Jimmy Page Quotes

I may not believe in myself, but I believe in what I'm doing.

My vocation is more in composition really than anything else - building up harmonies using the guitar, orchestrating the guitar like an army, a guitar army.

There's so much that can be done on the guitar. And that's what is so good about the guitar - everyone can really enjoy themselves on it and have a good time, which is what it's all about.

I can only listen to what I'm working on, at the time. I can't listen to anything else because I don't want to copy it.

I do not worship the devil. But magic does intrigue me. Magic of all kinds. I bought Crowley's house to go up and write in. The thing is, I just never get up that way. Friends live there now.

I feel Aleister Crowley is a misunderstood genius of the 20th century. Because his whole thing was liberation of the person, of the entity, and that restrictions would foul you up, lead to frustration which leads to violence, crime, mental breakdown, depending on what sort of makeup you have underneath. The further this age we're in now gets into technology and alienation, a lot of the points he's made seem to manifest themselves all down the line.

I'm trying to photosynthesize like a plant. I'm off eating. Although I am making a lot of banana daiquiries in my room in the blender I've got, with lots of powdered vitamins in them. This tour I'm going to get some Afghani hangings and put them in my room, so that my hotel rooms look like mosques.

But if you want me to knock Kingdom Come, all I will say is that I heard the guitarist said he'd never heard my playing, and I'd defy any guitarist in American not to have heard Led Zeppelin.

Crowley didn't have a very high opinion of women, and I don't think he was wrong.

Every record is a portrait of the band at that time.

If you wanted to chart new territories and head off over the horizon, you had to make sure you weren't overly influenced by what others were doing ... so it didn't matter what other bands were doing ... we did what we were doing ...

Everything that came later ... the roots are all there in the first album.

Many people in the neighborhood liked hip-hop and house music, and I couldn't play that. You can't perform that on guitar or drums, which was what I was playing, at the time. But, I got so much from mariachi bands that were constantly playing in the neighborhood.

I'm obsessed - not just interested, obsessed - with folk music, street music, the parallels between a country's street music and its so-called classical and intellectual music, the way certain scales have travelled right across the globe. All this ethnological and musical interaction fascinates me. Have you heard any trance music? That's the thing.

I believe every guitar player inherently has something unique about their playing. They just have to identify what makes them different and develop it.

We were never a band that did 96 takes of the same thing. I had heard of groups that were into that kind of excess around that time. They'd work on the same track for three or four days and then work on it some more, but that's clearly not the way to record an album. If the track isn't happening and it creates some sort of psychological barrier, even after an hour or two, then you should stop and do something else. Go out: go to the pub, or a restaurant or something. Or play another song.

Sometimes, I must admit, I'd like to have a second guitarist onstage with me, but it wouldn't look right. I'd like to play for another 20 years, but I don't know ... I just can't see it happening. I don't know why. It's a certain foreboding ... a funny feeling ... vultures.

If you are on to something creative, school can also inhibit you. The wrong teacher, man, can really mess you up.

You can't overthink the music. Mood and intensity can't be manufactured. The blues isn't about structure; it's what you bring to it. The spontaneity of capturing a specific moment is what drives it.

I don't want to get too dippy about all this. If you take the view of the scientist and everything is in a state of vibration, then every note is a vibration, which has a certain frequency, and you know that if you put 40 beats into a frequency it's going to be the same note every time. You take that into infrasound and people can be made to be sick, actually killed. Taking it the other way, not to be too depressing, what about euphoria, etc., and what about consciousness being totally ... no, I won't go into that one. Time warps.

No. I usually rest in my satin-lined coffin, actually. I'm not allowed out in daylight hours.

The greatest satisfaction is not the decoration. It is knowing that I am able to help someone who needs help.

We went in and recorded exactly where we were at that point in time. I think because of the quality of musicianship of the band has given it the longevity. I thought the music would endure, I didn't think I would ... I always thought I'd be dead by 30, then dead by 40 and on and on. Now I'm 55 so I didn't even die at 50.

The gut-strung guitar, the classical guitar, that is a whole different world on its own. When you think what the guitar can do and what every individual player does with a guitar, everyone has their own identity coming through the guitar.

There's always music that moves me. It doesn't necessarily mean that it's within the parenthesis of rock or blues, or whatever. It's usually far more reaching than that. It can be in many different genres.

When I went over to the States to promote Outrider, everyone was telling me I was a blues guitarist. I'm not a bloody blues guitarist. I'm a guitarist.

There is far more sensitivity in acoustic guitar players than could ever be compared to any synthesizer. That's a personal point of view but that's the way I see it. I think that's what it's all about. The drive, the fire, the passion - it all comes out on the guitar.

I suggested back in 1980 to do a chronological live album, but there wasn't that much enthusiasm for it.

You've got to capture as much of the room sound as possible. That's the very essence of it.

The idea of a hypnotic riff as the prime mover of a piece of music has been around for a long time, whether you're talking about the Delta blues or music from Middle Eastern and African cultures.

Almost the moment he died, they put him in Playboy as one of the greatest drummers, which he was - there's no doubt about it. There's never been anybody since. He's one of the greatest drummers that ever lived.

I don't think the critics could understand what we were doing.

I always thought the good thing about the guitar was that they didn't teach it in school.

I think it was that we were really seasoned musicians. We had serious roots that spanned different cultures, obviously the blues.

I always felt if we were going in to do an album, there should already be a lot of structure already made up so we could get on with that and see what else happened.

But to put out a greatest hits on one CD was totally impossible, I just couldn't do it. The best compromise was to put out two CDs - Early Days - which is what it is - and Latter Days.

Artists say that paintings are never done. I sort of feel the same way about music. I would never say something is perfect. There are performances that can generate a lot of emotion in me when I hear them, but I can't say if anything is perfect.

I really wasn't needed ... Just straightening up riffs, that's all. Just two guitarists doing it instead of one.

I don't deal in technique. I deal in emotions.

Led Zeppelin didn't get that kind of Beatles screaming. We had a more sort of macho crowd. But I remember once in the early days of The Yardbirds, we were playing on an ice rink, and the stage was mobbed by screaming girls. I had my clothes torn off me. That's a really uncomfortable experience, let me tell you.

I can communicate far better on a guitar than I can through my mouth.

There is no way I would play guitar like a tour de force like I did in Led Zeppelin. John Bonham, phenomenal drummer, young man with his technique, but do you think he would ever have the opportunity to play like that in another band? Of course he hadn't.

I bet you can't play slide piano.

I played guitar all my life, all the way through the Yardbirds, but I knew that for me this was going to be a guitar vehicle, because that's what I wanted it to be.

My guitar style was developed during that 10-year period. That's me. That's the way I play, and I don't wish to play any other way. Our own individual identities are firmly stamped on this album.

The guitar to me, from the classical/gut-string guitar right through to Hendrix, et cetera, has all the range [of sound]. Within those six strings it is incredible what one can get sound-wise. It's just down to imagination, really.

There's a very old recording maxim that goes, 'Distance makes depth.' I've used that a hell of a lot-whether it's tracking guitars or the whole band. People are used to close-miking amps, but I'd have a mic out around the back, as well, and then balance the two. Also, you shouldn't have to use EQ in the studio if the instruments sound right. You should be able to get the right tones simply with the science of microphone placement.

I do really believe that all guitarists have a different character that comes through, that's a strong character, the stronger the person is.

You never knew what was going to happen in concert. It was a really exciting prospect to go onstage, and you can hear that in the live recordings ... wherever we were and whatever year it was, we always went onstage determined to do our best ...

The element of change has been the thing, really. We put out the first one, then the second ... then a third LP totally different from them. It's the reason we were able to keep it together.

I always believed in the music we did and that's why it was uncompromising.

There's music that can affect people in their lives, and they will always relate to the point that they heard it and experienced it, either if you're playing it or you're receptive, as an audience.

We kept moving forward and didn't try to recreate the past .. the approach to each album was radically different every time. Many bands would have some success and, because they were locked into having a single - something we didn't have to worry about - they had to make sure there was something similar on the next album ... that was never the idea with Led Zeppelin .. the goal was to keep that spark of spontaneity at all times ...

My finger picking is sort of a cross between Pete Seeger, Earl Scruggs, and total incompetence.

From the classical guitar right through to the furthest electrical experiments and everything in-between, it's amazing what the guitar can actually do. I mean, when one thinks about sounds.

The beauty of the band was you never knew what was going to come out next.

Music can always be a life-changing experience, for musicians and fans, or at least life-affecting, but it depends on to what degree.

You absorb so much from whatever your environment is, as an artist, and you learn to take from it what can help you create.

Many people think of me as just a riff guitarist, but I think of myself in broader terms. As a musician I think my greatest achievement has been to create unexpected melodies and harmonies within a rock and roll framework. And as a producer I would like to be remembered as someone who was able to sustain a band of unquestionable individual talent, and push it to the forefront during its working career. I think I really captured the best of our output, growth, change and maturity on tape - the multifaceted gem that is Led Zeppelin.

Once I got a guitar that was relatively user-friendly, but not super-duper easy, I really came on as a guitarist, at that point. It helped. It was a super-expensive guitar either, but something needs to steer you a bit, if you're playing an instrument that is really hard.

There will be a Led Zeppelin as long as there's a Jimmy Page, John Bonham, John Paul Jones and Robert Plant. This isn't a nostalgia band playing the hits forever. If anything ever happened and somebody left - which I really can't see happening - I don't think we'd bother to carry on. The magic for me is as it is now.

Right from the first time we went to America in 1968, Led Zeppelin was a word-of-mouth thing. You can't really compare it to how it is today.

I'm pretty optimistic about the future of rock ... it will be back to composition as in classical music or jazz.

Actually, I'm getting one made up with eight necks and I'm going to get a wheelwright to make a big rim around it and then I can do cartwheels off the stage.