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Jimmy Page

Jimmy Page

@jimmypage

Followers: 1,534,548Posts: 1,553Following: 0

Legendary guitarist and Led Zeppelin founder

View all posts from @jimmypage

In the disciplined studios of the early 1960s London, I honed my craft as a session musician, lending my guitar to a myriad of artists across genres. Those countless hours, often three three-hour sessions a day, were more than just work; they were a crucible of creativity, collaboration, and ceaseless inspiration.

I was required to create and conjure riffs and lyrical figures immediately without slowing down the momentum of the work being recorded with the other musicians and the artist.

This journey from the anonymity of session work to the global stages with Led Zeppelin was not a path paved by algorithms or data sets. It was a voyage marked by spontaneous improvisation and the unquantifiable spark of human ingenuity. The alchemy that transformed a unique riff into an anthem was etched into the collective soul of the band — a synergy that no machine can emulate.

Today, as artificial intelligence seeks to mimic and monetise creativity, we stand at a crossroads. AI-generated art and music, synthesised from existing human works, lack the visceral essence that comes from lived experience. They are but hollow echoes, devoid of the struggles, triumphs, and soul that define true artistry.

Moreover, the ethical implications are profound. When AI scrapes the vast tapestry of human creativity to generate content, it often does so without consent, attribution, or compensation. This is not innovation; it’s exploitation.

If, during my session days, someone had taken my riffs without acknowledgment or payment, it would have been deemed theft. The same standard must apply to AI.

We must champion policies that protect artists, ensuring that their work isn’t siphoned off into the void of machine learning without due regard. Let us celebrate and preserve the human touch in art — the imperfections, the emotions, the stories behind every note and cadence.

In defending the sanctity of human creativity against the encroachment of AI, we safeguard not just the rights of artists, but the very soul of our cultural heritage.

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To dear @ozzyosbourne, Rest In Peace.

My respect and love goes out to his family and friends.

📸 ©️ @rosshalfin

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I am pleased to announce the launch of the @sundragonamps Nymph.

Following the success of the original Sundragon and Super Dragon amplifiers, Mitch, Perry and I discussed at great length what we would like to do next.

The idea came to us that we should create a new amp that embodies the sonic qualities I cherish in my favourite amplifiers, but in a smaller package. One that would be suitable for playing at home, at levels that wouldn’t disturb the neighbours, while retaining the tonal characteristics of the larger amps I love. This would prove to be the greatest challenge Mitch and Perry had faced to date with
Sundragon. It was no simple task, as certain elements of larger amplifiers are notoriously difficult to scale down.

After accomplishing the task at hand, we added one new feature to this amplifier that we hadn’t employed previously: a direct post-speaker line output. Put simply,
this means the amp can go from your bedroom to Madison Square Garden without missing a beat.

It was in November of last year that I first saw the prototype. I had just performed the Rumble at the Rock ’n’ Roll Hall of Fame using a Super Dragon, and had returned to the dressing room when Mitch appeared with the prototype Nymph. Despite the excitement and focus that comes with just having played, I was keen to try the amp out with my double-neck Gibson.

I put it through its paces, searching for familiar tones with the 6-string neck, and smiled. Then came the ultimate test: would this amp be able to stand up to the challenge of reproducing the increased output of the 12-string guitar?

To my amazement, not only did it reproduce the 12-string sounds — it did so with flying colours.

I just threw my hands up. I’ve got to tell you, that amplifier is absolutely extraordinary!

------

Head to sundragonamps.com for more info.

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On this day in 2011, I went to see @theblackcrowes 'Farewell To England' tour.⁣
⁣
This was the last night of the tour at Shepherd's Bush Empire in London and The Black Crowes asked me to jam on 'Shake Your Money Maker' as an encore.⁣
I just couldn't say no, but felt really sad when I was told that this was said to be the last shows of such a brilliant band.⁣

—————

⚡Jimmy Page & The Black Crowes: Live At The Greek is available now
⁣
📸 © @rosshalfin, 2011

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On this day in 1969, @ledzeppelin played the iconic @newportjazzfest slot after Buddy Rich and his big band.

The festival site was becoming overcrowded and the radio stations started to announce that we weren’t going to appear to try and cut the numbers of people that were travelling to the site. Such was the popularity of the group that we had hijacked such a prestigious jazz festival.

📸 © Peter Tarnoff, 1969

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On this day in 1971, I played with @ledzeppelin in the Velodrome in Milan but only managed a few numbers before the police let loose with a salvo of teargas that flooded the audience and band. ⁣
⁣
It was clearly a premeditated operation; we lost some equipment that night and also the enthusiasm to play in Italy again.

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On this day in 1985, I played Independence Day with @thebeachboys 🇺🇸⁣

Philadelphia and Washington were played on this memorable day and we travelled by train between the two cities.

Mr T was also on that trip. I became quite friendly with Beach Boy musician Bruce Johnston. It was an honour to meet Brian and Carl Wilson and play with The Beach Boys on this historic day, however, we don't celebrate July 4th in England.⁣

📸 1. © V.Zuffante/Getty
📸 2. © L.Cohen/Getty

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On this day in 1969, I got a passport stamp to enter the US. Led Zeppelin were to play the now famous Atlanta Pop Festival two days later on the 5th, headlined by old drinking pal Janis Joplin.⁣⁣
⁣⁣
Chuck Berry was in his air-conditioned Cadillac with blacked-out windows in the backstage area. As far as I know, he didn't leave it. We hung out a bit before our spot but left soon after our set.⁣⁣
⁣⁣
@ledzeppelin's next date would be the Newport Jazz Festival.

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On this day in 1988, my first solo album 'Outrider' had entered the Billboard charts.⁣
⁣
The album was on David Geffen's label. I had worked closely with the label's publicist Bryn Bridenthal on press in LA to promote the record and even had a single released. The promo department did a good job on this one.⁣

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On this day in 1967, I played The Roundhouse, London with The Yardbirds.⁣ We played much psychedelia at the famed and respected Chalk Farm venue. ⁣
⁣
The Roundhouse was in fact a Victorian building originally containing a railway turntable. I guess the trains kept a-rollin’.⁣
⁣
📸 © Jan Persson, 1967

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The Making Of: Live at the Greek

The short film taking a behind the scenes look at the landmark collaboration between Jimmy Page and The Black Crowes is out now on YouTube - link in bio.

Directed by Barbara McDonough. Edited by Rick Ballard.

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On the 25th May, I visited the Brighton Dome to witness the final official concert of this year’s @brightonfestival of Arts which ran throughout the whole of May.

The festival concentrated on various aspects of world music as well as a full programme of comedy, theatre, dance and more, and this year it was curated by @anoushkashankarofficial

Anoushka’s show was the last of a group of three concerts which she performed in Brighton under her own banner.

I had not had the opportunity to hear her play before, although I had visited Womad a number of years ago, where she was billed to play with her father Ravi. They were playing in a huge tent which was jammed to the gills with people who had got there earlier than me and there was no room left to squeeze in to even feel their presence. As far as I could tell they were not going through a PA and I couldn’t hear a note being played, so that magickal opportunity was sorely missed.

I knew that Anoushka had previously performed with the London Symphony Orchestra and the London Philharmonic Orchestra, so I had no idea what we were going to see and hear in Brighton.

In fact: it was three amazing musicians accompanying her: one played the drums; one played the upright bass; and one played the keyboards and dazzling clarinet, plus she was incorporating effects pedals to augment in every possible way the beautiful ethereal music she was creating.

All I can say about this concert was that it was beyond anything I could have possibly imagined as, quite frankly, it was totally on another level to anything I had ever heard emanating from the sitar.

Congratulations Anoushka for an extraordinary concert and your expert curation of the festival.

📸 ©️ Claire Leach

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