British - Musician | January 9, 1944 -
Traveling the world was a constant thing, rich with experiences. But all of it was relative to being able to play live onstage and really stretch out.
Jimmy Page
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Listening to John Bonham is just a sheer celebration of his playing - it can't help but fill you with so much joy.
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Because Led Zeppelin weren't having to worry about doing singles, each time we went in to record, it was a body of work for an album. So you could get the shift and the movement forwards as opposed to having to be rooted back to a single that might have been done a year ago.
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I prefer to hear an artist's work and what they can do, so as far as I'm concerned, I'd get a lot more out of a collection of songs to be able to understand what the musician is doing.
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My influences were the riff-based blues coming from Chicago in the Fifties - Muddy Waters, Howlin' Wolf and Billy Boy Arnold records.
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'Boogie Chillen',' by John Lee Hooker - that is a riff.
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In the Led Zeppelin shows of the Sixties and Seventies, it was the same numbers every night, but they were constantly in a state of flux. If I played something good, really substantial, I'd stick it in again.
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I wasn't into jazz so much - I preferred things raw.
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The fourth album encapsulated some remarkable music that was really groundbreaking. We were able to have something like 'When the Levee Breaks,' which, sonically, was very menacing. But then you had the flip side: something like 'Going to California,' which is really intimate.
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I don't really know anything about sales figures, to be honest with you.
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You shouldn't really have to use EQ in the studio if the instruments sound good. It should all be done with microphones and microphone placement.
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From the first album, Led Zeppelin was always going to be a totally new approach from what had gone before - whether it was approaching the blues or folk music like 'Babe I'm Gonna Leave You': nothing existed like that.
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