 --> 00:37:57,359
I just thought,
"It's absolute magic."

619
00:37:57,901 --> 00:37:59,527
It had a good energy to it.

620
00:37:59,528 --> 00:38:02,990
And it was just a cauldron
of creativity.

621
00:38:03,365 --> 00:38:04,699
And this is the house
that I lived in

622
00:38:04,700 --> 00:38:07,327
in 1967 through to 1970.

623
00:38:08,036 --> 00:38:11,372
We set up initially
in the upstairs of the house.

624
00:38:11,373 --> 00:38:13,249
Where those windows are
at the top,

625
00:38:13,250 --> 00:38:14,500
there's a largish room

626
00:38:14,501 --> 00:38:17,503
and that was where we did
the rehearsals.

627
00:38:17,504 --> 00:38:19,589
[ROCK MUSIC CONTINUES]

628
00:38:23,385 --> 00:38:26,637
We were overlooking the river.
It was beautiful.

629
00:38:26,638 --> 00:38:28,973
And we just got to know
each other

630
00:38:28,974 --> 00:38:30,307
and worked pretty hard.

631
00:38:30,308 --> 00:38:31,517
We weren't slackers.

632
00:38:31,518 --> 00:38:33,394
Our aim wasn't to be seen
on the telly.

633
00:38:33,395 --> 00:38:36,313
We all wanted to play music
very badly.

634
00:38:36,314 --> 00:38:39,192
We were working on
the material for the album,

635
00:38:39,693 --> 00:38:42,737
and then we were putting in
other material as well

636
00:38:42,738 --> 00:38:44,573
that was gonna fill out the set.

637
00:38:45,615 --> 00:38:48,200
We were rehearsing for days,

638
00:38:48,201 --> 00:38:49,995
and it would have been
pretty loud.

639
00:38:50,787 --> 00:38:52,788
You'd hear it.
You'd hear it over here.

640
00:38:52,789 --> 00:38:55,666
And I did expect somebody
to be knocking on the door

641
00:38:55,667 --> 00:38:57,418
to complain, but nobody did.

642
00:38:57,419 --> 00:38:59,504
[ROCK MUSIC CONTINUES]

643
00:39:05,510 --> 00:39:07,303
BONHAM: We got together
very quickly

644
00:39:07,304 --> 00:39:09,180
because there was
already sort of a tour

645
00:39:09,181 --> 00:39:11,099
that had to be done
by the Yardbirds,

646
00:39:11,266 --> 00:39:13,559
which was a few dates
in Scandinavia.

647
00:39:13,560 --> 00:39:15,895
It was convenient that,
lo and behold,

648
00:39:15,896 --> 00:39:17,397
there was this tour
that we could do.

649
00:39:17,814 --> 00:39:19,857
So we could go there
and have the benefit

650
00:39:19,858 --> 00:39:21,442
of playing in front of
an audience

651
00:39:21,443 --> 00:39:23,487
away from London
and all the rest of it.

652
00:39:24,988 --> 00:39:26,822
PLANT: Off to Scandinavia
we went

653
00:39:26,823 --> 00:39:30,242
for our first concert
as the Yardbirds.

654
00:39:30,243 --> 00:39:31,786
And we went on an airplane,

655
00:39:31,787 --> 00:39:33,454
me and John sitting next
to each other

656
00:39:33,455 --> 00:39:34,872
having a cigarette,

657
00:39:34,873 --> 00:39:37,166
seeing lots and lots
of silverware,

658
00:39:37,167 --> 00:39:38,919
knives and forks in front of us.

659
00:39:39,419 --> 00:39:41,253
Stuff that we would normally
have stolen

660
00:39:41,254 --> 00:39:42,881
was there in profusion.

661
00:39:43,507 --> 00:39:45,591
Couldn't have even got
enough of it in our bags

662
00:39:45,592 --> 00:39:47,718
to get off the plane without
having somebody help us.

663
00:39:47,719 --> 00:39:50,137
It was great.
Everything was there.

664
00:39:50,138 --> 00:39:52,766
Gin, tonic, people.

665
00:39:53,517 --> 00:39:55,519
People being kind and charming.

666
00:39:56,269 --> 00:39:58,522
Air conditioning.
It was... Off we went.

667
00:39:59,022 --> 00:40:00,857
Because you couldn't...
What could you do?

668
00:40:02,400 --> 00:40:04,027
Couldn't go back to Mommy then.

669
00:40:04,528 --> 00:40:06,530
[INDISTINCT CHATTER]

670
00:40:09,699 --> 00:40:13,202
JONES: When I told my colleagues
and the people that employ me

671
00:40:13,203 --> 00:40:15,162
that I'm giving up session work,

672
00:40:15,163 --> 00:40:17,414
I'm gonna join
a rock 'n' roll band,

673
00:40:17,415 --> 00:40:20,251
everybody said, "You're mad.
You're completely crazy."

674
00:40:20,252 --> 00:40:22,337
[HOW MANY MORE TIMES PLAYING]

675
00:40:26,174 --> 00:40:28,634
On bass guitar, John Paul Jones.

676
00:40:28,635 --> 00:40:30,053
John Paul Jones.

677
00:40:34,224 --> 00:40:36,726
On drums, John Bonham.

678
00:40:41,481 --> 00:40:43,525
Lead guitar, Jimmy Page.

679
00:40:49,156 --> 00:40:51,073
And myself, Robert Plant.

680
00:40:51,074 --> 00:40:53,660
[BLUES ROCK RHYTHM]

681
00:40:55,078 --> 00:40:57,122
Yes! All right!

682
00:41:05,964 --> 00:41:06,965
Yes!

683
00:41:12,053 --> 00:41:13,846
Yeah!

684
00:41:13,847 --> 00:41:16,433
[BLUES ROCK RHYTHM]

685
00:43:40,869 --> 00:43:42,119
Yes!

686
00:43:42,120 --> 00:43:45,206
[INTENSE GUITAR SOLO]

687
00:45:38,653 --> 00:45:40,655
[SONG PEAKS, ENDS ABRUPTLY]

688
00:45:43,408 --> 00:45:45,117
BONHAM: It went so well, really,

689
00:45:45,118 --> 00:45:47,327
that, you know, the group
started to make the album

690
00:45:47,328 --> 00:45:49,913
straight after coming back
from Scandinavia. You know.

691
00:45:49,914 --> 00:45:53,126
How long had we been together
about then? What, a month?

692
00:45:54,085 --> 00:45:56,712
PAGE: We went
into Olympic Studios

693
00:45:56,713 --> 00:45:58,756
at night over a few weeks.

694
00:45:59,591 --> 00:46:03,010
The very first time we go in
is the 25th of September

695
00:46:03,011 --> 00:46:04,386
in 1968.

696
00:46:04,387 --> 00:46:07,640
"Arrival time
from 11:00 p.m. onwards."

697
00:46:09,392 --> 00:46:10,559
MAN: Let's take one.

698
00:46:10,560 --> 00:46:11,644
PLANT: Right.

699
00:46:12,437 --> 00:46:14,771
There's Glyn Johns, dear Glyn,

700
00:46:14,772 --> 00:46:17,232
at the controls of
the Helios desk

701
00:46:17,233 --> 00:46:19,776
that was custom-built
for Olympic Studios,

702
00:46:19,777 --> 00:46:21,613
and he was doing
the engineering on it.

703
00:46:22,489 --> 00:46:24,573
GLYN: Drumming set one.

704
00:46:24,574 --> 00:46:26,116
PLANT: John, Jimmy,
and John Paul

705
00:46:26,117 --> 00:46:29,287
were much more connected
in these sessions than I was,

706
00:46:29,996 --> 00:46:32,415
because they were
recording it live.

707
00:46:33,374 --> 00:46:35,292
They had to make it work
on the floor.

708
00:46:35,293 --> 00:46:36,627
A take is a take.

709
00:46:36,628 --> 00:46:39,379
So it was an electric
atmosphere.

710
00:46:39,380 --> 00:46:41,925
And I just tried to land
on top of it all.

711
00:46:43,968 --> 00:46:46,678
PAGE: John Paul Jones brought
the most amazing bass playing,

712
00:46:46,679 --> 00:46:50,058
and he was quite a force to be
reckoned with, musically.

713
00:46:55,230 --> 00:46:57,690
I was very much in love
with John's right foot.

714
00:46:59,025 --> 00:47:01,152
[CHUCKLES] I had great respect
for it.

715
00:47:01,736 --> 00:47:04,321
And I used to try
and highlight it

716
00:47:04,322 --> 00:47:05,698
and help it along

717
00:47:06,324 --> 00:47:08,493
and give it space.
[LAUGHS HEARTILY]

718
00:47:09,035 --> 00:47:10,452
GLYN: Uh, take three.

719
00:47:10,453 --> 00:47:13,539
So I could be doing a riff
and just leave a note out

720
00:47:13,540 --> 00:47:15,707
and something of his
would pop through

721
00:47:15,708 --> 00:47:18,211
and the rhythm would just
suddenly come alive.

722
00:47:22,715 --> 00:47:24,717
[GOOD TIMES BAD TIMES PLAYING]

723
00:48:51,971 --> 00:48:53,973
[INTENSE, POWERFUL GUITAR SOLO]

724
00:50:01,040 --> 00:50:03,042
[MUSIC FADES]

725
00:50:06,587 --> 00:50:08,797
Well, I was gonna throw
everything I could at it.

726
00:50:08,798 --> 00:50:10,924
You know, I was gonna play
acoustic guitar,

727
00:50:10,925 --> 00:50:13,343
I played pedal steel guitar,

728
00:50:13,344 --> 00:50:15,638
I played slide guitar,
electric guitar.

729
00:50:16,305 --> 00:50:18,807
I wanted to have so many
different textures

730
00:50:18,808 --> 00:50:21,560
and moods on it
that the whole album

731
00:50:21,561 --> 00:50:24,896
would just
totally arrest the listeners

732
00:50:24,897 --> 00:50:28,985
and take them to a realm that
they hadn't been in before.

733
00:50:30,069 --> 00:50:31,695
The guitar's not on
a regular tuning

734
00:50:31,696 --> 00:50:33,113
on Black Mountain Side.

735
00:50:33,114 --> 00:50:34,991
It is very much like
a sitar tuning.

736
00:50:40,747 --> 00:50:43,750
PLANT: Jimmy and John Paul were
really at the top of their game.

737
00:50:44,625 --> 00:50:47,378
They'd played on so many
diverse pieces of music

738
00:50:48,421 --> 00:50:50,672
that there was nowhere that they
couldn't find themselves

739
00:50:50,673 --> 00:50:52,174
comfortably going to.

740
00:50:52,175 --> 00:50:55,719
So that gave us a whole
magnificent bunch of colors

741
00:50:55,720 --> 00:50:56,803
to play with.

742
00:50:56,804 --> 00:50:58,890
[BRIGHT, UP-TEMPO MELODY]

743
00:51:10,401 --> 00:51:12,862
[PLAYING INTENSIFIES, QUICKENS]

744
00:52:10,962 --> 00:52:13,297
[MUSIC FADES]

745
00:52:16,843 --> 00:52:18,344
BONHAM: Jimmy produced
the album.

746
00:52:18,845 --> 00:52:19,928
Which was great, you know,

747
00:52:19,929 --> 00:52:21,263
because it's got
a different sound,

748
00:52:21,264 --> 00:52:22,390
and I like that.

749
00:52:22,849 --> 00:52:25,100
He had all these ideas
of microphone placement

750
00:52:25,101 --> 00:52:27,562
to get distance, so he knew
what he wanted to hear.

751
00:52:28,938 --> 00:52:30,897
PAGE: There were some
really complex things

752
00:52:30,898 --> 00:52:32,650
that went on during the mixing,

753
00:52:32,817 --> 00:52:36,111
like the backwards echo
that comes in You Shook Me.

754
00:52:36,112 --> 00:52:38,864
When you turn the tape round
and apply the echo

755
00:52:38,865 --> 00:52:40,448
and then turn it back over

756
00:52:40,449 --> 00:52:42,617
and then you get the echo
coming in reverse.

757
00:52:42,618 --> 00:52:46,497
[PLANT SINGING]

758
00:52:55,798 --> 00:52:58,425
PAGE: I was cross-fading
from one song into another

759
00:52:58,426 --> 00:52:59,968
and all these sort of tricks,

760
00:52:59,969 --> 00:53:02,429
so that when people
listened to the whole album,

761
00:53:02,430 --> 00:53:05,515
as I say, it would just
absolutely demand attention.

762
00:53:05,516 --> 00:53:08,518
Well, I mean, it was amazing.
Yeah.

763
00:53:08,519 --> 00:53:11,521
I had a pair of those
big quad electrostatic speakers

764
00:53:11,522 --> 00:53:13,231
in my front room.

765
00:53:13,232 --> 00:53:15,526
You could sort of sit
almost in them.

766
00:53:15,985 --> 00:53:17,903
And I just used to play it loud.

767
00:53:17,904 --> 00:53:19,989
[DRAMATIC ELECTRIC ORGAN MELODY]

768
00:53:35,630 --> 00:53:38,590
If you finance
the album yourself,

769
00:53:38,591 --> 00:53:40,550
you're in a much better position

770
00:53:40,551 --> 00:53:43,470
than if you're going in with,
like, a demo tape.

771
00:53:43,471 --> 00:53:45,263
So, if you knew what you
were doing,

772
00:53:45,264 --> 00:53:48,767
it made sense
to complete the album

773
00:53:48,768 --> 00:53:51,312
and then go round and do a deal.

774
00:53:55,274 --> 00:53:57,108
The American producer Bert Berns

775
00:53:57,109 --> 00:54:01,029
had really done a great PR job
for me at Atlantic Records.

776
00:54:01,030 --> 00:54:03,990
When he took me there in 1964,

777
00:54:03,991 --> 00:54:06,369
and I said we should
aim at Atlantic...

778
00:54:07,203 --> 00:54:08,496
So that's what we did.

779
00:54:17,171 --> 00:54:19,839
JONES: Yeah.
Yeah. We'd done our bit,

780
00:54:19,840 --> 00:54:22,300
and Jimmy and Peter
were going to convince people

781
00:54:22,301 --> 00:54:24,386
that they really needed it.
[CHUCKLES]

782
00:54:24,387 --> 00:54:27,640
Jimmy had the kind of keys
to the beginnings of a kingdom.

783
00:54:28,349 --> 00:54:30,600
And he went off to New York
with Peter,

784
00:54:30,601 --> 00:54:32,602
and through them,
they got to see Jerry Wexler.

785
00:54:32,603 --> 00:54:33,854
[YOUR TIME IS GONNA COME
PLAYING]

786
00:55:01,424 --> 00:55:03,675
We put it on,
and that was a great moment

787
00:55:03,676 --> 00:55:06,344
to actually be able to play it,
regardless of what they thought,

788
00:55:06,345 --> 00:55:10,682
to actually be playing it
to, you know, Jerry Wexler.

789
00:55:10,683 --> 00:55:12,810
- [INAUDIBLE DIALOG]
- [SONG CONTINUES]

790
00:55:39,003 --> 00:55:41,379
PAGE: Atlantic wasn't allowed
to remix anything.

791
00:55:41,380 --> 00:55:42,964
It was perfect. It was done.

792
00:55:42,965 --> 00:55:45,592
The sequencing was perfect.
There was nothing...

793
00:55:45,593 --> 00:55:47,762
Certainly no singles
are gonna be taken off it.

794
00:55:50,473 --> 00:55:54,059
Having seen a situation
whereby singles

795
00:55:54,060 --> 00:55:56,311
have broken the spirit
of a band,

796
00:55:56,312 --> 00:55:59,064
I didn't want it to break
the spirit of this band.

797
00:55:59,065 --> 00:56:02,984
And I made a point of saying,
"We're an album band.

798
00:56:02,985 --> 00:56:04,904
"We're not doing singles."

799
00:56:05,738 --> 00:56:07,989
We could call the shots
because we owned the album.

800
00:56:07,990 --> 00:56:09,075
[SONG CONTINUES]

801
00:56:13,579 --> 00:56:16,372
And here I am,
signing a contract.

802
00:56:16,373 --> 00:56:19,292
Then there's Peter,
looking really cool.

803
00:56:19,293 --> 00:56:21,753
Looking quite like a Mafia don.

804
00:56:21,754 --> 00:56:23,714
[SONG CONTINUES]

805
00:56:41,565 --> 00:56:43,525
JONES: Peter Grant and Jimmy
had fixed it

806
00:56:43,526 --> 00:56:47,905
so that Atlantic had no say
in what we did whatsoever.

807
00:56:49,198 --> 00:56:51,658
They went there saying,
"Look, you want this band,

808
00:56:51,659 --> 00:56:54,370
"and we're gonna give you
the music." But...

809
00:56:55,788 --> 00:56:58,373
Peter Grant wouldn't let
any record executives

810
00:56:58,374 --> 00:57:00,042
anywhere near the studio.

811
00:57:00,584 --> 00:57:01,835
Or the band.

812
00:57:01,836 --> 00:57:04,462
And they were terrified of him,
which was brilliant.

813
00:57:04,463 --> 00:57:06,841
To have that freedom...
I mean, it was unheard of.

814
00:57:11,804 --> 00:57:13,805
BONHAM: Rather than
keep the Yardbirds name,

815
00:57:13,806 --> 00:57:16,182
the group became strong enough
to start fresh,

816
00:57:16,183 --> 00:57:18,184
and it was a decision that
we'd change the name.

817
00:57:18,185 --> 00:57:21,271
PAGE: Keith Moon had suggested
a name, Led Zeppelin.

818
00:57:21,272 --> 00:57:23,815
I thought that'd be
a great name to use.

819
00:57:23,816 --> 00:57:26,651
I thought, "Yeah.
That's a terrible name.

820
00:57:26,652 --> 00:57:28,946
"Nobody's gonna remember that."
[CHUCKLES]

821
00:57:29,947 --> 00:57:31,698
But I couldn't come up
with a better one,

822
00:57:31,699 --> 00:57:33,284
so Led Zeppelin we were.

823
00:57:36,120 --> 00:57:39,373
PLANT: So, suddenly I was a dad
and I was nearly married.

824
00:57:40,124 --> 00:57:42,458
And I was in this group that
was now gonna be called

825
00:57:42,459 --> 00:57:43,752
Led Zeppelin.

826
00:57:44,253 --> 00:57:47,131
So I went back to my parents
with an open heart.

827
00:57:48,007 --> 00:57:49,758
I called up my mom and dad
and said,

828
00:57:50,342 --> 00:57:53,511
"You might like to meet
your possible,

829
00:57:53,512 --> 00:57:56,890
"most probable,
daughter-in-law-to-be."

830
00:57:56,891 --> 00:57:58,559
And so, of course,

831
00:58:00,186 --> 00:58:01,353
they opened the door.

832
00:58:04,773 --> 00:58:09,236
November the 9th, 1968,
we played Middle Earth.

833
00:58:09,820 --> 00:58:13,448
And just to celebrate the fact
that we did that gig,

834
00:58:13,449 --> 00:58:15,034
I got married on the same day.

835
00:58:15,784 --> 00:58:18,746
Trying to get as many things in
in a day as I can.

836
00:58:19,955 --> 00:58:21,789
The car broke down
on the way to the gig.

837
00:58:21,790 --> 00:58:23,416
All that stuff, you know.

838
00:58:23,417 --> 00:58:25,418
JONES: We'd figured out
what we were gonna play

839
00:58:25,419 --> 00:58:26,878
and how we were gonna play it.

840
00:58:26,879 --> 00:58:29,505
And the first three numbers
were just bam, bam, bam.

841
00:58:29,506 --> 00:58:33,092
You could see people going,
"What on earth is going on?"

842
00:58:33,093 --> 00:58:35,179
[COMMUNICATION BREAKDOWN
PLAYING]

843
00:59:57,344 --> 00:59:59,346
[INTENSE, DRIVING GUITAR SOLO]

844
01:00:43,599 --> 01:00:47,353
[PSYCHEDELIC ROCK GUITAR SOLO]

845
01:01:03,410 --> 01:01:07,247
[PLANT SCATS, VOCALIZES]

846
01:01:24,348 --> 01:01:26,350
- [MUSIC STOPS]
- [ALL APPLAUDING]

847
01:01:31,605 --> 01:01:33,106
BONHAM: It's a funny thing,
you know.

848
01:01:33,107 --> 01:01:34,774
You couldn't play big gigs
in England.

849
01:01:34,775 --> 01:01:35,858
You know, you'd say,

850
01:01:35,859 --> 01:01:37,693
"Do you want to take
some dates on Led Zeppelin?"

851
01:01:37,694 --> 01:01:39,112
and all this sort of thing.

852
01:01:39,113 --> 01:01:41,240
People wouldn't even
book the band.

853
01:01:42,199 --> 01:01:44,325
PAGE: So Atlantic decided that

854
01:01:44,326 --> 01:01:47,412
the record is gonna come out
on the 12th of January,

855
01:01:47,413 --> 01:01:49,247
but only in America.

856
01:01:49,248 --> 01:01:52,209
So Peter gets a tour
together for us.

857
01:01:53,919 --> 01:01:56,129
It was Christmas Eve,
I think, we had to leave.

858
01:01:56,130 --> 01:01:58,423
BONHAM: You suddenly find
the album's coming out

859
01:01:58,424 --> 01:02:00,968
so we sort of had to go
to America to play.

860
01:02:02,052 --> 01:02:04,805
I was concerned I wouldn't
feel home there at all.

861
01:02:06,056 --> 01:02:07,056
PLANT: Pat kept saying,

862
01:02:07,057 --> 01:02:09,016
"I told you
not to work with him."

863
01:02:09,017 --> 01:02:12,437
But she and my wife Maureen
were really good friends,

864
01:02:12,438 --> 01:02:16,399
so they had the mutual overview
of celebration

865
01:02:16,400 --> 01:02:19,278
for what John was doing
and what I was doing.

866
01:02:19,778 --> 01:02:21,196
We just rolled with it.

867
01:02:22,948 --> 01:02:26,784
Going to America was my dream,
for every reason.

868
01:02:26,785 --> 01:02:28,662
[BABE I'M GONNA LEAVE YOU
PLAYING]

869
01:02:35,961 --> 01:02:39,922
PAGE: We're supporting
Vanilla Fudge to begin with,

870
01:02:39,923 --> 01:02:43,218
and they were the only group
that took us under their wing.

871
01:02:44,845 --> 01:02:46,762
BONHAM: They're good friends,
because they were friends

872
01:02:46,763 --> 01:02:48,182
when we had nothing, you know?

873
01:02:50,434 --> 01:02:52,101
PLANT: Carmine and John Bonham
picked up

874
01:02:52,102 --> 01:02:53,936
such a great repartee.

875
01:02:53,937 --> 01:02:55,229
They used to watch each other

876
01:02:55,230 --> 01:02:57,482
and mimic each other
and play little parts.

877
01:02:57,483 --> 01:03:00,152
It was a great exchange of
energies between everybody.

878
01:03:03,280 --> 01:03:04,948
JONES: Denver was
the first show.

879
01:03:05,532 --> 01:03:07,366
Like playing
in an aircraft hangar.

880
01:03:07,367 --> 01:03:09,202
PAGE: There wasn't that many
people there either.

881
01:03:09,203 --> 01:03:10,828
I thought, "Oh, boy."

882
01:03:10,829 --> 01:03:14,165
But I said, "Look,
let's just group together

883
01:03:14,166 --> 01:03:16,417
"as though we're playing
in a club,

884
01:03:16,418 --> 01:03:19,670
"and just play to each other.

885
01:03:19,671 --> 01:03:21,047
"Don't worry about
whether the place

886
01:03:21,048 --> 01:03:22,798
"is half full or totally full.

887
01:03:22,799 --> 01:03:25,635
"Let's just play for ourselves
to get a feel."

888
01:03:25,636 --> 01:03:28,764
[SONG CONTINUES]

889
01:03:38,649 --> 01:03:40,900
PAGE: From the handful of dates
with the Fudge,

890
01:03:40,901 --> 01:03:44,862
then we go to
the Whisky a Go Go in LA

891
01:03:44,863 --> 01:03:46,740
and then we're going
to San Francisco.

892
01:03:55,499 --> 01:03:58,460
[SONG ENDS]

893
01:04:02,714 --> 01:04:04,716
[CROWD CHATTERING]

894
01:04:09,555 --> 01:04:11,264
PAGE: The album is already
being played

895
01:04:11,265 --> 01:04:12,890
on the underground radio

896
01:04:12,891 --> 01:04:15,935
and people are really curious

897
01:04:15,936 --> 01:04:18,646
to see this band
that they're hearing.

898
01:04:18,647 --> 01:04:22,733
So we were gonna go in there,
like, with a hatchet

899
01:04:22,734 --> 01:04:25,987
and just play like
we'd never played before.

900
01:04:25,988 --> 01:04:28,240
Just throw everything
that we'd got into it.

901
01:04:29,908 --> 01:04:31,659
PLANT: We're backstage
at the Fillmore,

902
01:04:31,660 --> 01:04:33,912
and, um, Peter Grant says,

903
01:04:34,663 --> 01:04:36,038
"Well, whatever happens,

904
01:04:36,039 --> 01:04:38,708
"if you don't crack it here,
it's over."

905
01:04:38,709 --> 01:04:40,794
[COMMUNICATION BREAKDOWN
PLAYING]

906
01:05:28,467 --> 01:05:30,469
[INTENSE GUITAR SOLO]

907
01:06:00,749 --> 01:06:02,709
[PLANT VOCALIZES]

908
01:06:11,176 --> 01:06:13,178
[FUNKY MELODY PLAYING]

909
01:07:12,279 --> 01:07:14,947
[CROWD CHEERING]

910
01:07:14,948 --> 01:07:18,325
We knew after that one
that we were on the right track.

911
01:07:18,326 --> 01:07:20,412
[SUGAR MAMA PLAYING]

912
01:07:30,505 --> 01:07:33,090
PAGE: Everything is traveling
like wildfire.

913
01:07:33,091 --> 01:07:35,426
The whole thing
is just building.

914
01:07:35,427 --> 01:07:37,386
People were bashing down
the doors to get in

915
01:07:37,387 --> 01:07:40,222
by the time we played
Boston Tea Party,

916
01:07:40,223 --> 01:07:42,141
'cause we were working
across the States

917
01:07:42,142 --> 01:07:44,936
from the West Coast to the East.

918
01:07:45,854 --> 01:07:47,938
JONES: On FM radio
they would play

919
01:07:47,939 --> 01:07:51,233
one side of your record
and back announce that side,

920
01:07:51,234 --> 01:07:54,237
have one word from a sponsor,
and then play the other side.

921
01:07:54,488 --> 01:07:55,988
People would just listen to it

922
01:07:55,989 --> 01:07:58,366
and they'd go, "And they're
playing in your town tonight."

923
01:07:58,700 --> 01:08:01,660
[CHUCKLES] And so
they'd all come on down.

924
01:08:01,661 --> 01:08:03,454
WOLFMAN JACK:
Rock 'n' roll with Led Zeppelin.

925
01:08:03,455 --> 01:08:06,500
Robert Plant is here and I know
you feel real good now.

926
01:08:06,792 --> 01:08:07,792
[PLANT CHUCKLES]

927
01:08:07,793 --> 01:08:10,211
I'm gonna put another caller
on the phone here.

928
01:08:10,212 --> 01:08:12,463
- You're on the air, dear.
- Is this Robert Plant?

929
01:08:12,464 --> 01:08:14,673
- PLANT: Occasionally, yeah.
- WOMAN 1: Oh, God.

930
01:08:14,674 --> 01:08:16,926
I want you to know that
I'm having heart failure.

931
01:08:16,927 --> 01:08:18,135
PLANT: Oh, good God.

932
01:08:18,136 --> 01:08:20,055
Don't tell me.
You need a doctor.

933
01:08:20,847 --> 01:08:23,182
WOMAN 1: I just want you to know
that you are so sexy.

934
01:08:23,183 --> 01:08:24,600
- It's unbelievable.
- Okay, dear.

935
01:08:24,601 --> 01:08:26,018
- Thank you very much.
- PLANT: Bless you.

936
01:08:26,019 --> 01:08:27,394
- Next? Next?
- MAN: Hello?

937
01:08:27,395 --> 01:08:29,522
I was gonna go see you
last night,

938
01:08:29,523 --> 01:08:30,940
but I couldn't get tickets.

939
01:08:30,941 --> 01:08:32,775
PLANT: It was really good
last night.

940
01:08:32,776 --> 01:08:34,485
JACK: What's your name?
Oh, forget it.

941
01:08:34,486 --> 01:08:35,569
[LAUGHTER]

942
01:08:35,570 --> 01:08:36,654
- PLANT: Hello?
- WOMAN 2: Hi.

943
01:08:36,655 --> 01:08:37,738
PLANT: Hi.

944
01:08:37,739 --> 01:08:39,740
WOMAN 2: Hi. Guess what.
I think you're a fox.

945
01:08:39,741 --> 01:08:40,908
PLANT: What's that mean?

946
01:08:40,909 --> 01:08:42,827
WOMAN 2: It means you're
a very good-looking man.

947
01:08:42,828 --> 01:08:44,036
Far out.

948
01:08:44,037 --> 01:08:45,830
WOMAN 2: I really dug
the concert.

949
01:08:45,831 --> 01:08:47,206
I really liked it.

950
01:08:47,207 --> 01:08:48,874
I just really think you're a fox

951
01:08:48,875 --> 01:08:50,584
and keep on doing
what you're doing.

952
01:08:50,585 --> 01:08:52,711
PLANT: That's very nice of you.
We will.

953
01:08:52,712 --> 01:08:55,966
[SONG CONTINUES]

954
01:09:25,579 --> 01:09:27,496
The anticipation
was overwhelming.

955
01:09:27,497 --> 01:09:29,708
I mean, really overwhelming.

956
01:09:49,019 --> 01:09:51,021
[MUSIC STOPS]

957
01:09:58,862 --> 01:10:02,072
To come back to England
with what we'd experienced,

958
01:10:02,073 --> 01:10:03,867
I just had to keep quiet.

959
01:10:04,701 --> 01:10:07,995
I mean, over here,
the record wasn't out yet.

960
01:10:07,996 --> 01:10:10,999
So I just didn't have
anything to say.

961
01:10:12,584 --> 01:10:14,210
People would have laughed at me.

962
01:10:15,754 --> 01:10:18,173
So Bonzo and I
used to get together and go...

963
01:10:19,382 --> 01:10:21,801
"Well, what was that?"
"Well, I don't know."

964
01:10:22,510 --> 01:10:24,137
"What happened?" "I don't know."

965
01:10:25,347 --> 01:10:29,058
BONHAM: Crikey. It was just
amazing. Just ridiculous.

966
01:10:29,059 --> 01:10:30,809
I mean, we came back
from America

967
01:10:30,810 --> 01:10:32,227
and we'd gone through
a big change.

968
01:10:32,228 --> 01:10:34,021
You know, we were feeling
really good, you know.

969
01:10:34,022 --> 01:10:35,648
But it does affect you,
you know.

970
01:10:35,649 --> 01:10:37,776
PLANT: I mean, think about it.
We're 20 years old,

971
01:10:38,360 --> 01:10:40,737
and suddenly there were drugs

972
01:10:41,279 --> 01:10:42,863
and there was a lot of girls,

973
01:10:42,864 --> 01:10:45,866
and so many characters that
suddenly arrive on the scene.

974
01:10:45,867 --> 01:10:50,038
This huge sort of sub-subculture
that spins around fame.

975
01:10:50,664 --> 01:10:52,748
Especially fame
in its very early stages.

976
01:10:52,749 --> 01:10:55,418
'Cause that's the place
where you can smell

977
01:10:56,211 --> 01:10:57,671
something new coming.

978
01:10:57,921 --> 01:11:01,465
It felt good. As it might.
[CHUCKLES]

979
01:11:01,466 --> 01:11:03,717
Especially as we were doing it
without the press,

980
01:11:03,718 --> 01:11:05,052
who didn't seem to like us,

981
01:11:05,053 --> 01:11:06,888
the few reviews
we did seem to get,

982
01:11:07,430 --> 01:11:09,766
the obvious one being
the Rolling Stone review.

983
01:11:11,476 --> 01:11:13,394
I remember reading that review,

984
01:11:13,395 --> 01:11:15,772
thinking, "Who are they
talking about?

985
01:11:16,898 --> 01:11:18,149
"Do they mean us?"

986
01:11:19,317 --> 01:11:21,193
PLANT: A lot of those writers
at that time,

987
01:11:21,194 --> 01:11:23,153
I don't know whether they were
studying the music

988
01:11:23,154 --> 01:11:25,322
to criticize it or whether
they were more concerned

989
01:11:25,323 --> 01:11:28,326
about the sort of
social activities.

990
01:11:28,868 --> 01:11:32,621
But do you really care
about other people's responses

991
01:11:32,622 --> 01:11:34,124
if you're playing like that?

992
01:11:34,958 --> 01:11:38,545
Well, the answer is,
unfortunately, yeah.

993
01:11:39,671 --> 01:11:41,923
That's where you can
come unstuck.

994
01:11:42,924 --> 01:11:47,386
Fortunately, as four guys,
we did not care that much.

995
01:11:47,387 --> 01:11:50,223
We were more caring about
how we turned ourselves on.

996
01:11:50,890 --> 01:11:53,809
BONHAM: The first album,
it just got ripped to pieces.

997
01:11:53,810 --> 01:11:55,310
Like, loads would say, "No.

998
01:11:55,311 --> 01:11:57,062
"I don't like Zeppelin's
sort of music,"

999
01:11:57,063 --> 01:11:58,231
for some reason, you know?

1000
01:11:58,565 --> 01:12:00,483
So we all thought, you know,
it was a bit of a joke.

1001
01:12:01,818 --> 01:12:04,611
We worked really, really hard,

1002
01:12:04,612 --> 01:12:07,282
and people got it,
and you could see they got it.

1003
01:12:07,866 --> 01:12:09,783
Then they told their friends
that they got it.

1004
01:12:09,784 --> 01:12:10,994
"Get some too."

1005
01:12:11,453 --> 01:12:14,872
The venues are jam-packed,
so what people are hearing,

1006
01:12:14,873 --> 01:12:17,124
as opposed
to what they're reading,

1007
01:12:17,125 --> 01:12:18,835
is what really makes the band.

1008
01:12:19,627 --> 01:12:21,629
[DAZED AND CONFUSED PLAYING]

1009
01:12:22,714 --> 01:12:24,716
[PLODDING BASS LINE PLAYING]

1010
01:12:28,136 --> 01:12:30,138
[GUITAR CHORD REVERBERATES]

1011
01:12:34,017 --> 01:12:36,310
PAGE: It was exciting
to be doing these concerts

1012
01:12:36,311 --> 01:12:38,604
and being able to have
this communion

1013
01:12:38,605 --> 01:12:39,813
with the four of us

1014
01:12:39,814 --> 01:12:42,649
and be able to just change,
you know,

1015
01:12:42,650 --> 01:12:44,943
things with a sense of humor
or an intensity

1016
01:12:44,944 --> 01:12:47,655
or a level of aggression
or whatever.

1017
01:12:47,864 --> 01:12:50,491
And this is how connected
we are,

1018
01:12:50,492 --> 01:12:52,826
that we can be moving
in any direction

1019
01:12:52,827 --> 01:12:54,203
and everyone's following.

1020
01:12:54,204 --> 01:12:56,288
If the guitar's leading,
they're all following.

1021
01:12:56,289 --> 01:12:58,373
I can just hold back
and change this.

1022
01:12:58,374 --> 01:13:02,295
I mean, the improvisation is
just at an extraordinary level.

1023
01:13:02,921 --> 01:13:05,089
With Dazed and Confused,

1024
01:13:05,090 --> 01:13:08,343
the intensity is building.
It's positively evil.

1025
01:13:08,593 --> 01:13:13,640
[SONG CONTINUES]

1026
01:13:38,206 --> 01:13:39,207
Uh!

1027
01:15:22,060 --> 01:15:24,604
[PLUCKY, DRAMATIC MELODY]

1028
01:16:12,986 --> 01:16:15,655
[SHRILL, JARRING NOTE]

1029
01:16:24,080 --> 01:16:26,124
[JARRING, WARBLING RHYTHM]

1030
01:16:48,813 --> 01:16:52,275
[VIBRATO INTENSIFYING]

1031
01:17:00,950 --> 01:17:03,202
[UP-TEMPO ROCK MELODY PLAYING]

1032
01:17:55,671 --> 01:17:58,966
[PLANT VOCALIZES]

1033
01:18:13,856 --> 01:18:14,857
Hey!

1034
01:18:52,728 --> 01:18:56,732
[SLOW, SLUDGY CHORDS PLAYING]

1035
01:19:51,871 --> 01:19:54,540
- [MUSIC STOPS]
- [CHEERING AND APPLAUSE]

1036
01:20:00,880 --> 01:20:02,172
PAGE: I knew what we had

1037
01:20:02,173 --> 01:20:05,467
and I just really wanted
to knock everybody dead with it.

1038
01:20:05,468 --> 01:20:08,678
I had a whole vision
for the next album.

1039
01:20:08,679 --> 01:20:11,765
It was going to be
very cinematic

1040
01:20:11,766 --> 01:20:16,019
in its approach to how the music
is done in the first place,

1041
01:20:16,020 --> 01:20:19,148
let alone what the overdubs
and the layers are gonna do.

1042
01:20:19,774 --> 01:20:21,858
So I called for a rehearsal
at the house,

1043
01:20:21,859 --> 01:20:24,653
and we rehearsed two new songs,

1044
01:20:24,654 --> 01:20:26,112
Whole Lotta Love

1045
01:20:26,113 --> 01:20:28,115
and What Is and
What Should Never Be.

1046
01:20:28,658 --> 01:20:30,910
Jimmy would sit down
with an acoustic guitar

1047
01:20:31,327 --> 01:20:33,037
and we'd work the songs out.

1048
01:20:33,663 --> 01:20:36,164
BONHAM: He just comes in
and plays what he's written.

1049
01:20:36,165 --> 01:20:38,334
And then we, all together,
suss it all out.

1050
01:20:38,876 --> 01:20:42,420
We went into Olympic Studios
in April,

1051
01:20:42,421 --> 01:20:45,883
and we're just really excited
to be back in the studio again.

1052
01:20:46,300 --> 01:20:49,887
My songwriting capacity
is starting to kick in

1053
01:20:51,013 --> 01:20:53,516
because of the color of
the playing that surrounded me.

1054
01:20:54,225 --> 01:20:55,642
So, with Whole Lotta Love,

1055
01:20:55,643 --> 01:20:57,852
Jimmy had done some work
on the chorus.

1056
01:20:57,853 --> 01:21:01,691
He showed me his riff,
which was incredible, really.

1057
01:21:02,233 --> 01:21:04,235
[WHOLE LOTTA LOVE PLAYING]

1058
01:21:14,412 --> 01:21:17,455
PLANT: And for the verse, I just
sang a Willie Dixon lyric.

1059
01:21:17,456 --> 01:21:19,834
[SINGING]

1060
01:21:27,925 --> 01:21:29,552
And, you know,
it was like...

1061
01:21:30,595 --> 01:21:33,347
I was finding the best bits
of Black music

1062
01:21:33,848 --> 01:21:35,807
and putting it
through the wringer,

1063
01:21:35,808 --> 01:21:37,018
one way or another.

1064
01:21:38,311 --> 01:21:41,605
I think there's no point
in having Whole Lotta Love

1065
01:21:41,606 --> 01:21:42,981
and then having another riff

1066
01:21:42,982 --> 01:21:45,318
which was pretty much
the same sort of sound.

1067
01:21:48,321 --> 01:21:51,948
So, the thing with What Is
and What Should Never Be

1068
01:21:51,949 --> 01:21:55,285
is that it's got these
laid-back, gentler verses

1069
01:21:55,286 --> 01:21:57,120
and then it comes in with...

1070
01:21:57,121 --> 01:21:58,747
I won't call them
a power chorus,

1071
01:21:58,748 --> 01:22:01,207
but it's more intensity to it,

1072
01:22:01,208 --> 01:22:03,251
so that you could
then illustrate

1073
01:22:03,252 --> 01:22:06,338
John Bonham's power
and the group's power as well,

1074
01:22:06,339 --> 01:22:07,673
the whole thing.

1075
01:22:26,108 --> 01:22:27,400
We had this tour coming up

1076
01:22:27,401 --> 01:22:29,903
and I think it's gonna be
really a hoot

1077
01:22:29,904 --> 01:22:33,991
to be able to record
in various locations in America.

1078
01:22:34,867 --> 01:22:40,163
The idea was to be inspired by,
you know, the love of the people

1079
01:22:40,164 --> 01:22:42,500
and to get the reaction
of the audience.

1080
01:22:45,252 --> 01:22:47,254
[MOBY DICK PLAYING]

1081
01:23:21,414 --> 01:23:22,706
PAGE: It was just a joy

1082
01:23:22,707 --> 01:23:25,917
to be able to go into studios
in the States.

1083
01:23:25,918 --> 01:23:28,461
You've got the energy
of being on the road

1084
01:23:28,462 --> 01:23:30,463
and you're actually
documenting it

1085
01:23:30,464 --> 01:23:32,257
within whatever
you're recording.

1086
01:23:32,258 --> 01:23:34,468
[SONG CONTINUES]

1087
01:23:49,442 --> 01:23:51,818
John Bonham's kit
was gonna be spread

1088
01:23:51,819 --> 01:23:54,195
right across the stereo picture.

1089
01:23:54,196 --> 01:23:56,114
So then you could have
the placement

1090
01:23:56,115 --> 01:23:58,950
of the instruments within
and the layering within.

1091
01:23:58,951 --> 01:24:01,370
[SONG CONTINUES]

1092
01:24:05,541 --> 01:24:06,791
PAGE: He knew how to tune.

1093
01:24:06,792 --> 01:24:08,793
He had the science
of tuning the drum.

1094
01:24:08,794 --> 01:24:10,545
So that when he hit it,

1095
01:24:10,546 --> 01:24:13,381
it just resonated
out of the top.

1096
01:24:13,382 --> 01:24:14,925
It just projected.

1097
01:24:17,052 --> 01:24:19,012
And he played with his wrists.

1098
01:24:19,013 --> 01:24:20,805
It's not all this
forearm smashing.

1099
01:24:20,806 --> 01:24:23,600
But he could also do an accent
on the bass drum

1100
01:24:23,601 --> 01:24:26,103
and you'd feel it, you know,
more or less in your gut.

1101
01:24:27,730 --> 01:24:29,440
JONES: He was so inventive.

1102
01:24:30,107 --> 01:24:32,484
And inspiring to play with,
you know.

1103
01:24:32,485 --> 01:24:35,153
You'd hear the stuff and,
well, I don't wanna just go

1104
01:24:35,154 --> 01:24:37,489
[IMITATES BASS LINE] over that.
[CHUCKLES]

1105
01:24:37,490 --> 01:24:40,200
I want to do something that'll
fit in really well with it.

1106
01:24:40,201 --> 01:24:43,370
That's what I used to like
to do best, is to fit in.

1107
01:24:43,871 --> 01:24:46,372
So everybody could be heard.

1108
01:24:46,373 --> 01:24:48,166
That was the important thing
for me,

1109
01:24:48,167 --> 01:24:49,667
that everybody could be heard,

1110
01:24:49,668 --> 01:24:52,378
what they were doing,
on a Zeppelin record.

1111
01:24:52,379 --> 01:24:55,591
[SONG CONTINUES]

1112
01:25:10,439 --> 01:25:12,441
[THE LEMON SONG PLAYING]

1113
01:25:47,268 --> 01:25:49,395
JONES: We just recorded
what we liked.

1114
01:25:49,895 --> 01:25:52,897
I mean, Zeppelin always had
completely different influences.

1115
01:25:52,898 --> 01:25:55,233
We all listened
to different things.

1116
01:25:55,234 --> 01:25:56,318
And I always said

1117
01:25:56,485 --> 01:25:58,737
that Led Zeppelin
was the area in the middle.

1118
01:25:59,238 --> 01:26:00,321
In between us all.

1119
01:26:00,322 --> 01:26:03,409
[SONG CONTINUES]

1120
01:26:15,754 --> 01:26:19,007
PLANT: It was very encouraging
to peel back

1121
01:26:19,008 --> 01:26:21,175
the vulnerabilities

1122
01:26:21,176 --> 01:26:24,679
of starting to create a writing
partnership with Jimmy,

1123
01:26:24,680 --> 01:26:27,223
where we were breaking down
the sensitivities

1124
01:26:27,224 --> 01:26:28,559
and the possible embarrassments.

1125
01:26:29,143 --> 01:26:30,977
Writing is a very
intimate thing.

1126
01:26:30,978 --> 01:26:32,479
You expose yourself.

1127
01:26:33,147 --> 01:26:36,983
PAGE: I'd written some lyrics
on the first album,

1128
01:26:36,984 --> 01:26:38,568
and also on the second album,

1129
01:26:38,569 --> 01:26:41,321
but I wasn't as confident
about my lyrics

1130
01:26:41,322 --> 01:26:43,198
as I was about
my guitar playing.

1131
01:26:43,824 --> 01:26:45,992
PLANT: I had to start
thinking about

1132
01:26:45,993 --> 01:26:48,328
what do I do as a singer

1133
01:26:48,329 --> 01:26:51,080
and as a guy
who's gonna bring melody

1134
01:26:51,081 --> 01:26:52,875
or even a story to something?

1135
01:26:53,292 --> 01:26:56,961
The idea was to inspire him
through the music

1136
01:26:56,962 --> 01:26:58,421
to be inspired lyrically.

1137
01:26:58,422 --> 01:27:01,467
And then he came with
these lyrics for Ramble On.

1138
01:27:02,092 --> 01:27:03,802
Yeah, this is...

1139
01:27:04,720 --> 01:27:07,014
a rough shot of Ramble On.

1140
01:27:08,057 --> 01:27:11,185
"Leaves are falling all around.
Time I was on my way."

1141
01:27:12,353 --> 01:27:15,897
That is the story of my life.

1142
01:27:15,898 --> 01:27:17,399
[RAMBLE ON PLAYING]

1143
01:28:25,634 --> 01:28:29,554
I was really keen to have
a lot of texture and layering,

1144
01:28:29,555 --> 01:28:33,182
certainly on behalf
of the guitar, with Ramble On.

1145
01:28:33,183 --> 01:28:36,186
It has these various
guitar parts that go in it.

1146
01:28:36,478 --> 01:28:39,605
You know, there's,
like, guitar rolling

1147
01:28:39,606 --> 01:28:42,066
that is moving over
some of the verses.

1148
01:28:42,067 --> 01:28:44,193
Then there's the whole texture
of the solo.

1149
01:28:44,194 --> 01:28:49,074
[GENTLE, LILTING GUITAR SOLO]

1150
01:29:01,503 --> 01:29:05,131
It was just a joy to be able
to do these tracks

1151
01:29:05,132 --> 01:29:08,342
and everyone do their part
and then come back

1152
01:29:08,343 --> 01:29:11,388
and go, "Wow.
What's he done with this?"

1153
01:29:12,139 --> 01:29:14,140
PLANT: There were so many
diverse places

1154
01:29:14,141 --> 01:29:15,767
that it was coming from.

1155
01:29:15,768 --> 01:29:19,562
The very fact that we were
able to be intimate in writing,

1156
01:29:19,563 --> 01:29:21,898
that's the big breakthrough,

1157
01:29:21,899 --> 01:29:23,650
because it's a total exposure.

1158
01:29:25,027 --> 01:29:28,988
As a kid, my parents took me
to every mystical mountaintop

1159
01:29:28,989 --> 01:29:32,242
and every beautiful ruin and...

1160
01:29:33,160 --> 01:29:36,954
all that sort of great
resonance of another people.

1161
01:29:36,955 --> 01:29:38,040
Well,

1162
01:29:38,832 --> 01:29:40,583
that's what that song's
all about, really.

1163
01:29:40,584 --> 01:29:42,960
Me, you, and the other people.

1164
01:29:42,961 --> 01:29:45,422
[SONG CONTINUES]

1165
01:30:23,293 --> 01:30:25,336
Gig after gig,
night after night,

1166
01:30:25,337 --> 01:30:28,339
maybe we had 20 songs to choose
from at that point in time.

1167
01:30:28,340 --> 01:30:30,341
Soon we'd have 40.

1168
01:30:30,342 --> 01:30:34,011
We'd opened a door to America
and there was a glint of light,

1169
01:30:34,012 --> 01:30:37,306
and, obviously, you're gonna
sort of kick the door open

1170
01:30:37,307 --> 01:30:40,351
and go in and really...

1171
01:30:40,352 --> 01:30:42,353
It's a massive continent.

1172
01:30:42,354 --> 01:30:44,397
And we really wanted
to get the word across

1173
01:30:44,398 --> 01:30:45,941
through live performances.

1174
01:30:49,653 --> 01:30:52,573
We toured horrendously at first.

1175
01:30:52,865 --> 01:30:55,159
We toured for months on end,
pretty much.

1176
01:30:56,076 --> 01:30:58,744
Three of these guys
had families already

1177
01:30:58,745 --> 01:31:00,538
at that point in time,

1178
01:31:00,539 --> 01:31:03,584
and this is our fifth tour
in seven months,

1179
01:31:04,251 --> 01:31:08,005
so they were away from
their children for a long time.

1180
01:31:09,173 --> 01:31:11,091
It is difficult
when you've got a family.

1181
01:31:11,675 --> 01:31:14,511
I flew with my wife Mo
to all the good spots.

1182
01:31:15,220 --> 01:31:16,429
She'd come to New York.

1183
01:31:16,430 --> 01:31:18,639
She'd just take
the kids shopping.

1184
01:31:18,640 --> 01:31:20,558
Go to shows. It was great.

1185
01:31:20,559 --> 01:31:22,268
But then they'd go home
and leave us

1186
01:31:22,269 --> 01:31:24,730
to get on with
touring the rest of the country.

1187
01:31:27,232 --> 01:31:30,735
There weren't tour buses
or any niceties in those days.

1188
01:31:30,736 --> 01:31:33,237
It was just like getting
whatever transport you can,

1189
01:31:33,238 --> 01:31:36,158
get to the gig, play it,
then try and have Richard Cole

1190
01:31:36,533 --> 01:31:39,286
find the next venue,
or even the city sometimes.

1191
01:31:40,037 --> 01:31:42,079
You could always tell,
when he was like...

1192
01:31:42,080 --> 01:31:44,582
You'd get at a junction
and see him going like this...

1193
01:31:44,583 --> 01:31:47,169
You'd go, "No.
We're lost again." [CHUCKLES]

1194
01:31:47,878 --> 01:31:50,421
BONHAM: It's so much easier
to tour around England.

1195
01:31:50,422 --> 01:31:53,299
If you're in America, you're
all day in a hotel somewhere,

1196
01:31:53,300 --> 01:31:55,801
having arguments with bloody,
you know,

1197
01:31:55,802 --> 01:31:57,137
turdheads and everything.

1198
01:31:57,721 --> 01:31:59,096
You know, it does affect you,

1199
01:31:59,097 --> 01:32:00,933
like, what's happened
previously in the day.

1200
01:32:01,808 --> 01:32:03,517
JONES: It was
all commercial airlines

1201
01:32:03,518 --> 01:32:05,436
so you had to get up
early in the morning and go

1202
01:32:05,437 --> 01:32:08,857
and sit in some airport waiting
for a plane to somewhere.

1203
01:32:10,067 --> 01:32:12,361
But that's how everybody
got to hear us in America.

1204
01:32:13,320 --> 01:32:15,948
[BRING IT ON HOME PLAYING]

1205
01:32:41,598 --> 01:32:43,140
BONHAM: We came back
from America

1206
01:32:43,141 --> 01:32:44,684
and everybody wanted
to book the group.

1207
01:32:44,685 --> 01:32:46,185
And it was like
a change of tune, you know.

1208
01:32:46,186 --> 01:32:47,603
JONES: There was no publicity

1209
01:32:47,604 --> 01:32:49,981
and, strangely,
you'd get to a British show...

1210
01:32:49,982 --> 01:32:52,275
"How did these people
know we were coming?"

1211
01:32:52,276 --> 01:32:54,527
We figured out
it was just word of mouth.

1212
01:32:54,528 --> 01:32:55,612
[SONG CONTINUES]

1213
01:33:30,022 --> 01:33:32,481
[SONG ENDS]

1214
01:33:32,482 --> 01:33:35,569
[THANK YOU PLAYING]

1215
01:34:00,802 --> 01:34:03,137
PLANT: I just liked the idea
of the stimulus

1216
01:34:03,138 --> 01:34:05,139
of travel and attention.

1217
01:34:05,140 --> 01:34:07,059
What do you know
if you don't seek?

1218
01:34:07,184 --> 01:34:08,727
You've got to go out
and have a look for it.

1219
01:34:10,270 --> 01:34:15,275
[MUSIC CONTINUES]

1220
01:34:33,710 --> 01:34:35,628
PLANT: We were playing
festivals in America

1221
01:34:35,629 --> 01:34:37,588
two years after
the Summer of Love.

1222
01:34:37,589 --> 01:34:40,049
I know that really has
no real significance,

1223
01:34:40,050 --> 01:34:42,051
but to me
it had every significance,

1224
01:34:42,052 --> 01:34:45,846
'cause I was in a place
that I really wanted to be,

1225
01:34:45,847 --> 01:34:47,015
emotionally.

1226
01:34:50,602 --> 01:34:53,522
[LIVING LOVING MAID PLAYING]

1227
01:35:22,717 --> 01:35:24,885
JONES: I can remember John
doing a sound check

1228
01:35:24,886 --> 01:35:26,679
at Newport Jazz Festival

1229
01:35:26,680 --> 01:35:29,473
and I could just see
all of James Brown's drummers

1230
01:35:29,474 --> 01:35:31,642
coming out of different doors

1231
01:35:31,643 --> 01:35:35,355
going, "What the...
What is going on here?"

1232
01:35:36,356 --> 01:35:38,816
And he's going...
[IMITATES DRUMMING]

1233
01:35:38,817 --> 01:35:41,735
He's going, "Yeah. I know.
I know who's watching me."

1234
01:35:41,736 --> 01:35:44,156
[CHUCKLING] But it was great.
You know.

1235
01:35:44,739 --> 01:35:48,409
It's what made
Zeppelin unique in that way.

1236
01:35:48,410 --> 01:35:50,411
It's just the way
he approached rhythm

1237
01:35:50,412 --> 01:35:51,662
and what he did.

1238
01:35:51,663 --> 01:35:57,793
[FRANTIC, POUNDING DRUM SOLO]

1239
01:35:57,794 --> 01:36:01,631
[HEARTBREAKER PLAYING]

1240
01:36:17,147 --> 01:36:20,317
[INTENSE GUITAR SOLO]

1241
01:36:47,385 --> 01:36:48,637
[SONG ENDS]

1242
01:36:51,389 --> 01:36:53,015
PLANT: We recorded all the songs

1243
01:36:53,016 --> 01:36:55,184
for Led Zeppelin II
on that tour.

1244
01:36:55,185 --> 01:36:57,229
It was like a kind of hurricane.

1245
01:36:57,729 --> 01:37:01,024
A whirlwind of energy
and release.

1246
01:37:02,234 --> 01:37:04,735
We hadn't really had a chance,
obviously,

1247
01:37:04,736 --> 01:37:07,446
with the amount of time that
we were spending in America,

1248
01:37:07,447 --> 01:37:10,032
to concentrate that much
at home.

1249
01:37:10,033 --> 01:37:12,284
So we came back
and actually played

1250
01:37:12,285 --> 01:37:13,536
our first British festival.

1251
01:37:13,537 --> 01:37:15,412
ANNOUNCER: Would you welcome,
please, Led Zeppelin?

1252
01:37:15,413 --> 01:37:17,248
And, of course,
you still wonder,

1253
01:37:17,249 --> 01:37:20,084
is this gonna
have any resonance?

1254
01:37:20,085 --> 01:37:21,753
Is this gonna bring it on home?

1255
01:37:35,392 --> 01:37:36,560
Wow.

1256
01:37:38,311 --> 01:37:40,689
[BLUES ROCK GUITAR SOLO PLAYING]

1257
01:37:52,784 --> 01:37:58,248
[PLANT VOCALIZES ON TV]

1258
01:38:02,502 --> 01:38:04,504
[CHEERING AND APPLAUSE]

1259
01:38:07,007 --> 01:38:09,592
PAGE: I've seen a photograph
of the first Bath Festival

1260
01:38:09,593 --> 01:38:13,346
but to see moving images of it,
well, that's absolutely amazing.

1261
01:38:14,431 --> 01:38:16,056
That was probably
the first festival

1262
01:38:16,057 --> 01:38:17,434
that we'd done in Britain.

1263
01:38:17,976 --> 01:38:19,893
And it didn't rain,
so it was really good,

1264
01:38:19,894 --> 01:38:21,021
and it was fun.

1265
01:38:23,857 --> 01:38:25,232
PLANT: But how long
do you want off

1266
01:38:25,233 --> 01:38:26,567
in between a tour and a tour

1267
01:38:26,568 --> 01:38:27,943
and a tour? Not long, really.

1268
01:38:27,944 --> 01:38:30,280
I mean, we had no idea
of fatigue.

1269
01:38:31,239 --> 01:38:33,490
There's just energy and power.

1270
01:38:33,491 --> 01:38:35,368
[I CAN'T QUIT YOU BABY PLAYING]

1271
01:38:54,054 --> 01:38:56,055
MALE REPORTER:
At 32 minutes past the hour,

1272
01:38:56,056 --> 01:38:57,807
liftoff on Apollo 11.

1273
01:39:42,852 --> 01:39:44,729
[SONG FADES]

1274
01:39:46,731 --> 01:39:49,025
NEIL ARMSTRONG:
That's one small step for man,

1275
01:39:51,778 --> 01:39:54,489
one giant leap for mankind.

1276
01:39:55,407 --> 01:39:57,909
[SONG CONTINUES]

1277
01:40:09,587 --> 01:40:11,171
I can just remember
we were in a tent

1278
01:40:11,172 --> 01:40:12,924
and somebody landed on the moon.

1279
01:40:13,508 --> 01:40:14,801
[CHUCKLES]

1280
01:40:17,429 --> 01:40:20,306
I mean, can you imagine
just being in America,

1281
01:40:21,141 --> 01:40:23,767
as a kid, more or less,
and just looking up...

1282
01:40:23,768 --> 01:40:26,145
You got this thing going on
with the music

1283
01:40:26,146 --> 01:40:27,897
and you look up
and there's a man on the moon.

1284
01:40:28,982 --> 01:40:31,985
[SONG CONTINUES]

1285
01:41:09,522 --> 01:41:12,024
PLANT: You know,
it's a big old world out there,

1286
01:41:12,025 --> 01:41:15,694
and I'm sure that 99% of people
are far more interested

1287
01:41:15,695 --> 01:41:19,741
in the fact that these guys
got back safely from the moon.

1288
01:41:20,450 --> 01:41:24,204
But the day they got back,
that was a big day for us too.

1289
01:41:30,126 --> 01:41:32,878
- [SONG ENDS]
- [CHEERING AND APPLAUDING]

1290
01:41:32,879 --> 01:41:35,380
PLANT: That is the biggest deal

1291
01:41:35,381 --> 01:41:37,966
if you're a kid
and you want to be a singer.

1292
01:41:37,967 --> 01:41:42,222
You get a gold record.
I mean, what happens next?

1293
01:41:43,056 --> 01:41:44,474
Doesn't matter, does it?

1294
01:41:49,521 --> 01:41:51,980
PAGE: I just really wanted
to make sure that

1295
01:41:51,981 --> 01:41:55,359
this album was just really gonna
get everybody excited.

1296
01:41:55,360 --> 01:41:58,571
I wanted it to be something
that they hadn't heard before.

1297
01:41:59,197 --> 01:42:03,033
The acoustics and the electrics
and the more radical

1298
01:42:03,034 --> 01:42:04,952
and even avant-garde.

1299
01:42:04,953 --> 01:42:07,204
So, when it came
to doing the mix

1300
01:42:07,205 --> 01:42:08,997
for Led Zeppelin II,

1301
01:42:08,998 --> 01:42:12,418
I'd mixed it with Eddie Kramer
at A&R Studios in New York.

1302
01:42:13,461 --> 01:42:15,337
I think he did an amazing job.

1303
01:42:15,338 --> 01:42:18,215
And, as was the case
with these mixing things,

1304
01:42:18,216 --> 01:42:20,718
there was often more than
two hands on the desk.

1305
01:42:23,888 --> 01:42:26,139
I really wanted to do something
with Whole Lotta Love

1306
01:42:26,140 --> 01:42:27,642
to stop it being a single.

1307
01:42:28,434 --> 01:42:33,230
So it was gonna have
a radical avant-garde section

1308
01:42:33,231 --> 01:42:36,608
in the middle that began with
a sonic wave.

1309
01:42:36,609 --> 01:42:40,446
[DISTORTED GUITAR PLAYING]

1310
01:42:42,657 --> 01:42:44,575
PAGE: Then when I put
the overdubs on it

1311
01:42:44,576 --> 01:42:46,368
for what was gonna go
in the middle,

1312
01:42:46,369 --> 01:42:49,204
I de-tuned the guitar
all the way down

1313
01:42:49,205 --> 01:42:53,417
and I was just pulling
the strings across and across.

1314
01:42:53,418 --> 01:42:58,298
[PROLONGED NOTES AND FEEDBACK]

1315
01:43:01,843 --> 01:43:03,302
And then there
was lots of panning.

1316
01:43:03,303 --> 01:43:05,512
That means moving things
from left to right.

1317
01:43:05,513 --> 01:43:08,807
[DISTORTED NOTES PANNING]

1318
01:43:08,808 --> 01:43:11,311
[GENTLE, PULSING DRUMBEAT]

1319
01:43:12,562 --> 01:43:15,481
[PLANT VOCALIZES]

1320
01:43:21,487 --> 01:43:24,908
[HEAVIER, FASTER DRUMBEAT]

1321
01:43:25,742 --> 01:43:27,326
[MUSIC FADES]

1322
01:43:27,327 --> 01:43:29,369
PAGE: And so that was it.

1323
01:43:29,370 --> 01:43:31,789
Led Zeppelin II was completed

1324
01:43:32,582 --> 01:43:34,334
and ready to be delivered.

1325
01:43:35,335 --> 01:43:38,338
[WHOLE LOTTA LOVE PLAYING]

1326
01:45:05,550 --> 01:45:08,720
[UP-TEMPO BONGO RHYTHM JOINS]

1327
01:45:19,731 --> 01:45:21,733
[GUITAR DISTORTION WARBLING]

1328
01:45:28,072 --> 01:45:30,867
[PLANT VOCALIZING]

1329
01:45:40,043 --> 01:45:41,918
[PLANT VOCALIZING]

1330
01:45:41,919 --> 01:45:44,755
[GUITAR DISTORTION CONTINUES]

1331
01:45:44,756 --> 01:45:50,428
[PLANT VOCALIZING IN RHYTHM]

1332
01:46:13,201 --> 01:46:15,870
[MUSICAL ELEMENTS OVERLAP]

1333
01:47:34,323 --> 01:47:35,950
[SONG SLOWS]

1334
01:48:58,532 --> 01:49:02,620
[VOCALIZING]

1335
01:49:05,998 --> 01:49:09,793
- [SONG ENDS]
- [CHEERING AND APPLAUSE]

1336
01:49:09,794 --> 01:49:12,713
PAGE: January the 9th, in 1970,

1337
01:49:13,297 --> 01:49:16,299
we played the Royal Albert Hall
in London,

1338
01:49:16,300 --> 01:49:19,469
and if we're thinking back
a year,

1339
01:49:19,470 --> 01:49:22,681
January the 9th, 1969,

1340
01:49:22,682 --> 01:49:24,642
is when we were playing
in San Francisco.

1341
01:49:25,559 --> 01:49:29,230
So this is
a whole year's progress.

1342
01:49:29,605 --> 01:49:31,064
PLANT: It was far out.

1343
01:49:31,065 --> 01:49:33,108
I mean, I was just having
a great time.

1344
01:49:33,109 --> 01:49:34,442
[CHUCKLES]

1345
01:49:34,443 --> 01:49:36,319
No chartered accountant here.

1346
01:49:36,320 --> 01:49:38,905
This is like a London concert,
so, of course,

1347
01:49:38,906 --> 01:49:40,741
this is where the families come.

1348
01:49:41,284 --> 01:49:43,536
Yeah, it's like a gathering
of the clans.

1349
01:49:44,412 --> 01:49:46,955
Just to go in there
and tread those boards

1350
01:49:46,956 --> 01:49:49,959
was just something else,
you know? It was fabulous.

1351
01:49:50,584 --> 01:49:51,751
And it was our own show,

1352
01:49:51,752 --> 01:49:53,671
so we just went out there
and did it.

1353
01:49:57,216 --> 01:49:58,592
[CROWD CHEERING LOUDLY] Led Zep!

1354
01:49:59,343 --> 01:50:02,388
Led Zep! Led Zep!

1355
01:50:03,514 --> 01:50:06,851
Led Zep! Led Zep!

1356
01:50:07,601 --> 01:50:10,271
Led Zep! Led Zep!

1357
01:50:11,605 --> 01:50:13,232
Led Zep!

1358
01:50:13,357 --> 01:50:15,776
[CHEERING CONTINUES]

1359
01:50:16,944 --> 01:50:21,365
[WHAT IS AND WHAT SHOULD
NEVER BE PLAYING]

1360
01:51:03,908 --> 01:51:05,368
[MELLOW MUSICAL INTERLUDE]

1361
01:51:58,546 --> 01:52:01,507
[MUSIC SLOWS]

1362
01:52:04,844 --> 01:52:07,096
[MELLOW, BLUESY GUITAR MELODY]

1363
01:53:47,863 --> 01:53:49,865
[GUITAR SOLO PLAYING]

1364
01:54:45,170 --> 01:54:47,715
- [SONG ENDS]
- [CHEERING AND APPLAUSE]

1365
01:54:51,594 --> 01:54:53,553
[CHEERING AND APPLAUSE
CONTINUES]

1366
01:54:53,554 --> 01:54:54,638
Thank you very much.

1367
01:54:58,934 --> 01:55:01,937
[CHEERING AND APPLAUSE
CONTINUES]

1368
01:55:07,484 --> 01:55:10,904
[AUDIENCE CHANTING]
Led Zep! Led Zep!

1369
01:55:11,614 --> 01:55:14,867
Led Zep! Led Zep!

1370
01:55:16,076 --> 01:55:19,079
Led Zep! Led Zep!

1371
01:55:19,955 --> 01:55:21,165
Led Zep!

1372
01:55:22,249 --> 01:55:24,083
My dad came to see that show.

1373
01:55:24,084 --> 01:55:26,754
He was really proud,
which was great.

1374
01:55:28,088 --> 01:55:31,049
Said, "He's got great passion
and fire and all that."

1375
01:55:31,050 --> 01:55:32,926
It was really nice.

1376
01:55:34,178 --> 01:55:36,888
BONHAM: John Paul and me,
you know, we get on really good.

1377
01:55:36,889 --> 01:55:38,265
I mean, we all do, you know.

1378
01:55:38,849 --> 01:55:40,642
Each member of the group,
they're quite different,

1379
01:55:40,643 --> 01:55:43,269
personality-wise,
but they're good lads, actually.

1380
01:55:43,270 --> 01:55:45,314
They're, like, a category
on their own, really.

1381
01:55:45,981 --> 01:55:48,483
Um, it was at least
the middle of '69

1382
01:55:48,484 --> 01:55:50,527
before I got to really know
each of them.

1383
01:55:51,195 --> 01:55:52,863
It's a gradual thing, isn't it?

1384
01:55:54,031 --> 01:55:55,698
I could talk
about Robert forever

1385
01:55:55,699 --> 01:55:58,201
because I know him so well,
really, that it's ridiculous.

1386
01:55:58,202 --> 01:56:01,704
You know? And Jimmy's
pretty shy, actually.

1387
01:56:01,705 --> 01:56:04,166
But knowing him like I have,
he's really great, you know.

1388
01:56:05,125 --> 01:56:07,543
I like each of them
for what they're doing.

1389
01:56:07,544 --> 01:56:09,838
And, you know, I always love
playing in the group,

1390
01:56:10,339 --> 01:56:11,965
so I don't need to do
anything else.

1391
01:56:14,593 --> 01:56:16,719
PLANT: We got there
in the first place,

1392
01:56:16,720 --> 01:56:17,804
on the first day,

1393
01:56:17,805 --> 01:56:19,847
playing Train Kept A-Rollin',

1394
01:56:19,848 --> 01:56:21,891
'cause we were drawn
to that moment

1395
01:56:21,892 --> 01:56:23,018
and it worked.

1396
01:56:23,519 --> 01:56:26,730
But all the preamble to that
was just out there,

1397
01:56:27,189 --> 01:56:28,440
throwing it up in the air.

1398
01:56:29,024 --> 01:56:31,068
So why should it ever stop?

1399
01:56:31,944 --> 01:56:34,987
If you have something
that you know is different

1400
01:56:34,988 --> 01:56:36,280
in yourself,

1401
01:56:36,281 --> 01:56:37,865
then you have
to put work into it.

1402
01:56:37,866 --> 01:56:39,534
You have to work
and work and work.

1403
01:56:39,535 --> 01:56:41,202
But you also have
to believe in it.

1404
01:56:41,203 --> 01:56:43,663
But as long as you can
stay really true,

1405
01:56:43,664 --> 01:56:46,416
your aim is true,
you can realize your dreams.

1406
01:56:46,417 --> 01:56:47,500
I do believe that.

1407
01:56:47,501 --> 01:56:50,254
I believe that that can be done,
'cause this is what happens.

1408
01:56:54,216 --> 01:56:56,218
[LED ZEPPELIN PLAYING
LET'S GET TOGETHER]

1409
01:59:22,281 --> 01:59:23,948
[SONG FADES]

1410
01:59:23,949 --> 01:59:26,034
[SOMETHIN' ELSE PLAYING]

1411
02:00:24,176 --> 02:00:26,011
[BLUES ROCK GUITAR SOLO]

1412
02:01:28,365 --> 02:01:31,368
- [SONG ENDS]
- [CHEERING AND APPLAUDING]

1413
02:01:33,328 --> 02:01:34,495
PLANT: Thank you.

1414
02:01:34,496 --> 02:01:36,915
[CHEERING CONTINUES, FADES]