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LED ZEPPELIN コミュのMTV後ペイジ/プラント インタビュー

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スゲッ、笑える、ペイジ/プラント インタビュー。
英語だけど、
オンライン翻訳か辞書を使えば、
面白いかもしらない、
ペイジもプラントもすごいテンションだ。

ペイジは夢の中にマドンナと話しているらしい、
で突然に指輪をなくしたと思って、
落ち着かない、
で見付ける時にまたインタビューを続く。

プラントはふざけぱなし、流石に色んな人に悪口している。


俺なら、先初めて見たけど、
皆、知っているなら、消せる。

古いだから、MTVの公演の時代。

よろしく

http://trublukris.tripod.com/inter/dinosaur.html

When Dinosaurs Ruled The Earth
The ATN Interview:
Robert Plant and Jimmy Page
Call it what they will, by any other name Led Zeppelin is still Led Zeppelin. Now the masters of the rock universe have returned. Pretenders to the throne beware.

By Deborah Frost

New York, NY

Like
Elvis, Led Zeppelin looms even larger in death than in life. In life, Led Zeppelin ュュwhich officially dissolved in 1980 after John Bonham's fatal drinking accident ュュwas merely the most popular rock band on the planet. But Elvis, who impressed Jimmy Page and Robert Plant in one rare close encounter as "a wonderful man" even though "he had more Quaaludes than we did and never gave us any," never forced himself to confront his myth, much less his reality.

The Elvis anecdote is merely a minor detour as Page and Plant ramble on the eve of No Quarter , their highly individual response to MTV's long-standing "unplugged" offer, and their first attempt to collaborate on new material in the 14 years since they stopped inventing, among other things, the rock concert business and radio album tracks as we now know them. Of course, one thing Zeppelin has not stopped is selling ュュand at a list price of $129.98, the 1.5 million box sets they moved last year probably did more for Atlantic's bottom line than all of the Zep-indebted outfits ュュfrom White Lion to the Stone Temple Pilots ュ their label launched in the last decade.

Still, where Led Zeppelin were once an underground phenomenon, who made it in spite of mainstream media, not on account of it, the huge Manhattan hotel suites overlooking Central Park set up to accommodate the constantly arriving international camera crews say a lot about their current role in the new corporate world order. Yet the extravagance of their surroundings could not be more at odds with the spiritual search suffusing the duo's newest material. Material which, as the MTV special (the detested Unledded portion of the title is best left unmentioned in the principals' presence) reveals, was also hammered out amidst the native musicians, ancient instruments, and barefoot denizens of rather more organic environments. If Plant, leonine-maned and leather-trousered as no other grandfather in memory, and a slightly rumpled Page are a trifle testy, it's that they are somewhat discomforted to find themselves, perhaps for the first time, as Plant puts it, in a voice that rises about an octave above Julia Child's for the exclamation point, playing "media spiv!" by the hour.

Kick-started last summer by the prior commitments of Frances Dunnery, the most successful guitar foil of Plant's respectable solo ventures, the on-again, off-again project was being edited virtually right up to airtime. A dub of the album master arrived for approval as we talked. Its centerpiece ュュa triumphant live concert featuring several trans-cultural orchestral ensembles where Zeppelin bassist John Paul Jones used to be, is cause for Plant and Page's obvious jubilation. But despite it, and all of their mutual history and mutual silliness (Pamela des Barres, for instance, still figures prominently in a few punchlines ュュPlant and Page assume you've read the book even if they claim they didn't), sudden, unseasonable chills briefly grip the room ュュreminders, perhaps, of the more recent distances yet to cross.

Deborah Frost: I didn't think it was fair when you said no press allowed at your concert taping. I'm a bonafide artiste, you know. Did you ever listen to my record, you fuck?

Robert Plant: I did. And I couldn't figure out how anyone so could be so good.

Frost: I'm not as old as you.

Jimmy Page: Be careful, you'll both be as old as me.

Plant: I don't know how you have time to squeeze so much in...

Frost: I don't ュュI'm running in between hangovers. I've had to cancel my gigs in Upper Tunafish, New York, just to be on hold for you, I'll have you know.

Plant: Hey, you've not been on hold. You've been on the card since the beginning of time. (Names a female journalist/gossip columnist responsible for helping to concoct much of the early Zeppelin mystique) is the one on hold. In Gefilte Fish, New York. Poor ______. Never was a good blowjob.

Frost: That's gonna go right in the story.

Plant: 'Cause you love ______.

Frost: Her father is a judge, did you know that?

Plant: Really?

Frost: Yes. So you'd better watch out what you say.

Plant: We've only come here to have a laugh, you understand.

Frost: Well, so have I. So have I.

Plant: I'm going to close this window...because your tape will jam.

Frost: How will we make hand signs to Madonna? (Prior to Plant's arrival, Page has expressed great interest in the fact that Madonna's apartment lies within view across the park)

Page: She's communicating with me. I dreamt about Madonna.

Plant: How'd you get on?

Page: It was written in the stars.

Frost: It will be Page, Plant, and Madonna. She could do that "Battle of Evermore" bit.

Plant: I don't think so, darling.

Frost: Give her a plank with the pedals on it, just like you've got.

Plant: She'd enjoy that. She'd have to be a Muslim, though.

Frost: So were you really recording that stuff in the woods?

Plant: As we went along, yeah.

Frost: I saw it up in the Warner screening room.

Plant: Did you see it on the third floor, or the fourth?

Frost: The floor with the corporate bigwigs. They were quiet through the whole thing and they all screamed when "Kashmir" came on.

Plant: Danny Goldberg must've remembered the last time he did a line of coke! Suddenly it all rushed back ュュbefore he was a forty inch waist.

Page: You know, I just got the gist of the question there ュュ'Cause I thought she was talking about the stuff we did in Morocco ュュthat's why I was saying... I'm always about four questions behind...

Plant: Jim is still dreaming about Madonna... His life hasn't been the same since he couldn't get a cheap watch on Fifth Avenue...

Frost: I bet. Of course, it is sort of surprising to find you two in the same room, much less having achieved the synchronicity of "No Quarter". Only a year ago, there was quite a bit of sniping.

Plant: It happened between Lennon and McCartney ュュwho really knows what it was? There were times when I got a bit short-tempered and unfortunately, my one-liners aren't always the best. Whatever it was, whatever germ of discontent, what we've got now by just sitting down and talking about what we can hope to achieve at this point in time is far more substantial than I could ever have imagined when I was sniping away.

Frost: In the electronic press kit, you said you wanted to do it very simply...just guitar and voice And then you turn up and have 100 people on stage with you. So in a sense, No Quarter. lets you have your Zep and eat it, too. You're playing the oldies, albeit re-arranged ュ but without John Paul Jones, the other surviving band member. Where is he?

Page: He's fixing cars.

Plant: He's touring with a Spanish gladiator.

Frost: This is really all about coming to grips with one another, rather than Led Zeppelin, isn't it? Much of your respective solo work has been like overhearing a lovers' quarrel, with Robert playing down the guitar and Jimmy intent on proving he could turn anybody into Led ュ like David Coverdale, the world's foremost Robert clone.

Page: Well, the guitar was good on it...

Plant: And I figured, maybe we're ready for each other now. After I gave Frances Dunnery a big kiss good-bye in Mexico last summer, I figured why go home and get miserable waiting for availabilities when the bloke who I've done the most challenging work of my life with is sittin' down over there just getting over taking a year and a bit doing an album with somebody else? Zep stopped for me maybe a year too late, way back when. But I wanted to see whether or not all this peer pressure speculation about what we could and couldn't do was worth considering. We discussed it a couple of times and we started to pare away all this "you've got your career, I've got mine." I mean, this opportunity, however it was originally put to me and Jimmy, no matter how it began, it's gone somewhere else. If it hadn't gone somewhere else, it would've stopped halfway through 'cause the proviso was always, if we don't like it, forget it. And it's good to come back and to be able, from my side of it, to offer Jimmy real tangible plots and ideas. You know this, Deborah, as well as I do, that singers, generally, are pretty clueless. You can write a melody and a few lyrics, but actually steering the music is not always what a singer even considers is his gig. I've spent 12 years cajoling and fashioning and shaping and twisting and terrorizing other musicians into trying to give me what I want. And in this relationship, it's not like that. And the catalystic value of doing "Wonderful One" is a real good indication that we can still write a song in ten minutes with a drum loop, a guitar, and voice and nothing else. That's enough encouragement for me to think it's so much better than slogging away in a rehearsal room in London, trying to get somebody to remember a riff by Link Wray that they've never heard.

Frost: After re-mastering the box set, Jimmy suggested that only Robert was holding up the release of more Zeppelin material, as well as any possible reunion. Did you resent Robert's lack of cooperation or involvement?

Page: It was not a matter of resenting Robert...

Plant: You did say that.

Page: No....what I said was.... (to Plant)... C'mon, you see, this is what you think... Now, I could say things that Robert said...

Plant: Oh I know, I know...

Page: It wasn't quite like that. It came from people saying there's all these extra tracks that appear to be always surfacing, just what is left? And I said what there was, which is live performances going all the way through. And they said, why don't you put it together? And I said I don't really feel as if I want to be putting it all together unless everybody wanted to be part of it.

Plant: Well, I don't see the point of doing it per se, because the whole thing, the preservation of Zep, which included a ridiculous film and ludicrous book that was written by somebody we never knewュュall that sort of stuff goes to make Zep as it is now.

Frost: The myth...

Plant: And the myth's ridiculous! Whatever it is, the songs are great. And the more that there is around to be construed and considered and talked about, the more you destroy something. In this huge day and age of floggin' shit, sellin' it in every magazine, every video, every way of selling, it's kinda nice to know to that at some point, in thirty years' time, you can wang out a compilation of the greatest moments that we ever had. But not as part of an obvious cavalcade, where people come up and say, "Hey, somebody new has taken over at Warner Pictures, and they heard a gig in so and so, how about puttin' that out?" I mean, that's not the way to be. Not for me.

Page: There was certainly a validity in putting out the studio stuff. I wasn't happy with the way Atlantic had dealt with the CDs, and the quality of them. So there was a certain validity in putting all that stuff together.

Frost: You weren't involved prior to the box set?

Page: Absolutely, no. Things hadn't been supervised all the way down the line. With the advent of CDs, they just saw a market, and that there would be a certain royalty rate for the artist which existed from the old days and a new medium that cost so much more to the public. So they just pulled off tapes from their archives and were putting out things that were nothing like the original masters. They were probably copy tapes of copy tapes. On side two, Houses of the Holy, there was like a hiss that was going all the way through. It was certainly never like that on the original.

Plant: It's a fine line, really, 'cause a lot of the stuff that happens, they end up killin' it. Leave it on vinyl. Smells better. Some of the greatest records ever are really, really badly recorded. "Love Me, " by The Phantomュュstick that on a CD, what's gonna happen? I wouldn't've sung a note in my life if I had've heard that emasculated so badly. Amen.

Frost: It might have been so seriously emasculated, you'd have lost all desire to grow up and put a mushroom on your pants.

Plant: That was done when I was asleep. I think my mom did that. It was either my mom or a girl in California.

Frost: You thought she was your mother...

Page: You should have seen how she embroidered his underpants.

Plant: I wish I'd 've had some.

Page: That's the point.

Plant: Come on, I don't know where those pants are now. But I do know they won't fit any of us in this room!

Frost: Where Page, who switched engineers for every album so no one else could claim to be the architect of the band's sound, was Led Zeppelin's only producer, "No Quarter" is credited to you both.

Plant: I had to beg....

Frost: Was it rather like being the former student or younger brother who had to prove himself elsewhere first?

Plant: There might have been something like that. But before we tried to do any old songs, we had to do new ones. That was the criteria of the whole deal. It was just obvious. We might as well go to Vegas or support the Eagles otherwise, and get Jonesy in and Jasonュュand call it jazz.

Frost: It is becoming very much like jazz, though. And in any other genre, it would be immediately recognized that you've simply reached the point when your voice, not to mention your technique, is supposed to peak.

Plant: The Arabic thing is like almost going to school. I really, really want to get a lot of that quarter tone stuff right down. When you saw me last time, I was trying it. I'm getting better. Practice is actually what's required. Najma Akhtar, who sang with us on the film, practices for, like, three hours a day. She's got a box which gives her like three notes in a different rag. And she just wails between these notes. I've spent time with her when she's just wandering around and this box is giving out these amazing tones. It's trippyュュlike you've got the incense on, a picture of Leonard Cohen on the wall, her singing.

Frost: "The Battle of Evermore" sounds like a completely new song. Watching , I nearly didn't realize she was singing the part that the late Sandy Denny originally performed.

Plant: It isn't, really. Just the first line of the Sandy Denny part. Najma said, "Well, in Urdu, we only sing about certain aspects of love. Your songs are about all sorts of stuff. I understand this battle theme, this aftermath, but what is the scale?" I said, I don't care what scale it is. Just sing it! And she found it really amazingly difficult.

Page: His phrasing was unique way back when.

Frost: The first scene of the special, where Robert sings "No Quarter" with a plank across his lap full of effects he twists to alter his vocals, demonstrates how Robert appropriated and directly challenged what Jimmy pioneered on guitar.

Page: You can call it a challenge or whatever. Robert's singing was Robert's input into what we would come up with in our rehearsal. That's the way we were always moving on and on all the time, with everybody's input. Expansion and experimenting was what it was always about.

Plant: I don't know what other singer that was around that could have done it, to make it work, to sing across things like "The Ocean" and "Out On the Tiles" and the kind of trickery in "Black Dog," apart from the obvious bits. You're rightュュif I'd've been less wily or as stoic as a rock vocalist, I would have been lost. With the way that Jimmy and Jonesy and Bonzo played, if I'd have just followed the usual technique of writing a vocal where vocals normally went, I couldn't have actually added anything. I would have been gone. The horrific thing was that in the beginning, the invention of the cassette hadn't arrived. So you couldn't just have a backing track and piddle around, try it out and go, "That's good, I'll remember that bit.'" Of course, everything has changed. I think the fact we put out two albums in a year way back then was that we didn't really study it that much. We didn't have the ability to listen to everything so fastidiously that you end up rapidly going up your own backside. It was do it, and get moving.

Page: Take an hour's sleep and run.

Page: Take an hour's sleep and run.

Frost: New songs like "Yallah," "City Don't Cry," and "Wonderful One" seemed generated by the native musicians you jammed with in Morocco or the drum loop a friend made for youュュas if the only way you could re-locate your common ground was via intermediaries.

Plant: Well, yeah, the Egyptians really gave us...with all the experiences that we've had, in every respect, in life, music is so important to us, for a million reasons. Our combined imagination is probably better than our individual sort of struggle and it's been enhanced by all these fresh people. There's only us two got a past here. Najma Akhtar, Hossam Ramzy, or Nigel Eaton, the hurdy-gurdy player who played on "Fate of Nations," they're all in going, hey, what can I do? And you end up entering another zone altogetherュュ that you've always dreamed aboutュュthanks to some kind of weird quirk in the whole of the corporate mechanism, and you suddenly find that you're doing, by somebody's suggestion that you reject ュュyou're going, "Forget that, but how about doing it anyway, if we got hold of that bloke; and what about the hurdy gurdy-player, I wonder if he knows anybody; and then Porl Thompson arrives."

Frost: So that's how you ended up with a guy from the Cure?

Plant: Yeah, through Nigel. And the bodhran player came down from Scotland with his bells and jingles and rattles.

Page: It fell into place rather logically, really, as far as what we were doing. The combinations of instruments called out for certain numbers. For instance, we discussed doing "Friends," which had those worldbeat connotations, shall we say, from way back when. In Morocco, the Ganawans suggested that we try it slower. And then they said, they had a rhythm that they would employ for healing.

Frost: Will you tour with these musicians or strings in addition to the basic band that appears in the MTV special?

Page: You can pick up strings as you go along. They read the charts and they rehearse once. The important ones, the organic ones we've rehearsed with, they've gone through all these different things with us, like the Egyptian soloist in the filmュュhe's playing for all the right reasons. We'll probably bring him.

Plant: The thing is, it's gotta kick ass, tooュュit can't be like the bloody Moody Blues.

Frost: Yet instead of a worldbeat education, your audience might be perfectly happy to see you stick the mushroom back on your jeans and crow what you now sneer at as "teenage music," i.e., "Black Dog." Still, what crops up in the break of "Kashmir"?

Plant: What? Najma?

Frost: No, "Baby, pretty baby" ュ"Black Dog."

Plant: God forbid that a tongue goes in a cheek. Actually, I was asked last night by a model to go "Hey, hey mama" in her ear.

Frost: Must you always insist that somewhere some model wants to be hailed with "Hey mama"?

Plant: Excuse me, it's "Hey, hey mama." There are two heys in it.

Frost: It might be more appropriate to just say "Yo."

Plant: Oy.

(Page seems to be patting himself all overュュchest, pants, becoming increasingly agitated.)

Page: My ring has disappeared off my finger! (Finally stops patting, heaves sigh.) I know where it isュュit's all right.... I've been to a guitar shop...I must have took it off. I drift away like this...

Plant: Well, you've been dreaming about Madonna all day. You must be exhausted. Must have tired you out, all that dreaming.

Frost: Speaking of mamasュュ haven't your daughter and her husband, your bass player, Charlie Jones, blessed you with a recent event?

Plant: It'll be two weeks Saturdayュュa little girl, Carmen and Charlie've got. She's put on ten pounds in ten days. She's roaringュュI just spoke to both of them, that's why I was a minute late comingュュand she's gorgeous. But Charlie's ready, he's meeting us in Paris next week.

Frost: Back on the road already?

Plant: What? Ten days with a screaming baby, I'd be out of there in about ten hours. We were rehearsin' with Zep when Carmen came.

Frost: And then you miss those things that never come back.

Plant: I know. I've been chastised for it ever since. But I wanted to be with (cocking thumb toward Page) 'im... (Both dissolve in laughter.)

Frost: And you've signed on to do this together for a year?

Page: We have?

Frost: Isn't your manager, Bill Curbishley, planning a world tour that will start in Australia, go to the Far East, and land in the States by next summer?

Plant: I think Bill was talking about Judas Priest.

Page: Is that the chap who sang "Illustrated Man"?

Plant: The one who rode on stage on a motorcycleュュand fell off and broke his arm! (Laughter)

Frost: The biker costume wasn't even leatherュュI touched the hem. One of the high points of my career.

Plant: One of the biggest disappointments of my career was being in the Rainbow Grill, looking for Jim, who stood out of sight for a minute or two and I was stuck with Alice Cooper. And I couldn't believe that the geezer who was cutting babies' heads off on-stage was just taking off the mask and putting his Ivy League shit on and playing golf! And I wanted to know why my dream had been distorted when I hadn't even met Elvis yet.

Frost: He was ahead of his time. Dinosaur Jr., everybody plays golf now.

Plant: Oh, don't tell me that. At least Elvis didn't let us down.

Page: Bill's got this wonderful vision in his mindュュa world tour of golf.

Plant: He's probably, like, teeing off in Central Park. I do hope you keep this in. Because when he reads it, he'll get so pissed off ュ again. I'll get silly letters from him, saying (leaning directly into tape ) "you should do 'Whole Lot Of Love' with an orchestra.' Oh, Bill's all right. Give him a number five iron.

Frost: So what is the plan?

Plant: There is no plan. Let's be existential for a minute. How many Egyptians can you get into ュ

Frost: Into the pants you're wearing right now?

Plant: Into a Carnegie Deli?

Page: Into an immigration office ュ

Plant: Into an immigration office at La Guardiaュュwe'll bring over. Maybe we can pick up the odd Syrian girl singer here and thereュュSudaneseュュAbbysinianュュ

Frost: Jewish ュュ

Plant: No, no!

Frost: It's discrimination.

Page: Maybe the techs on-stage can all be women, so we can be politically correct.

Frost: I think you should. It's about time.

Plant: Well, I'm ready for it. How many more questions? I've got to call England before the shops shut.

Page: What do you mean the shops shut?

Plant: I've got to speak to somebody behind the counter.

Frost: So, given that there are even fewer rules for doing this three decades on than when you changed channels with Elvis, you're taking it day by day.

Plant: Well, we've got new material and we were talking about going in the studio before the end of the year. Instead, we're doing these things ュ

Page: It's a world tour of fucking press!

Plant: Phil Collins started all this, and that bloody bass player from Black Flag.

Frost: You mean Henry Rollins?

Plant: Yeah. The neck.

Frost: Would you please tell me, though, are you supposed to go to ュ

Plant: No, we're supposed to do whatever we want to do. I'm supposed to call London. You're supposed to write a piece. Jimmy's going to change his shirt for the TV cameras. And then we're all going to go out with Stephen Stills. Get militaristic for the evening. Speak in quasi-Spanish instead of pidgin Arabic.

Frost: He wants to get another guitar.

Page: I'll have one with eight necksュュget a wheelrightュュ then I can do cartwheels around the stage ュ

Plant: Playing "Louie, Louie."

Frost: I hope you get the chords right this time. (Unlike his contribution to the Dazed and Confused soundtrack.)

Plant: They were wrong?

Frost: They were wrong.

Plant: What can you do when you've got Frances Dunnery who thinks he's doing Wes Montgomery?

Frost: I've never heard anybody doing the music to "Louie, Louie" wrong ュ

Plant: The words are correctュュI had the shreet (sic) music ュ

(Door opens, factotums enter.)

Frost: I'm torturing them.

Page: The schlong remains the same....

(Assistant tries to interest one or the other of them in the arrival of the test CD sent for a producer's approval by the mastering facility. There's some who's-on-first business as to which of the duo should pocket the cassette and/or pop it in an available deck.)

Page: We can't do that and change shirts at the same time ュ

(Frost relates anecdote of Keith Richards' session where the producer rushes over, introduces himself, and Richards takes one look and goes, "So you're the producer, eh? Well, produce me a bottle a' wine!")

Plant: That's Keithュュhe does a good job. He rehearses all the time to be like that.

Copyright ゥ 1994 Deborah Frost

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