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.It was inane and had no mystery to it at all.I know from my escapades with guys from Seattle, and from working with Steve Albini, that this Sabbath style of music—that almost clumsy, plodding, slog metal—just never really sprang out of the speakers or moved into any acoustic area.It was just an aping of the Led Zep thing.CK: Well, then, you must find it ironic that most people who love your band today also tend to love Black Sabbath.Robert Plant: No, no.I don’t agree.I’ve been playing in festivals in Europe for the past year, and I find those audiences want the sensitivity, too.But maybe it’s because I’ve been playing to a lot of Latin people.I played the Isle of Wight Festival last week, and one of the songs I did was “Going to California,” because it’s my kind of bag.Now, whether you would call “Going to California” heavy metal, I don’t know; it might be a bit embarrassing at times lyrically, but it did sum up a period of my life when I was twenty-two.And the audience was going absolutely apeshit, and these were punk guys with Mohican haircuts.So I think you’re wrong.CK: Maybe so.But it seems that whenever people talk about the dawn of heavy metal, the logic usually goes like this: Black Sabbath created a certain kind of sound that was replicated by British acts and later nü metal bands, and Led Zeppelin sort of invented the sound and image for groups like Guns n’ Roses and Aerosmith.Do you disagree with that?Robert Plant: Well, I think the guitarist in Aerosmith makes no attempt to hide his admiration for Jimmy Page, and that’s inherent in a lot of their tracks.Aerosmith are basically a pop group.They write pop songs, and they’re aiming for the charts and Top 40 television.And when you think of the treachery of hard rock—when you think of bands like Bon Jovi, and when you think of … um … what were some of the other hair bands from that era?CK: Mötley Crüe? Ratt?Robert Plant: Yeah, yeah.Those bands were hanging on to some real big pop melodies and dressing them up as something aggressive and boyish and testosterone-ridden, but it was still “Livin’ on a Prayer,” you know? And that’s not a great place to be coming from.CK: It isn’t? Why not?Robert Plant: Well, it is if it’s a career move and you want to do “Bridge Over Troubled Water” when you’re sixty.CK: Do you think a lot of those bands were ultimately influenced more by Zep’s debauched depiction in the book Hammer of the Gods: The Led Zeppelin Saga than by what’s actually on your records? It seems like they copied your espoused lifestyle more than your actual songs.Robert Plant: Who knows? I mean, is it all a career move? Getting fucked up is quite easy if you have more than thirty dollars.It was interesting to watch all that, because I never read that book.But I don’t think anyone could have lived through the stuff that [former Zeppelin tour manager] Richard Cole blubbered out to the guy who wrote it [author Stephen Davis].CK: I really have a hard time believing that you’ve never read Hammer of the Gods.Weren’t you curious?Robert Plant: The guy who wrote that book knew nothing about the band.I think he’d only hung around us once.He got all his information from a guy who had a heroin problem who happened to be associated with us.The only thing I read was the “After Zeppelin” part, because I was so eager to get on with music and stop living in a dream state.CK: Does it bother you that, in the eyes of a lot of people, the only reason John Paul Jones was not asked to participate in your 1994 reunion with Jimmy Page was financial? And that you and Page simply didn’t want to split the revenue three ways?Robert Plant: [chuckles] It’s like this: Led Zeppelin was a very strange, four-quadrant marriage.And when the marriage dissolved, when John passed away, I really didn’t think I’d work with any of those guys again.When we were kids, Bonham and I were the toughest guys around.Nobody wanted to be around us, because we believed in ourselves so much and we were really unbearable.So when he passed, I really didn’t want to stay with the southern guys—the two guys from London.I thought enough was enough, and I’d lost the one guy I’d been close with since I was fifteen.But when MTV asked me to do the Unplugged show, I thought, I can’t take all the credit for this.I can’t do the Zeppelin stuff and sit there with a broad grin on my face.So I asked Jimmy if it was possible for us to start writing again, without it becoming some sad Zeppelin reunion.And there was really no room for anybody else.There was no physical room or emotional room or creative room.CK: But couldn’t you have toured with Page, Jones, and Bonham’s son Jason on drums?Robert Plant: But what the fuck for? John Bonham’s kid isn’t as good as John Bonham.Look, I know you’re a journalist, so I’ll go along with this question.I don’t make my living by making my living [ Pobierz całość w formacie PDF ]
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.It was inane and had no mystery to it at all.I know from my escapades with guys from Seattle, and from working with Steve Albini, that this Sabbath style of music—that almost clumsy, plodding, slog metal—just never really sprang out of the speakers or moved into any acoustic area.It was just an aping of the Led Zep thing.CK: Well, then, you must find it ironic that most people who love your band today also tend to love Black Sabbath.Robert Plant: No, no.I don’t agree.I’ve been playing in festivals in Europe for the past year, and I find those audiences want the sensitivity, too.But maybe it’s because I’ve been playing to a lot of Latin people.I played the Isle of Wight Festival last week, and one of the songs I did was “Going to California,” because it’s my kind of bag.Now, whether you would call “Going to California” heavy metal, I don’t know; it might be a bit embarrassing at times lyrically, but it did sum up a period of my life when I was twenty-two.And the audience was going absolutely apeshit, and these were punk guys with Mohican haircuts.So I think you’re wrong.CK: Maybe so.But it seems that whenever people talk about the dawn of heavy metal, the logic usually goes like this: Black Sabbath created a certain kind of sound that was replicated by British acts and later nü metal bands, and Led Zeppelin sort of invented the sound and image for groups like Guns n’ Roses and Aerosmith.Do you disagree with that?Robert Plant: Well, I think the guitarist in Aerosmith makes no attempt to hide his admiration for Jimmy Page, and that’s inherent in a lot of their tracks.Aerosmith are basically a pop group.They write pop songs, and they’re aiming for the charts and Top 40 television.And when you think of the treachery of hard rock—when you think of bands like Bon Jovi, and when you think of … um … what were some of the other hair bands from that era?CK: Mötley Crüe? Ratt?Robert Plant: Yeah, yeah.Those bands were hanging on to some real big pop melodies and dressing them up as something aggressive and boyish and testosterone-ridden, but it was still “Livin’ on a Prayer,” you know? And that’s not a great place to be coming from.CK: It isn’t? Why not?Robert Plant: Well, it is if it’s a career move and you want to do “Bridge Over Troubled Water” when you’re sixty.CK: Do you think a lot of those bands were ultimately influenced more by Zep’s debauched depiction in the book Hammer of the Gods: The Led Zeppelin Saga than by what’s actually on your records? It seems like they copied your espoused lifestyle more than your actual songs.Robert Plant: Who knows? I mean, is it all a career move? Getting fucked up is quite easy if you have more than thirty dollars.It was interesting to watch all that, because I never read that book.But I don’t think anyone could have lived through the stuff that [former Zeppelin tour manager] Richard Cole blubbered out to the guy who wrote it [author Stephen Davis].CK: I really have a hard time believing that you’ve never read Hammer of the Gods.Weren’t you curious?Robert Plant: The guy who wrote that book knew nothing about the band.I think he’d only hung around us once.He got all his information from a guy who had a heroin problem who happened to be associated with us.The only thing I read was the “After Zeppelin” part, because I was so eager to get on with music and stop living in a dream state.CK: Does it bother you that, in the eyes of a lot of people, the only reason John Paul Jones was not asked to participate in your 1994 reunion with Jimmy Page was financial? And that you and Page simply didn’t want to split the revenue three ways?Robert Plant: [chuckles] It’s like this: Led Zeppelin was a very strange, four-quadrant marriage.And when the marriage dissolved, when John passed away, I really didn’t think I’d work with any of those guys again.When we were kids, Bonham and I were the toughest guys around.Nobody wanted to be around us, because we believed in ourselves so much and we were really unbearable.So when he passed, I really didn’t want to stay with the southern guys—the two guys from London.I thought enough was enough, and I’d lost the one guy I’d been close with since I was fifteen.But when MTV asked me to do the Unplugged show, I thought, I can’t take all the credit for this.I can’t do the Zeppelin stuff and sit there with a broad grin on my face.So I asked Jimmy if it was possible for us to start writing again, without it becoming some sad Zeppelin reunion.And there was really no room for anybody else.There was no physical room or emotional room or creative room.CK: But couldn’t you have toured with Page, Jones, and Bonham’s son Jason on drums?Robert Plant: But what the fuck for? John Bonham’s kid isn’t as good as John Bonham.Look, I know you’re a journalist, so I’ll go along with this question.I don’t make my living by making my living [ Pobierz całość w formacie PDF ]