Jimmy Page Quotes

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

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

The only term I won't accept is "genius."

I can listen to all different sorts of music. I don't really care about The Next Big Thing.

That's the music that I play at home all the time, Joni Mitchell. Court and Spark I love because I'd always hoped that she'd work with a band. But the main thing with Joni is that she's able to look at something that's happened to her, draw back and crystallize the whole situation, then write about it. She brings tears to my eyes, what more can I say? It's bloody eerie. I can relate so much to what she says. "Now old friends are acting strange/They shake their heads/They say I've changed."

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.

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 have a voracious appetite for all things, worldly and unworldly.

I've never regretted anything I've ever done.

I'm just looking for an angel with a broken wing.

I guess the solo from 'Achilles Last Stand' is in the same tradition as the solo from 'Stairway to Heaven'...it is on that level to me.

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

I'm very fortunate because I love what I'm doing.

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

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.

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 was no working title for the album. The record-jacket designer said `When I think of the group, I always think of power and force. There's a definite presence there.' That was it. He wanted to call it `Obelisk'. To me, it was more important what was behind the obelisk. The cover is very tongue-in-cheek, to be quite honest. Sort of a joke on 2001. I think it's quite amusing.

I'm still terrified of flying. I really have to get drunk to fly. I've found that I've developed fears I never had before... fears of heights, claustrophobia... only in cities, though, never in the country.

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.

I'm over 30 now, but I didn't expect to be here.

You can't expect to be the same person you were three years ago. Some people expect you to be and can't come to terms with the fact that if a year has elapsed between LPs, that means one year's worth of changes. The material consequently is affected by that, the lyrics are affected by that... the music too.

This week, I'm a gypsy. Maybe next week it'll be glitter rock.

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 really don't like showing people how I play things; it's a little embarrassing because it always looks so simple to me.

The key to Zeppelin's longevity has been change.

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. ... 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. ... I always believed in the music we did and that's why it was uncompromising. ... I don't think the critics could understand what we were doing.

The blues appealed to me, but so did rock. The early rockabilly guitarists like Cliff Gallup and Scotty Moore were just as important to me as the blues guitarists.

If I ever really felt depressed, I would just start putting on all my old records that I played as a kid, because the whole thing that really lifted me then still lifted me during those other times. It was good medicine for me, and it still does that for me when I put something on. Isn't it wonderful that we've got all that good medicine? I think it's got to be all part of our DNA, this mass communication through music. That's what it is. It's got to be, hasn't it? Music is the one thing that has been consistently there for me. It hasn't let me down.

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

I'm attracted by the unknown, but I take precautions.

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 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.

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

There's such a wealth of arts and styles within the guitar... flamenco, jazz, rock, blues... you name it, it's there. In the early days my dream was to fuse all those styles. Now composing has become just as important.

The way I see it, rock & roll is folk music. Street music. It isn't taught in school. It has to be picked up.

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

I'm at my best when I'm exhausted and under pressure.

I'm still searching for an angel with a broken wing. It's not very easy to find them these days.

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.

I know what I want to get down and I haven't got much time to do it in.

There's too many good musicians around for the music around for the business to be sagging.

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

Just because you play bass, doesn't mean you have no presence.

I don't care what critics and other people think.

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

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

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 remember one particular occasion when I hadn't played a solo for, quite literally, a couple of months. And I was asked to play a solo on a rock & roll thing. I played it and felt that what I'd done was absolute crap. I was so disgusted with myself that I made my mind up that I had to get out of it. It was messing me right up.