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by Tom Watson

Tom Watson: From your point of view, what's the difference among the roles of record producer, recording engineer and mixer?

Kevin Shirley: It differs from band to band and even with the same band it differs from project to project. I have some in which I'm involved very much hands-on with everything, including the minutiae of songs and songwriting and chords. Then you have other projects where the band is well established and you have to capture what they do best without caving into the trends of popular music.

Tom: That's more in terms of the role of producer, right?

Kevin: Right, but it's all semantics at the end of the day. When I work on the Led Zeppelin material, what I do on those projects I do on my own. I'm a uot;producer" inasmuch as the work getting done is up to me. I'm not a producer in the respect that the final say is always up to the guys in that band and what you're doing is up to them. There's a fine line there. But, I have to tell you, I wouldn't want to buy Led Zeppelin work that wasn't produced by Jimmy Page. "Produced by Jimmy Page" is part of the legacy of the band. I would hate to be buying Led Zeppelin produced by anyone else at this point in their career.

Tom: The advance copy of the 2-disc The Song Remains The Same movie soundtrack credits Jimmy Page as producer and Peter Grant [Led Zeppelin's manager who passed away in 1995] as executive producer.

Kevin: Yes, Peter Grant was involved in the original making of the movie and its soundtrack, but let me tell you, the CDs you have there bear only a little resemblance to the original soundtrack album with respect to the performances included or anything else. It's all new, all culled from the three nights at Madison Square Garden. The movie was the template for the new audio.

To be fair, the movie, at the time, was adequately shot and edited and we weren't allowed to change any of the imaging, so we had to work with the audio. I don't know if you remember the original audio, but it was sometimes out of sync and there were many questionable edits, so I tried to make a more cohesive package that flows with the movie a lot better. What you have there really is a movie soundtrack with a few extras.

Tom: When the movie first came out [1976], wasn't an attempt made to create something of a surround sound experience in at least some theaters?

Kevin: Yes. Jimmy [Page] and Eddie Kramer did some mixes, back in the day at Electric Ladyland, and they were pretty good. They tried to resurrect those for the audio, but I think they were a little less than thrilled, which is why we set about re-doing it again from scratch. 5.1 [Dolby Surround Sound] has made a huge difference in things. It's like taking an 8-track and saying, "Does this work as modern DVD audio?" It might have been state of the art back then, but it just doesn't fly anymore.

Tom: The new The Song Remains The Same movie DVD is in 5.1. What's the audio point of view? Where am I sitting in Madison Square Garden?

Kevin: You're sitting three rows back, in the center, just behind the gorgeous girl with blonde hair [laughs].

Tom: What's coming from my 5.1 rear speakers? The crowd?

Kevin: There are all sorts of things coming from the rear speakers. Audience, delays, and there are some elements coming back from the rears like in "Dazed And Confused" - the violin bow thing goes all over the place when Jimmy's climbing up the mountain - some of the drum solos, and in the fantasy sequences the audio travels between the front and the back. So, you're sitting in the middle of this very interesting experience. There are also the sound effects. There's the subway train that comes in the middle of the movie right before "No Quarter" - the train comes from right behind you and through the middle of your head, which is pretty cool, actually. It's a surround experience, no doubt. It's not a concert with just some subtle rears.

Tom: What were your instructions? What were you told was the goal with respect to the new edition of The Song Remains The Same?

Kevin: What I was told was, "Here's the movie, and we can't touch it [the visuals] but can we improve the audio? How can we make this a very good Zeppelin experience?" There are many bad edits with the original audio. With all due respect to Eddie [Eddie Kramer who served as the original sound engineer], the original's a pretty average mix - but Madison Square Garden might have been a tough venue with the equipment that was available then - it would probably be much easier and better with what we have now.

I took it and looked at it as carte blanche. I looked at the movie and would say, that doesn't sync at all so why don't we find the right piece that syncs? If you look at the end of "Stairway To Heaven" on the original movie, the visual's from a completely different take than the audio. I'd say, "Why is there a different take?" and I'd be told, "Oh, because there's a mistake on the original audio." Well, I could fix the mistake and we could put the original audio back on there. There are things you can do now that you couldn't do back then.

Tom: Most of it with Pro Tools?

Kevin: Pro Tools is pretty much the "tape machine" of today. Even if you don't use all the editing facilities that Pro Tools allows, you still use it as the source for everything, especially with the 24-bit high resolution stuff, the audio's very good.

Tom: Exactly what audio did you have to start with on The Song Remains The Same?

Kevin: I had three multi-tracks from three nights at Madison Square Garden [the three July, 1973 Led Zeppelin Madison Square Garden concerts].
Tom: How many tracks did you have?

Kevin: 16-track recordings.

Tom: That wasn't too bad, then.

Kevin: Oh, no, for 1973, having 16 tracks was fantastic.

Tom: How did this project compare then to the Led Zeppelin DVD? That must have been a real bear.

Kevin: It was a different animal. The Led Zeppelin DVD was, "Here's a room full of audio tapes, what can we cull out of this lot?" There wasn't a set plan going in, it was more like, what's possible? Especially, when we started looking for accompanying visuals and all we'd fine is some bootleg. Some stuff didn't make it onto the Led Zeppelin DVD because there wasn't any video for it. Even with some of the Royal Albert Hall footage, when there was no video they resorted to slow motion or still-frame because there isn't any video for those sections.

So, Led Zeppelin was a totally different thing. We got the audio, then looked for video. Unlike The Song Remains The Same, it wasn't governed by the video. We went through and found audio performances that were good, performances that could work. If there were a couple of good audio versions of "Ten Years Gone," for example, we'd then look to see if we could find good video to go with it.

This time around, it was there's the video, period, and now we need to put the audio to the video.

Tom: This time around it was actually both - here's the video and here are the audio tracks you have to work with.

Kevin: Exactly. I don't know how much people know about this, but there's a Led Zeppelin show there and it's well done, but there are some shots in the movie that were not done live, that were done after the fact. So, it's not like the movie's a straight-up concert video.

Tom: How many mixes did you have to do - you have 5.1, 2.0, the CD soundtrack - it's more than just sitting down and doing 5.1.

Kevin: Oh, absolutely. We started from scratch. Everything was reassembled from the ground up. The original soundtrack lives only in the old version, which is almost an excuse for having both because there are two different versions now. The new version is newly assembled audio. That's why when Warner Bros. says it's "remastered," that's not really descriptive, it's re-done. As Jimmy says, "it's been revisited," which is about as accurate as you can get.

The original multi-tracks were reassembled, then we did stereo mixes. Some of the original edits compromised some of the song structures, some of which we were able to fix, though some of them have to live on in the movie DVD.

Tom: Because you couldn't alter the film visuals.

Kevin: That's right. The whole thing is that it's a theatrical release and it would have been a whole can of worms with directors, and legal hassles, and whatnot, if you started editing the movie.

Tom: Is there a variance now between the soundtrack CDs and the actual DVD soundtrack?

Kevin: No, actually the CDs much more accurately represent the movie now. What you hear on the new soundtrack CDs is what's in the movie, they're not two different things now. There's just more on the CDs than there is in the movie because the movie wasn't the entire concert.

Tom: How closely involved was Jimmy Page with your work?

Kevin: Jimmy was very involved. He came in every day and listened to everything, but, he's not jumping in, he's not hands-on. If something was bothering him, he said so, but he trusts me and he appreciates my work. He'd walk in and say, "That sounds terrific, I love the way that sounds." It wasn't a battle at any stage.

In terms of quality control, I have enough hanging over my head just knowing it's Led Zeppelin. [Laughs] You sit there with rock 'n' roll on the console - you've got one guitar, one bass, a drum kit and a vocal and I'd listen and work with something for two or three days and I'm like, I don't know what else to do with it, I don't want to push the guitar any further, this sounds about right to me now.

What was very cool was Robert [Plant] would come to the studio and he's not a big fan of the original movie, I'd say he was probably a catalyst to the thing being re-done, and when he first came by he said, "Oh my God, I don't want to hear this," and he sat down and listened to it with his hands over his eyes. Then, he starts nodding his head and rocking with it and turns around with a big grin on his face and goes, "It rocks, doesn't it?" Then he looks at the video and goes, "We weren't half bad, were we." It was great to experience that chrysalis, to see the butterfly coming out.

Tom: The thing about Led Zeppelin shows was that they were bold. It would take a bold guy like you to capture that completely. You can't be afraid of it.

Kevin: No, you can't be afraid of it. You do have to wring its neck. Actually, when I'm in the studio I compartmentalize. I'm concerned with the sonics of the thing and I don't think about anything else. Then, I'm having a beer later that night and I go, "My God, I just mixed "Stairway To Heaven!" That's when it sets in, but in the studio I'm unaffected by it.

Tom: You're doing what you do.

Kevin: Yes. I've got a block of concrete to break into dust by the end of the day. It's not always easy, it's not always enjoyable, but I do it for the end product. It's like taking a trip. I hate flying but I love getting there.

Tom: What was the biggest challenge in this project?

Kevin: Making the music fit the picture. The original video was edited all over the place, from different shows, so we wanted the sound to help the video feel real. At the end of the day, it's not a documentary, it's a movie, so there was some creative license. I'm very happy with the final result.

Tom: What about the biggest audio challenge?

Kevin: It wasn't an easy concert. The Madison Square Garden concerts, for whatever reason, were a challenge, the most challenging on the Led Zeppelin DVD, which I mixed. Knebworth was easier, and, going back, the Royal Albert Hall was way easier. Whether it was the truck on those nights [at MSG], or the acoustics of the hall, or whatever, these weren't the easiest concerts in the world to mix. We had to dig deep to get a lot of the definition, a lot of the depth into the instruments. If you listen to the original soundtrack CD, it's quite brittle, not full highs and lows, a very razor-ish sound. It was difficult audio to work with.

Tom: Did you add any effects to Jimmy's guitar?

Kevin: I did add a little bit of effects to Jimmy's guitar, which the purists will probably hate, in some sections on the clean [tone] parts where the guitar was a little out of tune. I just tried to smooth it out a bit, but you can't change the recorded intonation of the guitar, and that's one of the joys of the guitar too, so I just tried to make it a little sweeter.

Tom: How did you make panning placement decisions? Did you use the original as the guideline or primarily rely your own ears and taste?

Kevin: Absolutely, you use your own ears, and there's a presentation on the screen that says, this is what's happening, so while I don't follow Jimmy cavorting around, you follow the show. Actually, you'll hear a slight leaning of the bass to the left - maybe 11:30 [as opposed to dead center 12:00] to the left, just slightly off center because that's kind of how it looks on stage, John Paul Jones is on that side of the screen. So, the presentation is there, you just enhance it, really.

I hope people dig it, I really do. I'm not going to do a lot of interviews about it because these Internet days are very tough with some people analyzing things to death and obsessing over minute detail. It's really just for people to go and enjoy. The detailed analysis isn't really welcome - who cares if somebody says, "You needed more cymbal in 'Black Dog,' or something like that. Enjoy the experience. Don't over analyze it. It's the world's greatest rock 'n' roll band playing a very good set of shows.

Tom: It's funny. I might think, read and write about Led Zeppelin every day, but as I was putting in disc one of the soundtrack, it dawned on me that I don't listen to Led Zeppelin nearly as often. Hearing the live-show soundtrack put things back in perspective. Explosive.

Kevin: They are explosive, they really are explosive. They're just so much on the edge the whole time, everyone's on the edge - Robert's performing, John Paul Jones is such a solid foundation, and Bonzo, John Bonham, what can you say? He's the rock.

Tom: Don't know how many times I listened to "Since I've Been Loving You" today. Here we are, 30-some years later, and most blues-rock players still don't get this.

Kevin: No. One of the key things to all of that is Jimmy's playing. When you hear Jimmy's solos isolated - out of the context of a mix - you realize what genius-guitar playing really is. People try to copy that stuff with a pick, but Jimmy's all about everything - he's got a pick, he's using his fingers, he's using a pick and his fingers, there's so much going on in his playing all the time and he makes a wall of sound without turning up the distortion, it's a clean tone.

You're really right, people just don't get it. You know why? Because they can't. They're like, "It seems obvious to punch the fuzz box on and have a big heavy pick - that's the way he does it," which is the antithesis of what the man's about. He's about sensibility, he's about structure, he's about musical architecture, he's about the nuances, he's about things not being heard sometimes, about notes not being played and you just hear the resonance.

I said, in the context of the earlier DVD [Led Zeppelin] that, in my book, he's a much better protagonist of the instrument than [Jimi] Hendrix. Not that I want to start any arguments, but I listen to the depth of Jimmy's back catalog - the acoustic work, the heavy work, the fine fingerpicking stuff - and then, on top of all of that are his arrangements. You know, he's an architect, the architecture of his music is just stunning. When you look into the middle bits of the violin-bow section of "Dazed And Confused," there is nothing random about that. I mean, there's a random access quotient, the improvisational nature of that band, but there's structure, there's architecture. It's not just, let's go do a 15-minute guitar solo.

Listen to them play the same song over five or ten shows and you'll hear that there are patterns of what he's doing, and where, and how he's building it up. When you start hearing all of those things and you start listening to the architecture and you start hearing some of his influences, like [Krzysztof] Penderecki, the Polish composer, all the bits and pieces that have influenced him along the way, it's phenomenal.

Tom: And, as you listen to the soundtrack, you hear so many things that have come since Led Zeppelin.

Kevin: Absolutely. Actually, there are a couple of things on the DVD menu, like where I've taken 30-second samples and they'll cycle around, and you could make a song just from those samples of them jamming. There's Soundgarden in there, and countless others. What makes Zeppelin so unique is that it wasn't just about one thing taken further, it was about so many things done in so many different ways.

What did you think about the sonics of the new soundtrack?

Tom: They demonstrate what Led Zeppelin was about - they were out to conquer the world.

Kevin: You know, you're saying it all. That's exactly what it was about. And they did it.
Stairway To Heaven or Their Satanic Majesties Request
by Tyson Meade

First of all the phone rings. John asks where he's calling. I say Oklahoma. He's says he's never been here. I tell him he was here twice in the Seventies, '77 for sure. He says "Oh," then the official interview commences...

Tyson: First of all, I want to tell you you're my favorite member of Led Zeppelin.
John: Oh, thank you very much. What a good start to an interview. [laughter between both parties]

Tyson: Yeah, I have a ton of questions and some of them are totally kind of gooey and some of them are about some of the people you've worked with...uh...you've...really run the gamut from the days with Led Zep!
John: Right. [somewhat in resignation]

Tyson: Let's start with Diamanda. How did that come about?
John: Well, I was really into her music, and a mutual friend, David Snow, said we're a lot alike and I was like, "Well, okay!" So I met her when she was coming through London for an evening and we found we had tons in common, believe it or not, then she went to New York and recorded some stuff. And I worked a lot on the working [basic] tracks in England which she wrote lyrics for. She just then came over, stayed at our house, and we recorded it. Took a month.

Tyson: Yeah, that first song on the CD reminds of something from, like, "Physical Graffiti" but with this total maniac singing. [giggling on both ends]
John: Her vocal track, that was one take. It was scary, we were all shaking by the end. [laughter]

Tyson: Yeah, that's exactly...'What time is it?' [my lame Diamanda imitation] okay, I heard...were you all, this is like a nasty Hollywood rumor, but were you all romantically linked?
John: [laughter] Gee, I've heard every sort of question in the last ten years. Romantically linked? To each other you mean? [laughter and 'Oh, oh, whoa!' voice cracking like Mr. Haney from Green Acres]

Tyson: Uh, yeah!
John: Uh, not really, uh, no! What a thought! [laughter] That's hilarious.

Embarrassingly enough, I think he thought we had left Diamanda and were talking about Led Zeppelin again. Uh oh!

Tyson: You did that album with the Butthole Surfers. How did that come about?
John: I don't know whether [the Surfers] thought it was a good idea. They sort of put us together. It may have even been the record company. I'd heard loads of tapes from loads of bands and I hated them all, and suddenly this weird noise came on this tape with all this sort of swirling electronics, all totally fucked up. I thought it sounded really twisted. I thought I would like to do that. Everyone said, 'You're MAD! [Resignaton] 'Oh yeah, well, here we are boys. I'm going to Texas.'

Tyson: I'm going to say names, and then you can give me answers, short or long. What do you think of these bands?
John: Okay. [true hesitation]

Tyson: If you don't have anything one way or the other, that's totally cool, too. I'd really like to know your take on Oasis.
John: Oasis? I guess they're a good band. I just get the feeling I've heard it before somehow. There's nothing new there for me. I got their album because it was everywhere, so I thought, 'Gee, I might oughta listen to this,' and I listened to it and it was like, 'Oh, it's all right.' There's nothing special there for me.

Tyson: What do you think of the new thing like Aphex Twin where it doesn't involve a band? The electronica movement?
John: I love a lot of it. I think it's just a bit of a dead end. I like a lot of their techniques, but I don't know how sustainable they are. I really like drum and bass. But again, I just really miss that live input. Which is what I'm working on. I'm working on my solo album at the moment. Basically, it's instrumental rock. It's blues-based rock. Very powerful stuff. Power trio type stuff. But there's going to be a lot of computer involvement as well, but not on the rhythm side, in the ambient and sound side, a lot of processing. A lot of weird shit on it. A lot of live stuff on it, too. I want it to be exciting. Also I want to be able to go out and play. I want to tour on it as well.

Tyson: Did you work with Bowie? [obviously reaching]
John: No, no, well I did before he was Bowie. [laughter]

Tyson: When he was David Jones?
John: David Jones and the Lower Third. I think I did some of those records. I hooked up with Donovan. I did "Mellow Yellow." That was mine. I even worked with Herman's Hermits. I did orchestral arrangements in those days.
Tyson: When I heard I was going to interview you I was going to say 'You are my favorite Rolling Stone.' That would be funny to say, but, uh...
John: That's kind of weird [laughter] - favourite Rolling Stone? Your favourite Led Zeppelin member was a much better choice.

Tyson: I've got some names here, like "This Is Your Life." Just say whatever.
John: Okay.

Tyson: Angela Bowie.
John: [long pause] Angela Bowie?

Tyson: Yeah.
John: Uh huh. [long silence] What am I supposed to say about Angela Bowie for God's sakes?

Tyson: That's probably good enough [much laughter]
John: Try me on another one.

Tyson: The mic came loose from the phone. Actually it's a suction and it doesn't help that the cat pounced on it and knocked it loose.
John: Kick the cat, kick the fucker, or uh, kick the cat, lick the fucker.

Tyson: Sorry, but, uh, somebody gave me this one. You don't have to say anything. Red snapper.
John: Red snapper! Oh dear, oh, oh...one of those things you do. [laughter] You've been on the road, things happen.

Tyson: Do you have any favorite new toys?
John: All my favourite new toys are in the studio. My favourite new one is a KYMA. I'm going to use it on stage to generate sound. It's like a real time computer processor.

Tyson: That's a good answer.
John: Oh, okay, well there's one good answer in forty minutes! [laughter]

Tyson: No, they've all been good answers. No, for me these questions are basically, I live in a village and I tell the other villagers I'm talking to John paul Jones and they're like, 'Oh my God, you're talking to John Paul Jones!" Okay, I think I have one more and it pertains to the Rolling Stones. If they said tomorrow, 'Hey John, join our band!' what would you do?
John: I'd reply, 'Thank you very much but no! I've got my own thing.' I don't wanna play "Jumpin' Jack Flash" for the next forty years, as good as it is. My stuff is much more interesting to me. I like the Stones. It's great to see they're still doing it, still out there. They're doing better than anybody, what they're doing.

Tyson: I agree with you there.
John: So you wouldn't join them then either?

Tyson: Ya know, I don't really know how to play bass. I really don't.
John: That's a good answer. That's what you can say, 'Look, I don't really know how to play bass. Call John Paul Jones.'
AOLiveMC5: Welcome, Jimmy Page. It is a pleasure to welcome you this evening.

Jimmy Page: Good evening to the worldwide audience and the global village of the Internet.

Question: Jimmy, have you ever seen any of the Led Zeppelin tribute bands, and how do you feel about them?

Jimmy Page: No, I actually haven't. I haven't managed to see any of them. I did a while back in the '70s. I've heard about the tribute bands, but no, I haven't seen one. There's one called Cinnamon in Japan and Fred Zeppelin and all sorts of plays on words. If I walked into the audience, they would probably tear me to bits.

Question: Why do you feel the music of Led Zeppelin is so enduring?

Jimmy Page: Because I think at the time it was recorded, we didn't have the corporate pressure laid on us as we recorded each album. So because of that, we recorded the music that was coming out at that point and time relative to where we were at that point in time. After the first album, the second album was recorded on the road and had that live feel about it.

Then we had a break in time. With the first and second albums, we were working like crazy to establish what we had and the language in the confines of the USA. Then we had a rather short break, and I remember Robert and I went to a cottage in Wales and we were communicating every day, musically as well. We came out with acoustic numbers. Most people couldn't understand the mellower songs. These actually came into fruition, into being the third album. We made statements musically at that point and time. It was [a] far more open situation musically for bands, not just us, but for other bands too.

Question: When did you first realize that band's disparate influences had gelled into a distinctive, original sound?

Jimmy Page: From the very first album, because I had a concept of what I thought we should be doing, but as time went on and I got to learn the musicians more, it was easier to relate to everyone's personality within the music. To be honest with you, it was from the first album. For two or three weeks we were just doing dates on our own.

Question: Who are you currently working with?

Jimmy Page: I was working with Michael Lee at an earlier point, about summertime this year, just working some ideas for feature material, and that was to include Robert's input and his ideas. And after that, I was working with the Black Crows, and that was after the Net Aid event.

Question: Jimmy, what do you think of Beck's new release, "Midnight Vultures"? Would you consider working with him? Love, Theolyn.

Jimmy Page: Yeah, I would consider working with anybody who's got something serious to say within their music. Yeah, sure, I'd love to play with the American Beck and the English Beck too, which is different. I must say the American Beck is doing some very interesting work. His first album was amazing. He hasn't stopped titillating the imagination ever since.

Question: Who do you feel best captures the Zeppelin essence in today's rock music scene?

Jimmy Page: You see, we have to go back to when those albums were recorded. The fact that even on the market there was no record company pressure. Nobody took any notice and you could do what you were doing. We just went flying onwards and actually because of that, we had pretty bad reviews because people didn't know what we were doing. I'm not being complacent because we had a certain honesty and drive and that manifested itself at the end of the day.

Now as to whether the current bands... I think that probably... I must say that when I re-marketed what became the four-CD set for Led Zeppelin, I could see what a textbook it had become for bands. We all learned from previous sources, and I was so proud of what we laid down there. We made sure it was unrestricted environment. I like to feel that what we did musically has transpired across generations. I know it has, I have heard it. I am pleased it's been an inspiration for people.

Question: What does the symbol on "Presence" represent?

Jimmy Page: Well, the idea of it was a presence of something that could be viewed maybe from the future. It's like, let's see, maybe in 2050, and people look back and saw the equivalent of Bell Radio within the household, they wouldn't know what it was unless they were briefed on it. Maybe vinyl, the whole library of vinyl records... in the future, somebody looking [at] that would see the object on the table, it would be like tube radios from the '50s. But it was a presence within the household. It was something so important that they liked... the radio would convey current music. The title was not a play upon words, but a play upon images. It was fun.

Question: What prompted the series of low-key gigs you are doing at the moment, and where does the inspiration for the false names you gig under come from? (Ed. Note: This question refers to Robert Plant's current low-key gigs in England, not Page)

Jimmy Page: What false names are you referring to? I haven't used a false name, and I haven't played any low-key gigs.

Question: What is the name of the instrumental piece you performed at Net Aid? "Domino"? Are there other pieces you wrote recently that we haven't heard yet?

Jimmy Page: Yes, the name is "Domino." I've got some material I put together. They could become instrumentals or they could become solos. It depends on which environment that they reach their fruition.

Question: Hello, Mr. Page, I would like to know if you think that Jeff Beck, Eric Clapton and yourself might do some sort of project together in the future, all being former Yardbird members.

Jimmy Page: I really don't know. There have been some outlying requests of old friends of the Yardbirds to put something together with the three of us. But I know as far as the spirit of the album goes, myself and Jeff are very firmly into it and very proud of it. For my part of it and for his part of it, he's really into the album, and Jim McCarty and Chris Dreja. However when Jim McCarty was 50 and he had a birthday party in London, at what was an established club, the 100 Club, his invitations said, "Halfway to the 100 Club." Many folk from the era of the '60s were there, Jeff was there, I was there. They played a wonderful set. But Eric wasn't there. Eric wasn't there for the Hall of Fame when the Yardbirds got into that. Jeff was there and I was there. So, I really don't know whether something with Eric and Jeff and myself could come together. But, what I do know is that it could be a real fun event and a real fun night.

Question: What do you feel is the definitive Led Zeppelin track, the track that best captures the sound the band was seeking to capture?

Jimmy Page: I can't actually isolate one track out of all of the others, because for me they all have memories for the way they're recorded. Some were recorded in studios, and some were recorded in houses with mobile recording trucks, but the thing is they all have memories for me; I can't differentiate one from the other. It really is impossible, because it's emotion that goes with each track, and in retrospect, memories.

Question: What do you think will be Led Zeppelin's greatest legacy?

Jimmy Page: A good 30 years after the first album, the legacy is going to be the music for what it is and how it actually affects people, approaches them and maybe even seduces them. And that's the only legacy we really need to know about.

AOLiveMC5: We have all too quickly run out of time. I think the question the audience wants most answered is this... can you tell us anything about Led Zeppelin getting back together?

Jimmy Page: Led Zeppelin getting back together, that's a really interesting question for me as well. Robert Plant and myself worked together and it seemed like we needed a break from last December to this December. Actually, you know, what I'm going to say to you is, I don't quite really know why, we shouldn't have actually had a point when we could have worked together with the remaining members. I know that John Paul Jones is playing very, very well, I know that I'm playing very, very well, and it would be interesting to explore that possibility. But all I can say is, to those dear fans who would love to see what we could do, unfortunately, I don't have any answers. All I know is I love playing music all the time and being seen as a musician. And, I can't really give you an answer.

AOLiveMC5: Thank you, Jimmy Page, for joining us this evening.

Jimmy Page: People can read between the lines. Thank you, everybody, for sending your questions. I hope if you sent in the questions, they got answered. The ones that didn't get run past me, I'm sorry. The ones that did, I hope my answers made sense to you. Thank you for being a really solid fan base; it's given me a lot of inspiration in my life. We're posting an interview on www.ledzep.com. You fans may be interested in reading this.
OnlineHost: John P Zep has entered the room.
HubMeg: Welcome John Paul!
Question: If you could jam with any musician(s) from any era who would it be and why?
John P Zep: John Bonham and Jimi Hendrix
John P Zep: I don't think I need to say why!

Question: What do you think were the unique qualities that Zeppelin brought to rock?
John P Zep: Musicality
John P Zep: diversity
John P Zep: power
John P Zep: !
John P Zep: let's see... a good stage show
John P Zep: and commitment!

Question: What Zeppelin recording do you feel features your most creative bass work?
John P Zep: Oh, that's a hgard one...
John P Zep: Which one doesn't?
John P Zep: I hate false modesty!
John P Zep: "The Lemon Song" is famous
John P Zep: I quite like the bass lates thate are tight in with Bonzo
John P Zep: bass lines, that is
John P Zep: Any live recording of "Dazed and Confused"

Question: did you help in the release of the new bbc release ?
John P Zep: Yes I did.
John P Zep: Tapes were circulated and...
John P Zep: we all amde a decision on what best versions to use
John P Zep: we tried to get as much good stuff on as possible

Question: How do the "younger" bands react when they find out you are producing their work?
John P Zep: Initially...
John P Zep: they're terrified!
John P Zep: but I think they get frightened that I might want to change them
John P Zep: and that they might not be able to tell me what they want
John P Zep: and what theyd on't want
John P Zep: hopefully, they find that I'm pretty sympathetic
John P Zep: and that if I'm going to produce a band
John P Zep: that i'll let their personality come out

Question: Do you like any new artists?
John P Zep: Some songs from some artists, I think.
John P Zep: Some of Radiohead
John P Zep: there's a single from the Eels that I like
John P Zep: I like some of the English drum & bass/jungle
John P Zep: I like bluegrass as well, at the moment

Question: If Page/Plant tour after their album is released...and they wanted you to join them...would you?
John P Zep: No, I think they've missed their chance now.

Question: Did the XYZ (former Yes and Zeppelin) project ever really exist?
John P Zep: No! It was pretty much a pressthing, I think.
John P Zep: It was one of those things you read about
John P Zep: and wonder, "Are they talking
John P Zep: about us?"

Question: Did you make up the bass solo in the Lemon Song on the spot?
John P Zep: The word is improvise--
John P Zep: And YES!

Question: What's the best thing about this Live at the BBC album?
John P Zep: It's teh sound of a young, enthusiastic band.
John P Zep: It's a very raw sound.
John P Zep: A cocky young band at the height of its powers.
John P Zep: And John Bonham,

Question: Jonesy, on your upcoming solo album, is it going to be entirely musical? No vocals, or do you sing? And are you doing and No Quarter style jazz improv on it?
John P Zep: Entirely musical? Don't you mean instrumental?
John P Zep: The answer is yes--
John P Zep: it is instrumental --
John P Zep: no vocals
John P Zep: no guitar
John P Zep: no jazz
John P Zep: Pure Rock!
John P Zep: (with some funny noises)

Question: you have such a smooth driving bass style who was your influence
John P Zep: A lot of bass players from a lot of different
John P Zep: styles of music
John P Zep: To name a few...
John P Zep: James Jameson
John P Zep: from motown
John P Zep: Duck Dunne (booker t & the mgs)
John P Zep: and some of the great jazz players
John P Zep: such as charles mingus
John P Zep: and Scott LaFaro

Question: Will we be seeing any professional live video i.e. Earls Court '75, Seattle '77 released in the future for public consumption
John P Zep: it's always possible.
John P Zep: every now and again we feel we ought to
John P Zep: look at this stuff
John P Zep: some of it is good, some not so good
John P Zep: it would be nice
John P Zep: to see some of it out there

Question: I know that you have worked with Lenny Kravitz in the past do you consider him to be one of the most talented younger musicians today as i do?oh by the way you do realize you are the best bass player in rock music historyright?
John P Zep: Is that Lenny Kravitz writing in?
John P Zep: if it is, i better say that he's pretty good too.
John P Zep: he actually approached me
John P Zep: by saying that his bass player left
John P Zep: just before the MTV video awards
John P Zep: he was trying to think of who to use
John P Zep: and he said to me
John P Zep: "why not call the guy i took it all from in the first place?"

Question: Tell us abou the new "Whole Lotta Love" video. I beleive some of the footage has never been seen before.
John P Zep: Yes, it certainly surprised me!
John P Zep: There's a funny little bit where
John P Zep: Robert and I seem to be doing some strange
John P Zep: Martian dance together.
John P Zep: Don't knwo where tehy found it.
John P Zep: but it's a good video. i must be biased.

Question: what do you feel is your best performance on the keyboard?
John P Zep: oooh...
John P Zep: There's a piano solo on "No Quarter"
John P Zep: at one of the old Court shows
John P Zep: that was particulary successful
John P Zep: (Earl's Court, that is)
John P Zep: I can't tell you to listen to the bootlegs --
John P Zep: Robert will kill me!

Question: What do you think of the current state of rock?
John P Zep: Well, I don't know about America
John P Zep: but in England it seems to be harking back to the 60s a lot.
John P Zep: As I was on most of teh stuff on the 60s that they took it all form
John P Zep: I can't say that I'm happy to hear it all again.

Question: What did it feel like in 1985 when you played Live Aid in Philly and at the end of 'Stairway' all 92,000 fans were singing along.
John P Zep: It felt like we hadn't been gone.
John P Zep: Walking on stage was just like coming back home.
John P Zep: It was very exhilirating.

Question: What were your thoughts on Hammer Of The Gods? We all know that Percy hated it.....
John P Zep: It's a very sad little book.
John P Zep: It made us out to be sad little people.
John P Zep: He ruined a lot of good, funny stories.

Question: will zep be playing at the atlantics 50 th anniversary
John P Zep: There is no Led Zeppelin.
John P Zep: And there's certainly no plans for any reunion of the 3 remaining members...
John P Zep: that i know of.

Question: John Paul what was your favorite band that seemed a precursor to the Zep sound i.e. Cream , Traffic, Jefferson AIrplane, et al?
John P Zep: Possibly Vanilla Fudge.
John P Zep: I know that sounds odd, but they really were
John P Zep: extremely powerful
John P Zep: plus they had a great stage show
John P Zep: They had two great voices.
John P Zep: and we became great friends --we supported
John P Zep: them on teh first tour.

Question: Did "The girl I love" evolve into "Moby Dick"?
John P Zep: It kinda sounds like it, soesn't it?
John P Zep: I think it must've.
John P Zep: It was a Pgae riff.
John P Zep: I must admit, I preferred teh "Moby Dick" verison as a riff.

Question: what advice can you give to the younger generation of musicians out there?
John P Zep: Keep your ears open.
John P Zep: Listen to as much music as you can.
John P Zep: Of all different types.
John P Zep: And listen to the pother people that you're playing on stage with.
John P Zep: Think not just how you should sound... but how the band should sound
John P Zep: and work towards that.

Question: is richard cole's book an accurate account of all the partying on tours you guys did?
John P Zep: It's accurate about his partying!
John P Zep: I don't think he knows who else was there with him!

Question: What is "Kashmire" about? And why the fascination with Tolkien's Lord of the Rings on the 3rd and 4th Zep albums?
John P Zep: That's a question for Robert.
John P Zep: It's about a journey to Morocco
John P Zep: but you'd get pretty lost if you went by "Kashmir".
John P Zep: Robert was into all that fairy stuff.

Question: What kind of basses do you like to play?
John P Zep: I have my basses made for me by
John P Zep: a guy called Hugh Manson
John P Zep: he's just today delivered a 10-string abss
John P Zep: which i will be using on the record and on the following tour.

Question: What do you consider to be Zepplins best album??? And would you change anything
John P Zep: You could always change things.
John P Zep: I like Physical Graffitti a lot.
John P Zep: but I like most of every album.
John P Zep: There's a lot to like.
John P Zep: But when you listen to your own music back
John P Zep: you always think you could've done better
John P Zep: but..
John P Zep: make another album!

Question: why don't you play with PAge and Plant anymore? You would still make great music together
John P Zep: Their plans didn't include me.
John P Zep: Although it did seem to include my music.

Question: Do you think Bonzo is the best drummer of all time?
John P Zep: Of all time, of all places.
John P Zep: That's one of the nice things about listening to the BBC Sessions
John P Zep: I get to hear him live and well recorded.

Question: Plant says "Kashmir" truely defines Zep.....Page says "Stairway"....what is your opinion?
John P Zep: "Stairway to Kashmir"?
John P Zep: Thatwould be a long track!
John P Zep: They have everything that Zeppelin is about. they have similar
John P Zep: dynamice to songs like "Baby, I'm Ginna Leave You"
John P Zep: Things off teh first album...
John P Zep: That whole acoustic,heavy... journey, really
John P Zep: It's hard talking about siongs in the abstarct
John P Zep: I could play it for you!

Question: What is the meaning of Zoso?
John P Zep: Oh lord!
John P Zep: I really don't know! Jimmy came up with it...
John P Zep: He said it was something to do with Saturday...
John P Zep: but we all chose our signs at dfifferent times
John P Zep: Bonzo and I got them from teh smae book
John P Zep: Jimmy got his from who knows where?

Question: Do you have an ill feelings towards Page & Plant over the No Quarter tour/album? Did you WANT to be involved, whether they asked you or not? Did they ask you?
John P Zep: In the reverse order...
John P Zep: BNo, they didn't ask me
John P Zep: I woul;d've certainly thought about it at the time
John P Zep: And it was hurtful, at the time
John P Zep: we were very close
John P Zep: but...
John P Zep: time passes!

Question: Is it true what they say about playing Stairway backwards?
John P Zep: I should think it'd be very difficult!

Question: Why do you use Marshall guitar cabinets instead of Bass cabinets in your rig
John P Zep: I didn't know that I did!
John P Zep: With the last tour I did with Diamanda Galas?
John P Zep: My 8 string bass was in stereo
John P Zep: and teh bass head went through SWR bass cabinets
John P Zep: and the high end went through Marshalls.

Question: How do you like the recently released Symphonic Zeppelin?
John P Zep: I haven't herad it...
John P Zep: I've heard mixed reports
John P Zep: And a lot of people have asked me over the last 10 years or so to do something similar
John P Zep: I just couldn't bring myself to. I think we made the definitive version.

Question: What did you think of the Moog Cookbook version of Whole Lotta Love?
John P Zep: They got quite a good groove -- I thought it was hilarious.
John P Zep: I thought it was a bit cowardly using real drums, though.
John P Zep: I laos notcied that they used my solo from "All of My Love" from "25 or 6 to 4" (the chica
John P Zep: so they've obviously been doing their homework!

Question: What age did you start playing the bass?
John P Zep: 14.
John P Zep: I became professional at 16.

Question: What is your favorite Zep album cover? Favorite cover of all time?
John P Zep: The one with the wheel!

Question: Tell us more about your new project:
John P Zep: Blues based and acoustic rock
John P Zep: but using a lot of computer processing and electronics
John P Zep: over a live rhythm section

Question: Did you write the "Black Dog" riff?
John P Zep: Yes. I did.
John P Zep: it came to me on a train coming back from rehersel at Jimmy Page's house.
John P Zep: I'd been listening to a song on a Muddy Water's record
John P Zep: called Electric Mud, which had a long, rambling blues riff
John P Zep: and i thought i'd like to try something with a similar form

Question: What influenced you in writing the keyboard part for Stairway to Heaven?
John P Zep: Really, a reaction to what Jimmy was playing on acoustic guitar
John P Zep: I think he had already started writnibg it with robert when tehy were away in tehir
John P Zep: cottage in Wales and Jimmy had lots of different part sof it
John P Zep: which we put together, the two of us
John P Zep: at Hedley Grange

Question: What do you think of Jason Bonham ?
John P Zep: He's a good drummer, he reminds me
John P Zep: of his dad a lot.
John P Zep: When we played with him at the 40th Anniversary
John P Zep: HE WAS THE ONLY ONE WHO KNEW ALL THE LINKS
John P Zep: BETWEEN THE SONGS

Question: do you miss touring?
John P Zep: yes, that's why i went out with diamanda galas
John P Zep: and that's why i'm going out as soona s my record is released.

Question: CD or Vinyl?
John P Zep: Cd's arent perfect
John P Zep: but i prefer to hear my msuic without the surface noise and pops that vinyl
John P Zep: used to have
John P Zep: on the other hand, the artwork is more fun
John P Zep: on vinyl

Question: What is your fondest Led-Zeppelin memory?
John P Zep: ummm... playing at the Boston tea Party
John P Zep: for 4 and a quarter hours
John P Zep: with 45 minutes' worth of songs
John P Zep: now that's what i call improvising!

HubMeg: Anything you want to add John?
John P Zep: Enjoy the BBC Sessions!

OnlineHost: John P Zep has left the room.
OnlineHost: Copyright 1997 America Online, Inc.

This is an inside peek into Led Zeppelin's untitled album as told by Jimmy Page. It is from a BBC series entitled "Classic Albums".

Jimmy Page: From the first sort of blues oriented album, the second one was rock & roll, I think they assumed the third was going to be, you know, yet again rocking on, and the added fact that Led Zep II was like "THE" classic rock album and I think they expected like I know the record company expected a follow-up to "Whole Lotta Love" which obviously wasn't on this. But however, we always stick to how we were shaping at the time. Anyway, we never really made a point of trying to emulate something that we had done before, so consequently the whole thing came out 'Zeppelin are a hype' blah, blah, blah, and it came to the point where we thought 'right, on the next album we we'll make it an untitled album with no information on it whatsoever, virtually saying if you don't like it, you don't have to buy it for the name.

Q: Fans refer to it as Led Zeppelin IV or the runes album because of the runic symbols on the sleeve, but what did the band themselves call it?

JP: I think Four Symbols at the time was how it was referred to by us, but it is runes, yeah runes, but I don't think we used to refer to it as the runes album ourselves, but they were runes. This was the whole idea, you know there was this things we you see on the illustration that's with the lyrics.

Q: To record the album Led Zeppelin installed themselves, and the Rolling Stones mobile recording studio at Headley Grange in Hampshire. Not that it was a conventual rehearsal set up.

JP: Apparently, it was a victorian work house at one time, that's what I was told. It was a sort of three story house with a huge open hall with a staircase going up and that's where we get the classic drum sound on "Levee Breaks" I'll come onto that later, but that's what it was. It had incredible uh I loved it. It was a pretty ostear place, I loved the atmosphere of it. I really did personally. The others got a bit spooked out by it.

Q: So there they were, ready to rehearse and record. What happened next?

JP: Whenever we got together from the third, fourth, fifth album etc, around that time we would always say 'what have you got?' to anybody else to see if Jonesy had anything to be honest. Robert and I were doing all of the writing up to that point, unless it was a number which sort of, like a blues number. For instance, "When the Levee Breaks" is, and then we would make a split between the four of us. We were always trying to encourage him to come up with bits and pieces so to speak, cause that's usually what they were, he never came up with a complete whole song or anything, (until 'In Through the Out Door'). But he had this great riff with "Black Dog" and I added some sections to it as well and then we had the idea actually, I must be totally honest, I suggested, how you get the breaks with the vocals. That's it, I've finally owned up as no one else will in the band, but that was the idea to give it the vocal thing then the riffs in.

Q: And what's that noise on the front of the track?

JP: That's the guitar's warming up. To me, the most important part about anything is to have a really good bass and drum sound because I knew after that I'd be working on the guitar. So, I did all the rest of the guitar overdubs in Ireland.

Q: But the basic tracks were done at Headley Grange?

JP: Yes. We had the drums in the hall and sometimes the drums were in the room as well, (in the sitting room with the fireplace) and the amplifiers were all over. When Bonzo was in the hall, Jones and I were out there with earphones, the two sets of amps were in the other rooms and other parts such as cupboards and things. A very odd way of recording but it certainly worked. When you've got the whole live creative process going on, that's how things like "Rock and Roll" come out.

Q: And how exactly was that?

JP: I think we were attempting "Four Sticks" and it wasn't happening and Bonzo started the drum intro to "Keep a Knocking" (by Little Richard) and I played the riff automatically, that was "Rock and Roll" and we got through the whole of the twelve bar bit (the first verse). We said 'this is great, forget "Four Sticks" let's work on this' and things were coming out like that.

Q: "Rock and Roll" was recorded in two or three takes, a happy incident inspired by the set up at Headley Grange. Another benefit of being there was that the creative process was not confined to a timetable and there were instruments lying around, like a mandolin belonging to John Paul Jones.

JP: I remember seeing it. We were living in the house, some would go to bed and I would sit up and play quite a bit and I picked it up and it just came out! I had never played one before, the tuning is totally different. That was something about that period. It was a time of great inspiration, you know. Anyway that came out.

Q: Who's idea was it to use Sandy Denny on "The Battle of Evermore"?

JP: That was an idea of Robert's. He had this idea to bring in Sandy Denny. I though it worked out well.

Q: What about guitars? Did you have a lot of them with you?

JP: All the guitars I had, (I didn't have many at that point). For example, I know everyone knows me for the double neck, but in fact I had to get the double neck to handle "Stairway" because even though I had played six string acoustic, electric and twelve string electric. I couldn't do it on one or the other. The double neck was the only way of being able to handle it. Now everyone's familiar with it. It may not make a lot of sense but it was quite a complicated song to actually get across to everybody. I know one of the bits that was difficult for Bonzo at the time was the twelve string fanfare into the guitar solo and that took a bit of time. We were going over and over it from the beginning to the end quite a few times, with Robert sitting on the stool listening and he must have got inspiration as he wrote these lyrics then. He said I think I've got some things for it. We had an old Revox tape recorder at that time and I remember there were a good 70 to 80% of the lyrics there.

We played it at the L.A. Forum, it's a long track when you think about it, a hell of a long track. You know how difficult it is when you go and hear a concert and hear a number from a band for the first time and that's quite a long time to concentrate on something. I remember we got a standing ovation from a considerable amount of that audience and we went 'wow'! We knew it was good, we didn't realise that people would latch onto it, but from testing the gauge of it like that it was an early reaction. We thought 'that's great, fabulous'.

We'd be doing things that just, you know, playing around and this, that and the other suddenly. For instance I remember "Misty Mountain Hop" - I remember coming up with the opening part of that and then we would go off into that. Jonesy put the chords in for the chorus bit and that would shape up. We used to work pretty fast. A lot of that ("Misty Mountain Hop") would have been made up during the point of being at Headley.

Q: But they didn't all come that easily?

JP: "Four Sticks", I remember, we tried that on numerous occasions and it didn't come off until the day Bonzo who was just playing with two sticks on it and we tried all different things, then one day he picked up two sets of sticks, so he had four sticks, and we did it. That was two takes, but that was because it was physically impossible for him to do another. I couldn't get that to work until we tried to record it a few times and I just didn't know what it was and I still wouldn't have known what it was, we probably would have kicked the track out, but then Bonzo went and I'm not going to repeat the language he said at the time, but it was nothing to do with the fact that it was taking a long time. We had actually gone in to try on a fresh occasion and he just picked up the four sticks and that was it.

Q: Why did you choose to release the fourth album as untitled?

JP: It started of originally going out without any information whatsoever, nothing. Then it was coming down to maybe we will have one single on it and then it got to the point where we all chose our own symbols.

Q: Jimmy's being the hermit.

JP: Some people say it has illusions of Jolman Hunt (a painter) but it hasn't. It actually comes from the idea from the tarot card, the hermit and so the accention to the beacon and the light of truth. The whole light so to speak.

Q: The last but one track on the album is "Going to California"

JP: That was another late night guitar twiddle, you know, the structure of it at Headley. That was the good thing about staying at that place. You didn't have anything like a snooker table or anything like that. No recreational purists at all. It was really good for discipline and getting on with the job. I suppose that's why a lot of these came at Headley Grange. For instance "Going to California" and "Battle of Evermore" came out. But obviously then we got together and it was just away and a far, it was Jonesy on the mandolin, myself and Robert singing on it.

We went over to mix it at Sunset Sound (L.A.). This is Andy Johns and myself and Peter Grant was there as well. he came over. The funny thing is on "Going to California" you got "The noises of the canyon got to tremble and shake" curiously enough when we landed, this is absolutely true. Apparently, as we were coming down the escalators into the main terminal there was a slight earthquake. In fact, it was quite big actually. It cracked one of the dams there in San Diego and the in the hotel before going to the studio you could feel the bed shaking. I thought 'well, here we go'.

Q: When people talk about drum sounds, they often refer to Led Zeppelin and "When the Levee Breaks" in particular. It wasn't all down to John Bonham's playing as producer. You knew what he wanted to hear.

JP: Having worked in the studios for so long as a session player, I had been on so many sessions where the drummer was stuck in a little booth and he would be hitting the drums for all he was worth and it would just sound as though he was hitting a cardboard box. I knew that drums would have to breath to have that proper sound, to have that ambiance. So, consequently we were working on the ambiance of everything, of the instruments, all the way through. I guess this is the high point of this album. You've got something like "When the Levee breaks" which was with Bonzo in the hall and on the second landing was a stereo mike and that's all there was. But that whole drum sound and all this ambiance is now captured digitally in the machine. Where we would do it that way, you have now got it in machines. I think we set a trend with all of this.

Q: On to the final cut on this classic album "When the Levee Breaks".

JP: "The Levee" was recorded at Headley Grange with the mobile truck and it was at this point, I believe to the best of my recollection that John Bonham had been attempting "The Levee" before as a riff. I had a whole concept of how this thing was going to end up, but it just so happened we put a mike into the hallway which, as it was a three story house with the stairs going all the way up, had all this beautiful space. So, on the second landing was just a stereo mike and the sound was just phenomenal. That was it it was going to be "THE" drum song. As soon as it was set up, it was the one we went for and it worked. We had a couple of attempts at it before which just didn't feel right. It must have been in the hands of the Gods really. We would say 'wait until the drum kit arrived and everything is going to be fine'. At the end of it where we've got the whole works going on this fade, it doesn't actually fade, as we finished it the whole effects start to spiral all the instruments are now spiraling. This was very difficult to do in those days. I can assure you. With the mixing and the voice remaining constant in the middle. This only really comes out on the headphones. You hear everything turning right around. In fact, at the time I was extremely happy with "The Levee".

Q: Looking back is there anything you would change about the album?

JP: Yes, I would do it with click tracks, synthesizers and sampling (Jimmy laughs) and then I would retire (more laughter). No, no I've really got fond memories of those times and the album was done with such great spirit. Everyone had a smile on these faces. It was great.
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This Month in
Led Zeppelin History

May 31, 1948 - John Henry Bonham was born at Redditch, Worchestershire
May xx, 1969 - The band’s debut album enters the US Top 10
May xx, 1969 - Recording sessions for Led Zeppelin II begin
May xx, 1970 - The band works on new material at Bron-Y-Aur
May 03, 1971 - Richard Cole jams on Whole Lotta Love playing congas
May xx, 1972 - Houses Of The Holy recording sessions on location at Stargroves and Olympic studios
May 27, 1972 - Warm-up gigs kick off in Holland for an upcoming American tour
May 04, 1973 - Led Zeppelin gross nearly $250,000 for their performance in Atlanta, GA
May 05, 1973 - 56,800 attend the second show of the 1973 US tour at Tampa. This sets a record for the largest attendance for a one-act performance, previously held by the Beatlesfor their Shea Stadium show in 1965
May 10, 1974 - Swan Song Records is officially launched
May 11, 1974 - Led Zeppelin attend an Elvis concert and are thrilled when Elvis announces that Led Zeppelin is in the building
May 10, 1975 - Showco ships their PA system and video screens for the Earls Court shows from Dallas to London
May 23, 1976 - Page and Plant join Bad Company onstage at the LA Forum
May 21, 1977 - The Houston Summit claims $500,000 in damages to their venue caused by rowdy fans
May xx, 1978 - The band reunite at Clearwater Castle to rehearse
May 22, 1979 - It is officially announce that Led Zeppelin will headline at the Knebworth Festival in August
May 15, 1980 - After many revisions the European tour dates are finalized and the band is scheduled to open in Germany
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