Interview With Robert Plant 1977: https://www.interviewmagazine.com/music/new-again-robert-plant
You can find the interview in that article but I cut it down to just the interview.
[April. Late afternoon. On a double bed in Swingoâs Celebrity Hotel, Cleveland, Ohio.]
ROBERT PLANT: [gazing out of the window at a parking lot] Oooh! Is that a Mark V? That is one isnât it? Itâs very nice, I like that. Can you get those in New York? [Shouting to a man with a camera on the street] Itâs not worth the pictures! Itâs not worth the picturesâforget it!
VOICE: [from the street] You think so?
PLANT: [laughing] Nahâ
VOICE: Then Iâll get some tonight at your show.
PLANT: Never heard of it. Iâm not going.
VOICE: No?
PLANT: I hear they suck. [to me] So what is your story then, Sir? Or in factâ
MARK GINSBURG: I want to know what yours isâŚ
PLANT: I have no story. My story goes from day to day.
GINSBURG: Okay. Whatâs todayâs?
[silence]
JENINE SAFER: [publicist] Seven Up is great for hair management!
PLANT: Mmm. Well, I just found out that Seven Up left in the hair for 12 hours is the greatest hair conditioner. I mean all this shit on the TV that you seeâI donât believe it at all.
SAFER: But it has to be applied properly by John Bonham [alias Bonzo, Led Zeppelinâs drummer]
PLANT: Where are you going to be?
SAFER: Iâll have to get a schedule off you. Then sit down with Jonsey [John Paul Jones] as well because weâve got to do the plan. [mumbles]⌠got to do the plan.
GINSBURG: Whatâs the plan?
PLANT: Well⌠discretion is the better part of valor. How to let the family have a wonderful time without knowing itâs all programmed. I might as well tell you that thereâs not a lot of towns that I can go to and take familyâtoo many incongruous knocks on doorsââHello, honey. Have you missed me?â
GINSBURG: So where do you go then?
SAFER: Not Dallas!
PLANT: North Bend, Indiana is rather scenic in August.
GINSBURG: North Bend, Indiana?
PLANT: Ah, well you see I know a lot about the colonies.
GINSBURG: Who colonized them?
PLANT: âTwas us! We Redcoats.
SAFER: [after a pause] Last night was so much fun.
PLANT: My jawâs hurting from just giggling. Now thatâs a good sign young man after nine years of rock-ânâ-roll. That you can still laugh at each other for about eight hours âtill you have to go to bed holding your head.
SAFER: [leaving room to re-sew the spider-web design on Plantâs concert shirt] Same time next weekâ
PLANT: Well, itâs going to be the big one tonight. Now, did you come to another town? I was supposed to see you in Chicago, right? What happened?
GINSBURG: Do you really want to be reminded?
PLANT: Yeah.
GINSBURG: You had a strange afternoonâŚ
PLANT: [screams] Ohhhh! There was nothing strange about tit. It was regular, butâŚ
GINSBURG: Typical strange afternoon, then. It all depends on your point of viewâ
PLANT: âŚwhich angle you lie.
GINSBURG: Right. Well then, what would you like to lie about?
PLANT: No! I was meaning âlieâ as in what Iâm doing nowâlying down.
GINSBURG: And get high?
PLANT: No. I made a vow after two years of not working, because of the accident, that I should, uh, take care of my health 100 percent. With two years of living not quite sure whether youâre going to rock-ânâ-roll again, the build-up to this tour was tremendous. The inspiration was flowing, âcause when I knew that I could go back onstage again with my foot, I just said, âRight. Now, if I am going to do that, if Iâm going to dance again, perform again, then Iâm going to sing better than Iâve ever sung before. Thereâs nothing thatâs gonna stop me.â
GINSBURG: You would not have settled for remaining in the studio rather than onstage?
PLANT: Oh, no. When I started all I wanted to do was get out in form. I just wanted to sing. A simple thing. I loved the feeling of letting fly, of pushing as far as I could go with my voice. The only way you can really graduate how you do it is by doing it regularly to people who donât have to be super impressed. You can do it in the studio all day long but you donât get the flashback that you get onstage.
GINSBURG: Do you still get the flashback as much each time?
PLANT: More now. Much more now, this tour.
GINSBURG: You realized youâd miss it then.
PLANT: Oh, essentially thereâs a very serious aspect underneath everything now for me. Well, not serious but one of relief, I guess. There is nothing that will stand in the way of the fact that Iâm going to put out 199 percent every night. So, Iâll leave the pot alone for a bit, âcause it only clogs up my vocal cords, anyway. You get tar up them. [demonstrates hoarse sounds]
GINSBURG: Any favorite Zeppelin albums?
PLANT: I donât have any favorites. Each album comes from definitely a different period in the evolution of each of us individually as creators and the role that we take in life. The external stimuli changed⌠so the songs are full of lots of different meanings. Each album has a different atmosphere. The third album and Houses of the Holy seem to be the two albums that people didnât get off on quite as strongly as the other ones. But I think they contain the basic ingredients for the further pursuance of what weâre doing⌠the turning point to relieve the tedium of repetition.
GINSBURG: Presence seems to be a turning point, too.
PLANT: Presence was our phoenix.
GINSBURG: Yours mostly?
PLANT: Well, I know Iâm talking so itâs coming from me, but when you sit in a wheelchair and sing the whole album, the very fact that youâve sung it is fantastic. But for everyone, in that we got it together in such a short space of time under such odds not knowing what the outcome was going to beânot of the album but of the future of the band.
GINSBURG: Why not knowing?
PLANT: Because the doctors could never really quite tell me, all that time, about how inactive I might have been left from the accident. So we were just kicking it from the very depths of our determination.
GINSBURG: Could you have stayed on top without performing live?
PLANT: Oh, I donât think anybody would have want to. I guess we could have made it cutting studio albums, but it takes shows and tours for, uhâ
GINSBURG: Energy?
PLANT: Yes, and inspiration! Events like last night. Silly times, andâŚ.
GINSBURG: You used to sing on rather simply about a girlâalways one that you couldnât have but wanted badly, for instance. Now the description is more colored, complex.
PLANT: Sure. Well, Iâve tried to do that on things. Like with Celebration Day, going back: âHer face is cracked from smilingâ and that sort of thing. The impression of a free world all the way through. It could still have been greyed but it could have also had that natural effect that time gives it.
GINSBURG: But everything you sang about early onâthe open spaces, the beautiful women, the dreamsâarenât these all things youâve now hadâgoals youâve reached?
PLANT: Iâve touched, thatâs all. You have nothing. One should never allow themselves to think that they have, one can just touchâto have is to lack appreciation, to touch is to want to touch again.
GINSBURG: So some things are still inaccessible to you now?
PLANT: Definitely. Iâd like to think thatâs the way it should be. Thatâs what keeps me going on and on and on. Like that bit in our movie, [The Song Remains the Same], the princess thing. Everybody thought I was out to⌠well, âThereâs Plant after another chickâŚâ But there, the whole thing is that in the end the chick disappears before my eyes. You must just get in reach so that you know youâve made the effectâthe primary effect. And you mustnât grab it too hard⌠so the most basic things can still remain a pleasure.
GINSBURG: Ten years ago did you want to become a rock star?
PLANT: Well, I didnât look at it like that. I just wanted to sing. Nobody ever looks at it like that. Didnât even know what one was then. Still donât.
GINSBURG: Well what happened?
PLANT: Iâd already played with people whoâd got the same amount of adrenaline and drive as Iâd got and it just so happened that Jimmy [PageâLZâs lead guitarist and former member of the infamous Yardbirds] had got more than Iâd got. He could channel it. He knew which way to let it go. And that was the best thing that ever happened to me, musically. Iâd found someone whose tastes were basically along the same lines. Whoâd got the patience to allow me toâitâs like dangling your foot in a swimming pool to see how deep it is or how coldâaccustom myself to everything that would come along that he was already aware of from the Yardbirds. Perfect relationship.
GINSBURG: Has it changed much?
PLANT: Yeah, because Iâve grown up. My experiences of course now come up to the same ones as his. I guess weâre both sort of trotting together rather than him showing me the way as he did in the early days.
GINSBURG: Where are your musical roots?
PLANT: In anything thatâs done wholeheartedly from Edith Piaf through to Howlinâ Wolf. From anything that comes from that point. Some people say I sing from the groin. In the early days it was Howlinâ Wolf and Muddy Waters, Ray Charles, Drown My Own Tearsâstuff that was ultimately sincere. And some wild, wild rock, too: Little Richard, early Presley stuffâbefore he went into the Army. Presley was definitely a great inspiration to every guy who ever had a hard-on in the whole of the Western world, I should think. He shook everybody well and true, and we just kept on shakinâ. But he started it.
GINSBURG: And now, Led Zeppelin is left to carry the ballâŚ
PLANT: I donât know⌠Iâd like to go to more concerts to see the overall effect of an audience because I like to see excitement. But I like the excitement to be contained. In the early days when we used to play everybody was banginâ their heads on the stage and going completely crackers. Now they sit down and absorb. Thereâs a sort of transfixion between ourselves and the audience, which is wonderful. Itâs a great level to have reached with people who you donât know by name. That is my idea of the ultimate sort of communication level.
GINSBURG: How far away do you feel from an audience when there are tens of thousands of people watching you? How can you see or hear?
PLANT: You pick it up without sight or sound. I suppose for a vocalist itâs super built-in because if I talk, I do the talking. I think I can feel better than I can see.
GINSBURG: What music do you listen to at home when you listen to music?
PLANT: Uh, I like Little Feat, Fleetwood Macâobviously. That little lady ought to come and sing on one of our albums. If she were to come sing on one of our albumsâit wouldâŚWhatâs her name?âStevieâŚ
GINSBURG: Will you or any LZ member play onstage or record with anyone else?
PLANT: Well, no, I think it would only be impromptu. On other albums maybe just guesting for a trackâon a very light-hearted level. I canât see any serious turn one way or another. We just enjoy playing with each other. I wouldnât like to go and sing with anybody else at all.
GINSBURG: Why not?
PLANT: I just donât. When youâre singing we all phrase each other in the most remarkable ways. I might hit some sort of thing Iâve never done beforeâsome vocal pattern. Bonzo will pick it upâheâll phrase with me instantly and then Pagey may join in or start some other phraseâitâs like a quadrant.
GINSBURG: Where did Kashmir come from?
PLANT: The rhythm came from Bonzo. The sort of striding majestic element really came from Jimmyâs and my leanings toward the East. I wrote the lines after driving into the Sahara Desert because I knew that I was on my way to the Spanish Sahara and there was the war on between Morocco and the Spanish. I kept bumping down a dusty desert trackânobody for miles except, occasionally, a guy on a camel, waving his hand in the most nonchalant Arabic way. And I thought, âWell, this is great but one dayâKashmir.â And the sun was beating down upon my faceâŚ
GINSBURG: So your ideas spring from place youâve been or want to go?
PLANT: Well, Kashmir is my last resort. I think, if I truly deserve it one day, I should go there and stay there for quite a while. Or if I really need it at any point, it should be my haven, my Shangri-la.
GINSBURG: Any place else?
PLANT: Well, the whole point of âAchillesâ Last Standâ is that, though the story builds, itâs centered around one spot on the top of the high Atlas Mountains. One tiny little spot on the side of a track 10,000 feet upâlooking down over half of Southern Morocco.
GINSBURG: âAchillesâ Last StandââI would have thought the title had something to do with your accident.
PLANT: It did. It did because I fell over when I was singing it in the studio and I was rushed to the hospital. They thought that I had fucked it for good. [moves his leg up and down in the air] So I spent two week yet again with it up in the air. I still hadnât walkedâwhich is after four months without walking and Iâd put all my weight on itâwent down, bang! Pagey virtually carried me to the hospital. And when it got to a point where I could lower it gain off the bed without touching the ground, I was wheeled to the studio while the others were asleep and did the whole vocal track all over again from start to finish. I said, âRight from the top, Iâm going to do it again and Iâm going to call it that.â
GINSBURG: What about the song âFor Your Life?â
PLANT: Thatâs a sarcastic dig at one person in particular that I know, who was a really good person but got swallowed up with the whole quagmire of the downhill slide, the L.A. syndrome. You know the sort of thing. âHung on the balance of a crystal pane through your noseâŚâ
GINSBURG: But you must see so much of thatâ
PLANT: Yeah, but when it affects people who I love then I sort of snap back at themââDonât you understand that you are now immortalizedâThe parody of it all⌠is there for you to behold.â
GINSBURG: And why do you think that happens to people?
PLANT: Itâs the way⌠these arenât people in the immediate surroundings but theyâre people who come and go who we knowâusually of the opposite sex. People get carried along with the whole momentum and the adrenaline of a rock-ânâ-roll band. Weâre in one thatâs been going for nine years, âcause we can still shake it better than anybody else. Then when you leave people behind in a situation you say, âBye, see ya next timeâŚ,â and they sort of slide into the L.A. syndrome, and New York. You come back, and they donât look as well as they should do, you know, the smile has changed a bit. And this [âFor Your Lifeâ] is sort of waving your finger and saying, âNow you watch it.â
GINSBURG: You think they put too much stock in it all?
PLANT: Well, I think it carries them away.
GINSBURG: It wouldnât carry you away?
PLANT: It carried me away but I carried me away, because we are it, the thing that rolls.
GINSBURG: So then where can you get carried away to now?
PLANT: Well, itâs entirely up to me how far over the top I want to go, you know.
GINSBURG: Have you peaked?
PLANT: I donât think there is such a thing as peaking. Because if there is so much change, then how does one know when oneâs reached the pinpoint?
GINSBURG: How do you measure your success?
PLANT: By my own satisfaction. If I doubt what Iâm doing then Iâll go about putting it rightâreadjusting. Time is too precious to⌠dance with half-measures.
GINSBURG: You have kids?
PLANT: Yep. A boy and girl and thereâs no compensation for children. You can never compare any elation at all to watching a child⌠because the child is only the reflection of yourself and those of the people who surround it. So really I guess I prefer to be with them. But, you know, when you canât take this out of your bloodâŚ
GINSBURG: What do you do, more or less, when you arenât singing?
PLANT: [smiles] Wish I was⌠I donât know⌠I have a great love for the more atmospheric parts of Britain. The parts that contain true atmosphere. The days of Albion, the Dark Ages, if you like.
GINSBURG: You must have a more manic side, too.
PLANT: Oh yeah. Iâm a total soccer freak. I total soccer freak. Absolute total.
GINSBURG: Will you be able to start up again, at all?
PLANT: I canât play anymore. I can play touch soccer where I could tap the ball around and do tricks and things like that. But I couldnât go in, or tap hard. I spend every weekend, every possible moment with the soccer team that I support. Get involved with them, goinâ to see them and having sort of discussions with the management and chairmen how to project a soccer team in the â70sâon a parallel on how to project rock-ânâ-roll, I guess.
GINSBURG: Any projections for rock ân roll?
PLANT: Yeah. Do it good. And do it so nobodyâs going to forget itâand thatâs what I say to themâplay like fuck and people will never stop talkinâ about you.
GINSBURG: We are so stepped in technology. Someone can listen to a studio record, then go to a concert by the same group and expect the music to come out the same.
PLANT: Well, I donât know whether they do or not. I know that I go about with the voice, which is the hardest thing to sort of play around with and yet the most enjoyable, obviously, because Iâm a singer. I have my little machines that I like to play with. I like to make my voice sound like a piece of tin thatâs been stuck on the side of a chair, lifted up as far as it would go and then let to springââdoooiiinng.â I like to make it into a piece of metal from time to time and I can do it, both with the movements in my throat and with, uh, my little toys⌠So I like to take it beyond just a voice, more into the realms of a weapon.
GINSBURG: A weapon?
PLANT: A sharp spear.
GINSBURG: Do you care at all what the concert critics and writers get printed up in the papers?
PLANT: Not really, because the proof is in the pudding. I mean the people who come are the people who care.
GINSBURG: And the people come!
PLANT: And if they come and I see a smile on their faces, I know that itâs all right.
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