Copyright2002OmnibusPressThisedition2009OmnibusPress(ADivisionofMusicSalesLimited,14-15BernersStreet,London,W1T3LJ)

ISBN:978-0-85712-100-4

TheAuthorherebyassertshis/herrighttobeidentifiedastheauthorofthisworkinaccordancewithSections77to78oftheCopyright,DesignsandPatentsAct1988.

All rights reserved.Nopart of this bookmaybe reproduced in any formor by any electronic ormechanicalmeans,includinginformationstorageorretrievalsystems,withoutpermissioninwritingfromthepublisher,expectbyareviewerwhomayquotebriefpassages.

Everyefforthasbeenmadetotracethecopyrightholdersofthephotographsinthisbook,butoneortwowereunreachable.Wewouldbegratefulifthephotographersconcernedwouldcontactus.

AcataloguerecordforthisbookisavailablefromtheBritishLibrary.

VisitOmnibusPressonthewebatwww.omnibuspress.com

For all your musical needs including instruments, sheet music and accessories, visitwww.musicroom.com

Foron-demandsheetmusicstraighttoyourhomeprinter,visitwww.sheetmusicdirect.com

http://www.omnibuspress.comhttp://www.musicroom.comhttp://www.sheetmusicdirect.com

Contents

InformationPage

1THEGODFATHEROFROCK

2THEROCKNROLLYEARS

3STAIRWAYTOZEPPELIN

4AWHOLELOTTAPETER

5HELLO.ITSPETERGRANTCALLING

6MRGRANTGOESTOWAR

7THESONGREMAINSTHESAME:WHOWASTHEGUYONTHEHORSE?

8SWANSONG

9DIDYOUENJOYTHESHOW?

10THEWRONGGOODBYE

11THELASTHURRAH

12WELLMEETAGAIN

ACKNOWLEDGEMENTS

1THEGODFATHEROFROCK

Yourenotthrowingmeinthef swimmingpoolPeterGrant

PeterGrantwasthemostcharming,courteousandaffableofmenuntilyouslammedacardooronhisfoot,triedtothrowhiminapoolorattemptedtoroborcheathisbelovedLedZeppelin.ThenthewrathofJehovahwouldbeawelcomealternativetothespleneticfuryoftheGodfatherofRock.

PeterGrantwasaformerSouthLondonwrestlerwhobecameoneofthemostpowerfulmeninthemusicindustry.TheformidablefigureofGstruckfearintotheheartsofanyonefoolishenoughtotrytoripoffLedZeporobstructtheirinexorablerisetofame.Gwasatowering,six-foot,18-stone,moustachioedgiant,a20thcenturyGenghisKhanoftherockworld,whowouldbrooknoopposition.His favouriteweaponwas alarmingly abusive language deliveredwithmachine-gun like precisionthatrenderedargumentfutile.Coupledwithhisfearsomelypowerfulpresence,whichcommunicatedthecertainknowledgethatshouldfightingeruptGwouldwinhandsdown,verbalviolenceashetermeditwonmanyabattlebeforeitwasactuallyfought.

Yet therewasmuchmore toPeterGrant thanhissemi-mythicalstatusas thehardestof thehardmen in the band business.Adept at negotiation, policymaking and strategy, he drove theworldsmostpowerfulanddynamicrockteamtothetopoftheirgamewithunrivalledskillandcommitment.Grantunderstoodbetterthananyonethatanewphenomenonrequiredspecialtreatment.IntheprocessoftakingLedZeptothetophelaiddownthegroundrulesthatensuredthattheill-treatedpopgroupsof theSixtiesbecame themillionaire superstarsof theSeventiesandbeyond. IfLedZeppelinwerepaidsowelltheywerenicknamedLedWalletbyawedrivals,thentheirtirelessmanagercouldtakemuchofthecredit.SuchwashisimportancetoZeppelin,hebecameknownasthefifthmember .Itwasanaccoladeherichlydeserved.

Some saw his attitude as bloody-minded aggression. Others recognised hewas single-handedlyturningrockintoaglobalbusinesswithmassiverewardstomatch.Whereoncepromotersdemandedthelionsshareofmoneyfromconcertrevenues,Grantensuredhisartistsreceived90percent.EvenasLedZeppelinwerestunningfanswithscreamingvocals,blisteringguitarsolosanddazzlinglightshows, Peter was hard at work behind the scenes, arguing with promoters and wading intobootleggers.Henevermissedagigandhenevermissedatrick.

Unlikemanymanagers,hewasnevertemptedtointerferewiththebandsrecordsorstageact.Heleftthemusicentirelyinthehandsofthemusicians.WhenLedZepwereontheroad,theybecamehisfamily,surrogatesonstobeprotectedandencouragedwhentimesweretough.Itwasacaringattitudehehadadoptedright fromthestartofhiscareer,whenhe lookedafter therocknrollgiantsofanearlierepoch,ChuckBerry,LittleRichardandGeneVincent.

Atthesametime,theBritishbandshugesuccessgaveGrantthepersonalrespect,statusandpowerhehadcravedsincehefoughthiswayoutofatoughchildhoodandtougherneighbourhood.Often

hisfitsoftemperseemedtriggeredbyasenseofoutragethathispersonalspacewasbeinginvadedorhishardwonprestigeeroded.Nothingangeredhimmorethanpeopletakinglibertiesortryingtomuscleinonhisterritory.Itwasanattitudenotalwayseasytocomprehend,especiallybythosefromcomfortable,securebackgroundswheretherewasnoneedtoshout,swearorraiseafist tomakeawayinlife.InAmericaespecially,manyweresurprisedatthewayinwhichGoverturnedtheirideaofthetraditionalEnglishman.GrantwasnoDavidNivenstylegentlemannoranothermiddle-classandslightlynaveBrianEpstein,waitingtobeexploitedandgiventherun-around.ThetoughtalkingLondoner, raised on a diet of street talk and cash, could take on the shady, the devious and theorganisedandwin.

When necessary, of course,Grantwouldnt bat an eyelid at demonstrating the kind of immensepersonalbraverynecessarytowardoffathreat.Indeed,hewouldtakefiendishpleasureinofferinghis personal, physical protection to vulnerable young charges. When a group of sailors beganmockingand jeeringat JeffBeckandJimmyPages longhairduringaUS tripbyTheYardbirds,Peterstormedintoaction.Herecalledlater:ThethreeofuswereflyingdowntoMiamiandIturnedroundandheardtheseblokes.Oneofthemlookedlikealittletough,soIliftedhimupunderthearmandsaid,Okay,whatsyourproblemPopeye?Andtheotheroneran.

If anyone ever needed reminding hed say: If Im out at a concert and somebody is gonna dosomethingtooneofmyartists,thenIllfuckingtreadonem,withoutthinkingaboutit.

Yet likemany supposed hardmen, Peter retained a gentle streak, probably inherited from hismother.Hewasamanfullofcontrasts.Attimespugnaciousandabrasive,hecouldalsoberelaxed,polite, witty and stimulating company. He had a finely developed sense of humour and wassurprisinglyculturedinhistastes,displayingagenuinepassionforantiquesandworksofart.Oftendangerouslyoverweightandimprobablydressedinill-fittingkaftans,baggyjeansandcoonskinhats,he attracted the slim, the slight and the delicate. Both men and women found him a comforting,reassuringcompanion.Itwouldnttakemuch,however,totipthescalesandthegentlychucklinghostwouldonceagainbecomethemanwithafacelikethunder,eruptingwithcriesofWhatthefuckinghelldoyouthinkyourefuckingdoing!

Says journalistMichaelWatts,whomet and interviewedPeter on several occasions: I think theinterestingthingisyoudontneedtobeapsychologisttoseethatforamanwhowassooverweight,having access towomen and a certain kind of lifestyle through being themanager ofwhat at onepointwasthemostfamouspopbandintheworld,musthavebeenterrific.Hewascertainlythemanwhobrokethemouldofpopgroupmanagementanddidsomethingdifferent.

Inlateryears,whenGrantbecameamellowfamilyman,cherishinghisownsonanddaughterandgrandchildren, many were puzzled that such a friendly, relaxed individual could ever have beenportrayedasarocknrollmonster.Certainlyhisgangsterimage,enhancedbyhisappearanceinthemovie The Song Remains The Same, had long since faded and was always something of anembellishment.Hecertainlydelightedintellinganecdotesofhisformerexploits.Ididalotofthat,hedsay,proddingpeopleinthechestwithhisfingerandrecallinghowhiswrestlingtechniquesoftencameinusefulwhenapointneededtobemade.

Butrighttotheend,therewasalwaysaglintofdanger,amenacethatwouldsurfaceunexpectedly

andputanendtoanyattempttooutsmarthim.SometriedtodismissthePeterGrantofhisretirementyearsasapussycatbutevenathismostrelaxedandgenial,whenthedangersignalflashedred,itwaswisetotakeheed.Theforcesofimpatienceandaggressionthatdrovehimasayoungmanwereeverpresent.

Inanagewhenpopactsandbandsarealltoofrequentlyentirelytheproductofauditionsfollowedbyintensepromotion throughTVandmedia, thecreationofLedZeppelinseems in retrospect likeanevenmoreremarkableachievement.Howcouldtheyhavebecomesohugewhentheyhadjustoneortwomenbehindthemandamountaintoclimb?

Itwasnt even easy to convince the existingmusic industry of the Sixties thatLedZeppelinwassomething special, as Peter Grant quickly discovered to his chagrin and fury. Indeed, his earlytreatmentbythemedia,includingtheradioandTVnetworks,moreorlessforcedhimintoadoptinganaggressivestanceandisolationistpolicies.Ifnoonewouldhelphisband,thenhedhelphimself,dothejobhisway,theonlywayheknewhow.

A crucial moment in the early days of Zeppelin came when he invited a BBC TV crew to theMarqueeClubinLondontofilmthebandinactionfortheirregularrockshowTheOldGreyWhistleTest.Theshowwasasell-out.Hundredsoffanslinedthestreets,waitinginlinetogetin.

TheBBCcrewfailedtoturnupandneverevenapologisedtoGrantforlettinghimdown.Thereand then he decided he wouldnt pander to the media or play by their rules. To the anguish anddisbelief of his record company he promptly decided never to release a Led Zeppelin single inBritain,thusensuringthatZepwouldneverbelittlethemselvesbyappearingonTopOfThePops.Hewouldrelyinsteadchieflyonthesupportofthefanswhoqueuedattheclubsandboughtthealbums.AsfarashewasconcernedZepwereandwouldremainatrueundergroundband.

Thisslightlyeccentric,self-helpattituderemainedatthecoreofZeppelinslineofattackforyears,manifestingitself inthesmallnumberofstaffGrantemployed, theavoidanceof lavishlyfurnishedprestige offices, the playingdownof official corporate stylePRand a relianceondirect contactwithfriendsandsupportersforpresscoverage.ItalsosecuredforZeppelinacertainmystiquewhich,buoyed up by Grants firm belief in always leaving the fans wanting more, has somehow beensustainedtothisday.

WhenLedZeppelinsuddenlytookoffattheendof1968,followingtheirfirstvisitstoAmericaandthereleaseoftheirstunningdbutalbum,itwasatimeforbittersweetrevenge.YetPeterGrantneverindulgedinsuchtactics.Helaughedandchuckledinstead,andtookgreatpleasureinseeingthelooksonthefacesofthosewhohadscornedhim.Heknewhimselfhowharditwasforanypopgrouptomakeanameforitself,andunderstoodthetoughandcynicalattitudesoftheso-calledmusicindustry.He also recognised the blind incompetence that lay at the heart of many of its most importantinstitutions and he forgave them. After all, as Led Zeppelin was being showered with gold andplatinumalbums,hecouldaffordtohavethelastlaugh.

Asheflewaroundtheworldonboardprivatejets,sippingchampagneandbrowsingthroughthepages ofCountry Life in search of property and antiques, he could reflect on the magnificentlystrange and fascinating paths his life had taken since the days when he was a lonely teenager,

abandonedbyafatherheneverknew,determinedtoriseabovealifeofpovertyinthewar-battered,crime-riddenLondonsuburbthatwashome.TherewasawayouttotheglitteringworldofshowbusinessviaTheCroydonEmpire!

2THEROCKNROLLYEARS

Hewasadreamerandhehustled.MickieMost

Despitemanyattemptstounravelhispast,adegreeofmysteryseemsdestinedtoforeversurroundtheoriginsofoneofthemusicindustrysmostpowerfulandcontroversialfigures.WhatiscertainisthatPeterGrant,futuremanagerofLedZeppelin,wasbornonApril5,1935,inSouthNorwood,asouthLondonsuburb.Hismother,DorothyLouiseGrant,whoonhisbirthcertificatedescribedherselfasaprivatesecretary,livedinNorhyrstAvenue,SouthNorwood.Accordingtothebirthcertificate,PeterwasbornatanaddressinBirdhurstRoad,U.D.(sic).ThereisaBirdhurstRoadinSouthCroydon,only three stations away on the railway line from Norwood Junction. However, there is also aBirdhurstRoad inWandsworth, not far fromBattersea,where Peter grew up.No father s name isgivenonthecertificateandasPetertookhismother ssurname,thisstronglysuggestshewasbornillegitimate.

It is reasonable to assume, therefore, that Peter Grant was raised in what would nowadaysrespectfullybetermedasingleparentfamily,neverknowinghisfather.Whilesuchcircumstancesarecommonplace today, in thepre-waryearsandforat least twodecadesafter, therewasastigmaattached to illegitimacywhichevoked theuseofpejorativewordsandphrases intended tohurtanddemean.Peterwastousethewordabastard,saysRichardCole,hispersonalassistantformanyyears.Hedidntknowwhohis fatherwasandhismumbroughthimup.Hewasveryclose tohismum and he always took care of her. But he never spoke much about his childhood. From thesecrecythatPeteradoptedtowardshisearlyyears,itwasclearthesubjectwaspainfultohimandonehewasreluctantevertodiscuss.

HissonWarrenbornFebruary23,1966admits that little isknownaboutPeter supbringing,even within the fairly tight-knit circles of their small family. He never talked about his father,althoughheadoredhismum,hesays.Idonthavemanymemoriesofmygranny.DorothyLouisediedwhenIwasquiteyoung.Therewasaloadofstuffthathekeptverypersonalabouthisparents.Afterhedied,afriendofmydadsgavemealotofpapersrelatingtothefamilybackground.IwastoldIshouldopenthepacketandhavealook.ButIdidntwanttodothat,becausehehadkeptitsoprivateallhislife.Soitwentwithhiminthecoffin.Ithoughtitwasbesttokeepitthatway.Itwasabigenvelopefulloflettersandbitsandpieces.Ijustdidntwanttoopenit.Iknowthathisfamilywereverypoor.Theyweretotallyskint!Hestartedfromnothingandthatmadehimhungryforsuccess.

OneclosefriendthatPeterconfidedintoacertainextentwasMickieMost,withwhomhewouldenjoyafruitfulbusinesspartnershipinlateryears.SaysMickie:PeterwashalfJewish.HetoldmehewashalfJewishandIthinkhismotherwasJewish.Peternevertalkedmuchabouthischildhood.Hewasillegitimatewhichhedidntdeny.Hejustdidntwanttodiscussit.Hewasveryclosetohismum,whohaddiabetes.Shehadaveryseriousconditionandhad tohaveher legamputated. Ifyouhavediabetesbadlyyoucangoblindandloselimbs.Itwasterrible.IattendedherfuneralinStreathamwithPeterintheSeventies.

Intriguingly,Peter ssolidsoundingsurnameGrantisfromtheLatingrandis,whichevolvedintothe13th centuryNormannickname, graundor grauntmeaning large. Itwasusuallygiven to apersonofremarkablesizeandwhileitcanalsomeanelder orsenior ,inmostcasesgrante,asitbecameinOldEnglish,simplymeanttall.Itwashighlyappropriate,givenGrantsformidablegirthand dimensions, a condition increasingly evident from his late teens onwards. Towhatminusculeknowledge is known about Peter s father, it can safely be added that he, too, was probably verypowerfullybuilt.

TheremaynothavebeenmanyNormanFrenchGrauntsleftlivinginSouthNorwoodduringtheThirties,but ahundredyearsearlier itwasahappyhuntingground for roamingbandsofgypsies.TheareawherePeter smotherlivedwasoncethesouthernpartoftheGreatNorthWoodofSurrey,which laybetweenUpperNorwoodandCroydon. Itwas landownedbysuccessiveArchbishopsofCanterburyandnotedforitsbeauty.However,woodmenandcharcoalburnersdestroyedthetreesandovertimetheareabecamewhathasbeenchillinglydescribedbyhistoriansasanimmensewastelandinhabitedbybeggars.

Oncethemilesofcommonlandwereenclosedandtherailwaysbuiltinthemid-19thcentury,thepopulationincreasedandlargenumbersofsuburbanhouseswerebuilt.AmongthemorecelebratedinhabitantswasSirArthurConanDoyle,wholivedat12TennisonRoad,wherehewrotethefirstofhisfamousSherlockHolmesdetectivestories,includingoneentitledTheAdventureOfTheNorwoodBuilder.

DorothyandPetersubsequentlymovedfromNorwood to the innercitysuburbofBattersea, justacrosstheRiverThamesfromfashionableChelsea,wheretheylivedinatwo-up,two-downterracedhouse. Close to the southern banks of the river, Battersea (originally Bedrics Island) was oncemarshland and a Saxon settlement. By the middle of the 19th century the many acres of marketgardensthatmadeitsuchanattractivelocalewereengulfedwithsmokebelchingfactories,makingcandles,glucose,starch,gasandgloves.Thefinaltouchestothisbleakurbanlandscapeweremadewhenthehugepowerstationwasopenedin1933(andclosedin1983).

Peter smothertriedherbesttoadapttohernewhomeandtookasecretarialjobwiththeChurchofEnglands Pension Board. Despite this touch of respectability, a twangy South London accent andtough attitudemeant there seemed little chance that her sonPeterwouldmake it beyond the lowerrungsofsociety.Accordingtohisteacher ssomewhatdespairingschoolreport:Theboywillnevermakeanythingofhislife.Indeed,sopoorwashismotherthatforaperiodlittlePeterwasplacedinachildrenshome.Evenhis limitedschoolingwasdisrupted, this timeby theoutbreakof theSecondWorldWarinSeptember1939.Withbombsrainingdown,Londonwasnoplaceforachildandfour-year-oldPeterwas evacuatedwith thousands of others to the safety of the country. In his case, theentireschoolwasrelocatedtoCharterhouse,afamouspublicschoolnotfarfromGodolming,deepinthewealthystockbrokerbeltoftheSurreycountryside.*

ItwasafarcryfromthesmokystreetsofBatterseaandGrantlatertalkedofthewayhewaslookeddownuponby thepublic schoolboysheencountered. Itsnot surprising thathedevelopedanearlyantipathytowardsthepervasiveeffectsofclass-consciousnessinsociety,nottomentionawitheringattitudetowardstheupper-middleclasses,especiallythosetowhomfortunecamewithoutfortitude.

Itcertainlymadehimallthemoredeterminedtobecomeasuccess,whateverhisorigins.Ashesaidsomewhatbitterly:Youcanimagine.ThescumhadarrivedfromBattersea.Theyloathedus.WorldWarTwowasonandtherewasanotherwargoingondowntherethatnobodyknewabout.Thereusedtobegreatbattlesandwedbeatthemup.

AfterthewarPeterreturnedtohismotherinBattersea.Ofhisschooldayslittleisknown,thoughitcanbeassumedthattheworldofacademeheldnoattractionwhatsoever.Byhisownaccount,heleftschoolattheageof13andtookalabouringjobatasheetmetalfactoryafewmilesawayinCroydon.Peter lasted just five weeks in his one and only factory job. I knew it just wasnt for me, heconfessedlater.Ihadabad,badeducation.Itwasallmixedupwithbeingevacuatedduringthewarandmycircumstancesnotknowingmyfather.

SayshisdaughterHelen:Heneverdidanythingatschool.Hewasneveranacademic.Butwhenhisheadmastergavehimthathorriblereport,itgavehimanincentive.Hethought:Right,sodyou,Imgoingtodosomething.Peterrealisedfromanearlyagethatifheweretoachieveanythinginlife,hedhavetodoitonhisownterms,bytheforceofhispersonalityand,ifnecessary,sheerphysicalstrength. Fortunately, he was well endowed in that department, so much so that future employersprobablyassumedhewasconsiderablyolderthanhereallywas.

Attractedbytheallureofshowbusiness,hetookamoreinterestingjobthansheetmetalbashing,workingasastagehandattheCroydonEmpire,ameccaformassentertainmentinsouthLondon.In1948,beforethearrivaloftelevision,varietyandthecinemahappilyco-existedinthesamepremises.South Londonwas full of superbly appointed cinemaswith evocative names,Odeons, Rialtos andGaumonts,wherethemagicofthesilverscreenofferedabriefrespitefromthedrudgeryofpost-warEngland.TheEmpirewassituatedat94NorthEnd,Croydonandopenedasamusichall in1906.Itconverted into a movie house in the Thirties, featuring a mixture of talkies, newsreels and theoccasionallivevarietyact.Thereweresomanycinemasinthelocalitythatfrom1938onwardstheEmpirebecamealiveentertainmentvenueonly.

WhenPeterGrant became an eager, 13-year-old stagehand, earning fifteen shillings a night, theEmpirewasownedby theHyamsBrothers.Theyhadbought the theatre in1946andcontinued thepolicyofstagingliveshows.Inthisratheroddlydesignedbuilding,withitsnarrowstreetentranceleadingtoagrandfoyer,youngPetercaughthisfirstglimpseofthestarsoftheday,albeitsomewhatdownmarketartistesonvarietybills.OneofthelastshowsputonattheEmpire,beforeitconvertedtotheErosCinemaintheearlyFifties,wascalledSoldiersInSkirts.SkirtsmaywellhavebeenonPeter smindasheexcitedlysweptupthestage,pulledbackthecurtainsandogledtheactresses.

TheCroydonEmpire/ErosCinema closed inMay1959 andwas demolished tomakeway for abarrenconcreteshoppingcentre.Howevertheclosureofmanysuchtheatresdidnotdetertheyoungstagehandfrompursuinghisdreams.Itwasaneraofalmostfullemploymentandjobswereeasytocome by for someone towhomworkwas second nature.Unemploymentwas never an option forPeterGrantand,eagerforadventureandundauntedbyhislackofeducation,hetookawidevarietyofcasualjobs.TheyincludedworkingasawaiteratFrascatisrestaurantinSohoandasamessengerforReuters, the international news agency, in Fleet Street. He delivered the latest news photographs,takingwetprintsonhisarmto thevariousnewspaperoffices that linedthestreet that in thosedays

wastheheartofLondonsnewspaperbusiness.

In1953,attheageof18,GrantwascalleduptodohisobligatorytwoyearsofNationalServiceintheArmy.Under the terms of theNational ServiceAct of 1948, all of Britains youngmenwerecalledupontoundergotwoyearsmilitarytraining.ThiswasthefirsttimethatcompulsorymilitaryservicehadbeenintroducedinBritainoutsideofwartime,anditsveryexistencecontributedtotheairofdrabnessandrepressionthatpervadedtheearlyFifties.

It also evoked an atmosphere of authoritarianism in which young men of Peter s age andbackgroundwereencouragedtobelievethattheyshoulddefertotheireldersandbetters.Teenageyearsthatsublimeintervalbetweenleavingschoolandadulthoodsimplydidnotexist;whateverrevoltmayhavebeenkindlinginthesoulwasextinguishedbythearmy.

This wholesale aura of oppression almost certainly supplied the launch-pad for the Teddy Boyphenomenon, which in the early-Fifties was beginning to emerge in working-class areas likeBattersea and Clapham. In what history generally records as the first great youth cult of the 20thcentury, lads just out of theArmy threw away their uniforms and demob suits and, in a kind ofhomage to pre-war Edwardian fashions, began wearing drainpipe trousers and thigh-length drapejacketswithvelvetcollars.VisitorstotheFestivalOfBritainFunfairinBatterseaParkin1951werealarmedtoseethefirstwaveofTeddyBoysandtheirgirlfriendsrampagingaroundthegrounds.InthosedaystheTedslistenedtobigbandjazzandboughtthenoisiest,brassiestrecordsbyStanKentonandTedHeath.Later,whenBillHaley&TheCometshittheworldwithRockAroundTheClockin1956,theywouldswitchtheirallegiancetorocknroll.

Peter Grant spent his late teenage years square bashing and undergoing basic army training.AlthoughsomefoundNationalServicefrighteningorplainboring,PeterseemstohaveenjoyedhistimeinthearmyandprogressedwellintheRAOC(RoyalArmyOrdinanceCorps).HewaspromotedtotherankofCorporalandplacedinchargeofthedininghall.HeusedhistheatricalexperiencetoworkasastagemanagerforshowsputonbytheNAAFI,theserviceorganisationthatprovidedtea,bunsandentertainmentforthetroops.Helaterclaimeditwasaverycushynumber .

Manyyearslater,whenPeterwastherichandsomewhatnotoriousmanagerofoneoftheworldsgreatrockgroups,hetookabriefnostalgictripbacktohisarmybarracks.HewasdrivingthroughtheMidlands with his assistant Richard Cole and Atlantic Records executive Phil Carson. RecallsRichard:WewerenearKetteringandhedroveusintohisoldbarracksinhisbrandnewRolls-Royceconvertible.Thesoldierondutysalutedusandopenedthegates.WedroveallaroundthisarmycampandPetershowedusthehutswhereheusedtolive.

His two years ofNational Service completed, Peterworked for a season in a holiday camp, anexperience he would later succinctly describe as dreadful. He was also employed briefly asentertainmentsmanageratahotelinJersey.Forawhilehedreamedofbecominganactor,butinsteadfoundhimselfbackinLondonsWestEnd,workingasabounceranddoormanatthe2IsCoffeeBarat59OldComptonStreet.ThisunpretentiouscafwassoontobecomethecrucibleofBritishskiffleandrocknroll,whereTommySteele,thefirstUKpost-Elvispopstarwasdiscovered.YoungHarryWebb&TheDriftersalsoplayedthere,beforetheybecameCliffRichard&TheShadows.

ManyofthekeyfiguresinthefirstwaveoftheBritishrocknrollmusicindustrygottheirstartatthe2Is.AndrewOldham,wholatermanagedTheRollingStones,usedtosweepthefloorthereandLionelBart,laterBritainsmostsuccessfulcomposerofhitmusicals,paintedmuralsonthebasementwall.Thewaiteratthe2IswasMickieMost,whowentintopartnershipwithPeterandbecameoneofBritains toppoprecordproducers.Thecoffeebar itselfbecamepartofpopcultureandduringanoutsidebroadcastinNovember1957wasusedasthesettingforthepioneeringBBCTVpopshowSixFiveSpecial.ItwasalsocelebratedinthewittyandsatiricalmovieExpressoBongo(1958),starringCliffRichardandLaurenceHarvey.

CoffeehouseshadbeenestablishedinLondonwaybackinthedaysofSamuelPepysandremainedpopularwellintothe20thcentury.Butitwasin1948thatBritishcoffeedrinkingwasrevolutionisedbythearrivalofthechromium-platedGaggiaespressomachine.ThefirstSohocoffeebarequippedwith a Gaggia was the Moka Bar in Frith Street, in 1953. Henceforth coffee bars provided anattractive meeting place for teenagers, excluded from the spit and sawdust pubs at a time whenpublicans were very strict about the over-18 entry policy. The 2Is was opened in 1956 by threeIranian-born brothers who originally owned the premises and called it the 3Is. When one of thebrothersleft,itwasrenamedthe2Is.BusinesswasntgoodandinAprilthatyearitwastakenoverbytwoAustralianwrestlers,PaulLincolnandRayHunter,whohoped toearnasteadier incomefromsellingespressothantheycouldfromwrestling.ButtheybeganlosingmoneyrightfromthestartandmattersweremadeworsewhenanothercoffeebarcalledHeavenAndHellopenedrightnextdoor.

Butchangewasintheair.InJuly1956,duringtheannualSohoFair,WallyWhyton,leaderofTheVipers SkiffleGroup, popped into the 2Is and asked if his group could play in the basement. Theplacewasdesertedandthedesperateownershadnothingtolose,sotheyacquiesced,prayingsilentlythat livemusicmight bring in some customers.Their prayerswere answered: the cellar barwasonly 25 feet long and 16 feetwide, but soon it was packedwith fans, jiving to TheVipers livelyskifflerhythms.

Itwasntlongbeforeteenagerswerequeuingaroundtheblocktogetin.Manyofthemfaintedinthe heat, but copious cups of coffee brought them round to hear the stars of the future likeAdamFaith,TommyHicks,EmileFord,VinceTaylor,WeeWillieHarrisandTerryDene.TheyalsoheardMickieMost,whosometimesleaptupfrombehindthecountertosingafewnumbers.

On the door, strugglingwith the crush of teenagers desperate to get an earful of this liberatingmusic,wasPeterGrant.He later recalledhis timeat thehistorymakingSohocellar:IhadknownMickieMostsince1957.Weusedtoworktogetheratthe2Is.MickiepouredthecoffeewhileIsoldtheticketsatthetopofthestairs.Yougotamealandtenshillingsanight.Hemusthaveinsistedthatpayandconditionsbeimprovedbecausehelaterclaimed:Wegotpaidaquidpernightandtheguywhoowned theplace,TomLittlewood, took tenper centofour salary,which left uswith eighteenbob(shillings).

As the year went by, Mickie Most would play an increasingly important role in Peter s life.ChristenedMichaelHayes,hewasborn in1938, inAldershot,Hampshire.Hemoved toHarrow innorth London with his family and became friends with singer Terry Dene during the skiffle era.While Terrywas becoming one of Britains first pop idols,Mickiewas still operating the coffeemachineatthe2IswhilehismatePeterworkedthedoor.

PaulLincoln,themanagerofthetinycellar,begantotakeaninterestinMickiespal,thetoughandconfidentgiantfromBattersea.Paulwasstillworkingasawrestlerandhedecidedthedoormanatthe2Iswasaperfectspecimenfortheprofessionalwrestlinggame.PaulencouragedPetertojoinhiminafewbouts,tothedelightofthepunters.Weighinginatanestimated23stone,hewassoonbouncingoffthecanvas,billedasHisHighnessCountBrunoAlassioOfMilanorasCountMassimo.Somerecall him being dubbed TheMaskedMarauder , the fighter who would take on anybody in theaudiencewhowasdaftenoughtovolunteer.

WrestlingwashugelypopularinBritainatthetimeandtelevisioncoveragemadestarsofthetopwrestlers. Sporting authorities, unimpressed by the stagy nature of the grappling game, frowneduponitfromonhigh,describingitasapseudo-sport,aformofentertainmentinwhichperformersdomuscular feats, using body contact and stunts, patterned on the skills ofwrestling.One ratherpointeddefinitionstatedthat:Fordramaticeffectonthespectators,whobelievetheyareobservingasportscompetition,theperformanceislikelytoincludeexpressionsofanger,painandhelplessness.*Nevertheless,itfilledthehouronTVonSaturdayafternoonsimmediatelybeforethefootballresults,grabbingtheattentionofmenjustbackfromthepubwhorequiredundemandingentertainmenttofillinthetimebeforethepubsreopened.

Peter swrestlingexperiencewouldprovideinvaluableskillsforhisfuturecareeratthesharpendoftherocknrollbusiness.Evenso,hewasratheranxioustoforgetthosedays,especiallywhenhebecameahighlyrespectedrockgroupmanager.WhenhisformerexploitswererevealedinaDailyMirrorarticle in1971, itmadehimwaryofgiving interviews tonewspapers.He later relentedandwouldadmit:Iwasawrestlerforabout18monthswhenIneededsomemoney.Thisdidnotstoptabloidjournalistsforeverharkingbacktohispastandcallinghimagiant,bruteandadeviloften in the same paragraph. He was once described as looking like a bodyguard in a Turkishharem.Forhispart,Peterwouldalmostalwaysrefertored-toptabloidnewspapersastherags.

MickieMostcastsnewlightonthebeginningsofPeter swrestlingcareerandexplains:Weusedto work together way back in the Fifties.We used to put up the wrestling rings for DaleMartinPromotions. Sometimes if a wrestler didnt show up for the first bout, Peter used to do a bit ofwrestling.Hewasabigguyandiftheotherwrestlerwasabitsmall,thenitwouldbewhattheycalledacatchweight,whichisanoddweight.Theyusedtothroweachotherallovertheringforafewminutesastheopeningact.Itdidnthappenalot,butifPeterwasavailablehedhaveago.Iwasabittooskinnytohaveagomyself.TheywouldhavelaughedifIdcomeoutinwrestlingshorts.Peterwas big even then, but in the early days he was in quite good condition. He wasnt heavy fromovereating.Hewaswellbuilt.IneverheardhimbeingcalledCountMassimo,butPaulLincolnwasknownasDoctorDeathandtheseAustralianguysworkedthecircuitaroundEngland.Ioftenwentwith themto theirshows. Id jumpona traindowntoSouthendandgowith themto thevenueandhelpout.Thatwas thebasisofPeter swrestlingcareer.Peterwaspaid toputup theringsand takethemdownagain.TheredbewrestlingeveryMondaynightatWembleyTownHallandsomebodyhad toput the ringup! Iused togo to seewrestling therewith JetHarris.He loved it.WhenPeterbuttedsomeonewithhisstomach,thatwasjustusingawrestlingtechnique.Nobodyevergothurt.Iftheydidgethurtitwasanaccident.Itwasntmeanttohappen.Therewasnophysicaldamagebecauseitwasallshowbiz.ItsstillbigbusinessinAmerica,butnobodygetshurt.

Around the sameperiod,Peter tookonanother jobasadoorman, this timeatMurraysCabaretClubwherehewastheonlymanworkingamongstfortyshowgirls.BeingthedoormanatMurrays

wasgoodfuntoo.Iwasntmarriedthenandwhatwithmebeingtheonlymanaroundandaboutfortygirlsonbackstage,itwasallright,hesaid,diplomatically.

Less appealing was his brief stint acting as a minder for the notorious slum landlord PeterRachman.MickieMostexplainsthisasthesortofworkwhichwasamatterofexpediencyratherthanachosenwayoflife.ItwastheFifties.Nobodyhadanymoneyandeverybodyneededit.Hewasadreamerandhehustled.

Peter soverridingambitionwasstilltogetawayfromthiskindofroughstuffandfindworkasamovieactor.HetoldMalcolmDomein1989:Iwantedtobeanactor,butIwasneverreallygoodenough,althoughIdidgetquitealotofworkintheFiftiesandearlySixties.IusedtodoubleforRobertMorley,eventhoughtheyhadtopadmeoutquiteabitandIalsoputonabaldwig.Ihadhairbackthen!

PeteractedasadoubleforAnthonyQuinninTheGunsOfNavarone,thehitwarmovieof1961.Heworked briefly in amime act and also appeared in several episodes ofTheSaint, a TV seriesstarring Roger Moore. He once popped up as a barman, with all of two lines to recite. Grantschildren,WarrenandHelen,wouldlaterfallaboutinhystericswheneverthisepisodewasre-shownonTV.HealsoappearedinthepopularBBCTVshowsCrackerjackandDixonOfDockGreen,andplayedacowboyinTheBennyHillShow.In1961hehadasmallpartasaMacedonianguard,cladinarmourandmake-upinCleopatra,themoviestarringElizabethTaylorandRichardBurton.

CleopatrawasmadeatPinewoodstudios inEngland.Howeverprogresswas slowasLizTaylorwasunableorunwillingtocopewiththecoldweatherandkeptwalkingoffthesetandreturningtoherhotel.ThisdidntbothertheMacedonianguardinhisrubberoutfit.Hewasbeingpaid15adayand enjoying the easy money, although getting up at 6 a.m. every morning was not to his taste.Eventually filmingwas transferred toEgypt, amore authentic location,where itwas considerablywarmer.All the scenes that featured Peterwere scrapped, so he didnt appear in the final version,which inanycase turnedout tobeanexpensiveflop.Peteralsoappearedasasailor inANightToRemember (1958), a better than averageBritish version of the story of the sinking ofThe Titanic,starringKennethMore.ToGrantsvastamusement,itwasfilmednotintheiceberg-infestedAtlanticbutinthemurkydepthsoftheRuislipLido.

Although an acting career was attractive, there were few roles in the movies or on TV for anoverweight south Londoner. In later, less restrictive times, he might have become a star of suchpeople friendly soaps as BBC TVsEastEnders, or more probably as a villain in one of theendless series of cop shows. Either way, its unlikely he would ever have progressed beyond therealmsofacharacteractor,asortofsouthLondonWilfredHyde-WhiteorevenaGeorgeColewhowouldntboltwhendangerloomed.

Followinghis experienceas a stagehandandbitpart actor,Peterhit onamorepracticalway toremaininshowbusiness.HeinvestedinacoupleofminibusesandusedthemtotransportvarietyactsaroundBritishUSairbases,wherehome-grownentertainmentwasingreatdemand.HeoftendroveTheShadowstogigsandeventhepopularcomediansMike&BernieWinters.

RecallsWarrenGrant:Dadstartedoffdoingminibusdrivingandtransportingartistsaround.He

hadalreadyworkedasastagehand,pullingthecurtains,sweepingthefloorandactingasabouncer.Itwasallgoodexperienceforhim.

This isconfirmedbyPeter s friend, theformerDireStraitsmanagerEdBicknell:Heonce toldmethereasonhegotintothemusicbusinesswasbecauseheownedaminibus,hesays.

Driving theminibuswas to leaddirectly toPeterbecominga fully-fledged tourmanager. It thusbecamehisexactingtasktolookafter,cajoleandprotectthewildandrecklessAmericanartistswhovisitedBritaininthewakeoftherocknrollexplosion.BillHaley&TheCometsandElvisPresleyhadcausedasensationwithhitrecordslikeRockAroundTheClockandHeartbreakHotel.Britishyouthwassmittenwiththenewmusic.

ThefansmightneverbeabletoseeElvisPresleyliveonstage,butatleasttheycouldseeChuckBerry,GeneVincent andEddieCochran. Formany, this exposure to theAmerican stars of Fiftiesrocknroll would spark a lifelong musical obsession. It certainly paved the way for a wholegenerationofBritishartists,includingTheBeatlesandTheRollingStones,whowouldemulatetheirheroesandinturnprovidetherawtalentfortherockboomtocome.

One of the biggest British pop promoters of the day was Don Arden. Business colleagues andmusiciansknewArdeninformallyastheAlCaponeofPop,atitlewhichsuitedhishardmanimage.AfteractingasaleadingrocknrollimpresariohewentintomanagementandhandledsuchgroupsasTheSmallFacesandELOwithconsiderablesuccess.However,intheearlySixtieshespecialisedinbringinginmanyoftheAmericanstarsand,togetherwithagentColinBerlin,putthemontouringpackage shows. A pugnacious businessman and former singer, Arden provided the prototype forGrantsownhard-nosed style.Not that amanwhohad survivedNationalService andprofessionalwrestlingneededmuchtutelageinstreetwisetactics.However,ashelateracknowledged:In1963Igotmyfirstbigbreak.ThatswhenIbeganworkingforDonArden, fromwhomI learnta lot.HebroughtBoDiddleyovertoBritainandIwashistourmanager.

TheresnodoubtGranttookhiscuefromArden,whoshowedhimhowatoughreputationcouldbealmost as effectiveas theuseof real force indealingwithpeopleand situations.DonevidentlyregardedPeter asanapprentice, ausefulman tohavearound, and taughthim the ropesouton theroad.ExplainsArden:IftherewasachequetobecollectedIhadtomakehimawarethatsometimesthepromiseofachequewasbroken.Igavehimalistofpeoplewhoweregood,genuinepromotersandalistofthosewhoreallywerenttobetrusted.TherewasonethingPeterlearnedfromme.Ifyoudontlikesomebody,letemknowfromthefirstbellbaby.Andhedidthatprettywell.

Peter sbackgroundinsuchawidevarietyofcasualjobshadtaughthimabouttheflowofmoney,most especially the swift exchange of cash and theways it can be subverted, delayed and moreimportantlygraspedpermanently.PeterGrantwouldalwayshaveahealthyrespectforcash,thewadofnotesat theendof the line that founditswayintohisbackpocket,where itstayed.AddsMickieMost:Healwaysmadesureacontractwashonouredandhehadaverygoodheadforfigures.

DonArdenhiredPeterastourmanagerforthecreamofvisitingAmericantalent, includingTheEverlyBrothers,LittleRichard,BrianHyland,ChuckBerry,BoDiddleyandGeneVincent.ThetaskoflookingafterthemwouldprovideawealthofafterdinnerstoriesforPetertorelatewithmanya

deep-throatedchuckle.ThelateGeneVincentwasundoubtedlyhismostdifficultcustomer.Comparedtohim,LedZeppelinwereliketheMormonTabernacleChoir.Grantrecalledlater:Genewasabitofaloony.Heusedtodrivecarsatme.

TheblackleathercladsingerfromNorfolk,Virginia,USAwasbornEugeneVincentCraddockonFebruary11,1935(just twomonthsbeforePeterGrant).Genewasalwaysaspecialhero toBritishrocknrollfans,withTeddyBoysflockingtoseehimforthemanicintensityhedisplayedinTheGirlCant Help It (1957), the first Technicolor rock movie. When Gene Vincent & The Blue CapsperformedtheirclassichitBeBopALulatherewerescreamsofdelightandriotsinthecinemas.

WhenVincentarrived inBritain in the flesh,heproved tobeananguishedsoul,whose lifewasruledbypain.AformerdespatchriderintheUSNavy,hehadsufferedsevereinjuriestohisleftleginamotorcycleaccidentin1955,whichlefthimpermanentlydisabled.Thestorygoesthathedhadtoomuchtodrinkonenightandonreturningtobase,insteadofstoppingattheguardhousegate,triedtorideunder thebarrier.Thebikeslidfromunderneathhimandhesmashedhis leg. Itwaspinnedbacktogether,buthehadtowearacalliperfortherestofhisdays.OneofhisgreatestBritishfanswasthelateIanDury,whoclearlyempathisedwithVincentsconditionaswellashismusicanddark,broodingimage.

AlthoughGeneVincentwasdeemedtooworkingclassandtoughforAmericantastes,hebecameoneofthebiggestdrawingartistsinEuropeandremainedsountiltheadventofBeatlemaniain1964.He was prickly and prone to violent outbursts. Excessive drinking didnt help his temper, but heneededdrinktodullthepainofhisinjuryandovercomestagefright.PeterwasnotthefirstBritishtourmanagertofallfoulofthecurly-haired,pinch-facedVincent.

HalCarterwastourmanageronmanyearlyrocknrollpackageshows,workingwithVincentandEddieCochranandlatermanagingBritishsingerBillyFury.Althoughheenjoyedlifeontheroad,HaldoesnothaveparticularlyhappymemoriesofhistimewithVincent.ItwasHalsjobtolookafterGeneonbehalfofpromoterLarryParnesandhetravelledhundredsofmileswiththembycoachtothevariousdraughtytheatreswherethestarswereexpectedtoperform.

IntheearlySixtiesBritainlackedmanyofthecomfortstakenforgrantedintheUSA.Therewasvirtuallynoairconditioning,nocentralheatingandnoMcDonaldsstylefastfoodrestaurants.Creditcardswereunknown,theblackandwhiteTVservicewaslimitedtotwochannelswhichcloseddownveryearlybyAmericanstandards,shopsshutat5p.m.andpubsandhotelswereclosedby10.30p.m.or11atweekends.FindingabottleofJackDanielswasahugeproblemandtherewasntmucheitherPeter Grant or Hal Carter could do to cheer up the miserable young American visitors. HalremembersEddieCochranwailing:GoddamImnevergoingtogethomeImgonnafreezetodeathinthiscountry!

CarterdescribesEddieasalovelyguybutheconfesseshedidnt likeGeneVincentatall.SaysHal:IneverreallylikedhimheusedtoupsetEddiealotontour.Genedrovemecrazyandmademylifeamiseryattimes.Iwasayoungtourmanagertryingtomakemywayandhewouldntlistento anything I said.Whatever you said hed disagree. In the end I thought hewas awicked, self-centred,selfish,evilmanwhotreatedhiswomenverybadly.IknowthisupsetshisfanswhenIsaythis.Dontgetmewronghewasagreatperformer,butIhadnotimeforhim.

HalgivesanexampleofGeneserraticbehaviourthatfinallyledhimtowalkoutonthestar.HeusedtocarryaknifecalledHenry.Itwasasharp,pointyswitchblade.OnedaywewereonacoachcomingbackfromagiginIpswich.Hewasgoingcrazy,shoutingabuseateveryone.HewentuptotheyoungbassplayerwithagroupcalledTheBeatBoysandslicedthefrontofhissuitoffwithhisknife.Justrippedittoshreds.AnothermemberofthepartywasHalsfriendthelateHenryHenroid,whopulledVincent off the terrified kid.Carterwas sitting next to singer JohnnyGentle, trying toignorethescene.

Just at thatmoment Johnny said something thatmademe laugh.Gene flew up the aisle of thecoachandputhisknifeupagainstmythroatandsaid:Illteachyoutolaughatme.IsaidGene,werenotlaughingatyou,werejusthavingaconversation.Hethenrippedmyshirtwiththeknife.WellwhenwegottoDartford,thenextbigtownbeforeLondon,Isaidtothedriver,Stophereatthelights,dropmeoffandtakehim(Vincent)toMarbleArch.Ijumpedout,thecoachdroveoffandIneversawhimagain.Idhadenough.

It was shortly after this episode that Peter Grant took over Hals job as tour manager for thedreadedVincent.HalsadvicetoPeterwas:IfGeneplaysupgrabhimandputoneonhim.Hewasimpressedwhenhelearnedlaterthatifthesingerwasbeingdifficultandwouldntdoashow,Grantwouldgrabhimbythethroatandpushhimonthestage.

Ontheothersideofthecoin,Peterwasquitefearlessinthelengthshewenttosavehisartistsfrommanicfansandquiteoftenfromthemselves.OnoneoccasionhewasallegedtohavedisarmedVincentwhen thesingerwentonadrunken rampage,wavinga loadedgun inahouse inBrighton.WhenhewasinItalyhewassaidtohaveflattenednolessthansixItalianpolicemen,tryingtoprotectLittleRichardfromharassment.

JournalistKeithAlthamwas a youngwriter onFabulous magazinewhen he got to know PeterGrant.KeithhasvividmemoriesofGrantinaction,whenhewasstilldevelopinghisfirmbutfair,nononsensemanagementstyle.PeterwasworkingasatourmanagerforGeneVincentwhenIfirstmethim, recalls Altham. I remember going on a trip with him in 1963. Gene was always billed asDirectfromAmerica,althoughhehadbeenlivinginEnglandforthreeyears.YougotmorekudosifyoucamefromtheStatesinthosedays.HewasdoinggigsupanddownthecountryandPeterwaschargedwithkeepinghimsober.Thatwasquiteajobinitself.Vincenthadahollowedoutwalkingstick,whichhefilledupwithvodkaorwhateverelsehewasdrinking.Peterdidntknowaboutthisforages,butassoonashefoundout,heconfiscatedthestick.YetGenewasstillgoingonstagepissedandPetercouldntunderstandit.

Grant locked Vincent in his dressing room for two hours before the performance. The tourmanageralonehadthekeyandnobodyelsewasallowedin.ThenVincentwouldstaggeroutofhisdressingroomandgoonstage,pissedasaparrot!Hehadbeenbribingamemberoftheroadcrewtogooutandgethimabottleofbrandy.Hehadputastrawthroughthekeyholeofthedoor,sohecoulddrinkthebrandy,throughthestraw.

During the trip,Peter toldKeithabout all theproblemshedbeenhavingwith the troubled rocklegend.Wevegothiminprettygoodshapetonight,becauseweredoingadoubleheader.Wedont

getthemoneyunless,whenthecurtainsopen,hesphysicallythereonstage.

This clause was written into the contract, obviously introduced after a series of no shows.Meanwhile,Grant,AlthamandtheentouragearrivedatahallinAylesbury,Buckinghamshire.RecallsKeith: Genewasprettygoodon the first show,whichwasearly in theevening.Hewas travellingwithhiswife,whowasalsoAmerican.WegotonthecoachforawhilebetweenshowsandaswegotonboardafightbrokeoutbetweenGeneandhiswife.Vincentgotholdofherbythehairandwasbangingherheadonthecoachwindow.Peterheardthescreamingandfightingandhis23stonebulkcamewaddlingdownthecentreoftheaisle.Heseparatedthembothandsaid,Whatareyoudoing?Imtryingtonegotiatethefeeswiththepromoter.Oh,gee,sorryPeterHecalmedthemdownandwentbackoutsidethecoachtocarryontalkingtothepromoter.Thenthefightstartsupagain.Butthis time therolesarereversedand thewifehasgotholdofVincentshairand isbashinghisheadagainst the window. Peter comes down and separates them again and theres lots of crying andsobbing.Eventuallywetakeoffforthesecondconcert.

Unfortunately the row had deeply traumatisedVincent. He found a bottle of vodka and downedaboutthree-quartersofitwithoutGrantknowing.HethendecidedhedgodownthecoachtowherePeterwassittingacrosstwoseatsandinformhimthathewasunabletodothesecondperformance.Heonlygotabouthalfwaywhenhefellandtrappedhisgoodlegbetweenanaluminiumsupportpoleandtheseat.

Altham:Therewasascreamofanguishandhislegstartedswellinguplikeaballoon.Petergotupand,ratherlikeHercules,bentthepoleinhalfsoVincentcouldreleasehistrappedleg.Bythistimeheliterallyhadntgotalegtostandon!Onelegwasinironsandtheotherwasswollenup.SoPeterhadto findsomewayofgettinghimonstage for thenextshow.Genessaying, Icantgoon,my leghurts!WegottothegigandIwentoutfronttoseewhatwouldhappen.Thecurtainsweredrawnandthenthecomprecameoutandsaid,Ladiesandgentlemen,all thewayfromAmerica, thekingofrocknroll,MrGeneVincent!

The curtainsopened to revealGene strapped to amicrophone stand.Peter had rammeda tripodmikestandupthebackofhisjacket,whichwasholdinghimup!HegetsasfarassingingBebopa-FUCK! andhe fell straight forwardontohis face.He splattedhisnoseon the stage and therewasblood everywhere. Two roadies came out and carried him off like a pig on a spit, completelyunconscious.AndGrantsaystome:IvegotthemoneyKeith,becausehewastherewhenthecurtainsopened.

AfewyearslaterKeithbumpedintoPeterGrantagainatReady,Steady,Go!,theFridaypopshowtransmittedlivefromTVstudiosinWembley.HeandMickieMostwerebigpals.MickiecameintothedressingroomandsaidtoPeter:IvejustgotabrandnewMGsportscar.Itsbrilliant.Youmustcome and have a look. Sowe allwent out to see the lovely newRedMG sports car. Very nice,Mickie.Heclimbsinandfillstheentirecar.HesgotthesteeringwheelinfrontofhimandMickiesays:Well,whatdoyouthinkPeter?VeryniceMickie.HowdoItakeitoff?

Peterlikedtorecallhisrocknrolltouringdayswithafondnessmellowedbytime.IrememberthesaxplayerTubbyHayesusedtodoallthatfartingandsettinglighttoit.AndwhenGeneVincentdidsomeSundayconcertswithEmileFord(thepopularWestIndiansinger),heusedtopaintKuKlux

KlansignsonEmilesdressingroomdoor.Wedidalotofbustours.FromTheEverlyBrotherstothe support acts, wewere all packed on the bus. The coaches used to leave from the side of theLondonPlanetariumnearBakerStreetandtheydheadnorth,toalandofcheesydigs,beansontoastandfreezingcolddressingrooms.

TheEverlyBrothers inparticular retaineda fondnessand respect forPeter that lasted foryears.WhentheyheardofPeter sdeathintheNineties,theyweretouringBritainatthetimeand,saddened,theydedicatedanumberintheirsettothemantheyfondlyrememberedasthebestroadmanagerweeverhad.

Spicyitmighthavebeen,but itwasnta lifestyle thatPeter intendedpursuingfor long.Hehadadriving sense of ambition and deep-rooted desire to exploit every fresh opportunity. The Ardenitinerary took them toNewcastle.One night, BoDiddleysmaraca player Jerome and PeterGrantwentouttoanafter-showgigatalocalbluesclub.WhentheysawahotyoungbandcalledtheAlanPrice Rhythm & Blues Combo in action, the visitors were impressed. Grant later claimed heimmediatelysignedAlansbandtoacontractandbecametheirbookingagentandco-managerwithMikeJeffrey.TheywererathersuccessfulaftertheychangedtheirnametoTheAnimals!

They became one of the first British bands to emulate TheBeatles success inAmerica, hittingnumberonetherewithHouseOfTheRisingSunin1964,twomonthsafterithadreachedthetopofthechartsintheUK.ThesongwasproducedbyPeter spal,MickieMost.PetertoldMelodyMakersMichaelWattsin1974:AtthattimeIwasmakingadealtobringoverChuckBerryandthatwastheblag,togetTheAnimalstosignwiththeagency.TheywantedtodotheChuckBerrytourandtheyalsowantedtorecord.

TheGeordiebluesfansheroworshippedBerry,butPeterGrantwouldconfideinlateryearsthatthemanwhocreatedRollOverBeethovenandSweetLittleSixteencouldbeapaininthearse.Nevertheless he knew The Animals would be impressed if he could arrange for them to worktogether.RecalledEricBurdon:WewereallhappytofindthatPeterGranthadbeenappointedourtourmanager.Whataguy!Helookedlikehewastenfeetwideandsixfeettall,buthewasverygentlyspokenandwealllovedhim.

PeterquicklyestablishedhiscredentialswithTheAnimalswhen,displayingenormousbravery,hefaceddownagunmanthreateningthebandduringanovernightstopinArizona.HewasntsogentlyspokenwhenEricturneduplateforagiginEngland.ErichaddriventothevenuealoneinhisbrandnewTR6 sports car.As the restof thebandglaredathim, impatient to start the show,PeterGrantstrodeoverandsaidicily:Wherethefuckdyerthinkyouvebeen?

Ericexplainedhedbeendrivingtothegig.Sowhatifhewasabitlate.IdrovehereasfastasIcould.

Wellyoufuckingleaveearliernexttime,youcunt!

Grant pickedupEricBurdon, the famous chart toppingpop star, and threwhimbodily, ten feetacrosstheroom.Ihitawall,sliddownandhitthefloor.Iwasneverlateagain.Petergothispointacross.HewaswhatIneeded.Hewaswhatweneeded.

TheAnimalswereoftenbroughtdownbythegrimanddismalgigstheyhadtoplay,evenduringthe timewhen their recordswerehigh in the charts.Butoneday their tourmanagerbrought themgoodnews.Well,youguyswillbepleasedtoknowthatHaroldDavidsonhasgotyouthetourwithChuckBerry.Thebandregardedhimasthegreatestrocknrollstarofthemall.Althoughfamouslygrouchyandpronetobullyhisbackingbands,BerryseemedtogetonwellwithBurdon.HecertainlyappreciatedthespontaneouswavesofenthusiasmathisBritishshows.Howeverhewasneveramantoconfuseartwithcommerce,andlaiddowncertaingroundrulesrightfromthestartofhisfirstUKtourin1964.Whenhediscoveredthathisfeewasthreeshillingsandelevenpenniesshort,therewashelltopay.Iaintgoingon,saidBerry,eyesnarrowing.Thecrowdwereyellinganddrasticactionwas required to avert a riot.MrBerrys driver and personal assistant for the duration of the tourfoundthenearestcigarettemachine,smasheditopenandextractedthesmallchange.Itwasenoughtoplacatethebilltopper.ThankstoPeterGrant,ChuckBerrywasreadytoRollOverBeethoven.

Onthelastnightofthetour,LondonsTeddyBoyswentberserkandinvadedthestage.Butitwasall good-natured and Chuck carried on playing. Grant and Arden stood nervously in the wings,wonderinghowmuchthedamagetothetheatrewouldcost.EricBurdonwatchedChuckduckwalkingwithhisguitaracrossthestage,shoutingatPeterGrant,Didyougetthemoneyyet?Grantshookhisheadandshoutedback,No,wedidnt.Berrymovedback to theaudienceandsangonemoreencore.ThenheduckwalkedacrosstoGrantagainandsaid,Didwegetthemoneyyet?ThistimeGrantsmiledandnoddedhishead.ChuckBerryunpluggedhisguitarandcarriedonduckwalking,off the stage,down the stairs and intohiswaiting limo.Ericguessedhewasprobably inhishotelroomhavingacigarettewhiletheaudiencewerestillyellingformore.

BurdoncouldseewhyBerryhadbecomeahardmantodealwith.Timeservedinprisonhadmadehimbitterandhedidnttrustfiguresofauthority,whethertheyweremanagers,promotersoragents.EriconcesawPeterGrantandDonArdenontheirknees,peelingoffone-poundnotesandpushingthemunderChucksdressingroomdoor.Hehaddemandedpaymentupfrontbeforehewouldleavehisroomandstarttheperformance.TherewereevenrumoursthatagunshotwasheardinaLondontheatreauditoriumduringonesuchaltercation,andthepolicewerecalled.

WhenTheAnimalswenttoAmericatheyfoundthemselvestouringwithChuckBerryonceagain,while the old firm of Peter Grant, Don Arden and Mike Jeffrey were backstage, taking care ofbusiness.EricBurdonwouldclaiminhisbiography*thatPeterhadtoldhimhehadbeentotheStatesbefore.IntriguinglyGrantclaimedtohavevisitedGeneVincentwhenhewasfilmingTheGirlCantHelpItinHollywood.

ThiswouldhavemeantPetertravellingtoAmericaduring1956,whenhewasstillworkingatthe2Is. Given the pittance he was earning, it seems unlikely that he could have afforded such a trip.MickieMostcertainlydoesntrememberhimgoingtotheStatesatthistime.However,onearlytripsto the US, Peter handled Hermans Hermits as well as The Animals and gained plenty of usefulknowledge about theUS livemusic scene and record industry.He saw at first hand the gun-totingcops,thecraziesinthecrowdswhomightattacklong-hairedpopstarsandtheracismandbigotrystillprevalentintheSouth.EricBurdononcewitnessedhimpurplewithrage,screamingabuseatKuKluxKlanprotestershandingoutracistliteratureataconcert.

BackinLondonDonArdenbegan tosense thathisassistantwasgetting themeasureof therockbusinessandthehugepotentialoftheAmericanmarketforBritishbands.Whathesawinspiredhimtomakeplansforthefuture.SaidArden:Hebegantogetinvolvedinunnecessarypolitics.IcouldseehewasdriftingawayfromDonArdenEnterprises.Peterwasveryambitious.Iseemtorememberhiswifealwaysurgedhimon.Irememberonenightwewentouttodinner.Mywifewaswearingadiamondringthatcost$200,000andhiswifenevergotoverthat.Shewouldntlethimbe.Sheusedtosay,IwanttowearjewellerylikeDonArdenswife.

AswellasworkingwithChuckBerryandGeneVincent,PeterGrantalsolookedafterBoDiddleyduring the R&B pioneer s trips to England. The connection resulted in Peter getting The RollingStonestheirfirstbroadcastonBBCradio.TheBeebhadalreadyauditionedtheStonesforSaturdayClub,presentedbyBrianMatthewandhad turned themdownbecause theywerentgoodenough.WhenBoDiddleyneededabandtobackhimontheshow,GrantrecommendedtheStonesshoulddothejob.

BrianMatthewagreedtoit,butthenIgotacallfromtheproducerofSaturdayClubtellingmethatsincethebandhadfailedtheaudition,hefeltitwasntsuchahotsuggestiontousethem.Ireplied,NoStones,noBoDiddley!Theygotthejobandtheirfirstbreakontheradio.Itwasakindofpracticerunforthesortoftacticshewouldemploymanaginghisownartists.ManyyearslaterhesawhimselfdescribedinanAmericanmusicmagazineasanex-rockerrandboy.Hislaughteronreadingthisput-downwaschilling.Fuckinggreat.Fantastic,hesaidimpassively.

AfterhisspellwithTheAnimals,GrantworkedforawhilewithTheNashvilleTeens,whoin1964had a big hitwith TobaccoRoad, produced byMickieMost.By nowPeter felt ready to take theplungeandmanagehisownacts.Hesetupinbusiness,sharinganofficewithMostattheTottenhamCourtRoadendofOxfordStreet.Visitorswouldneverforgetthesightofthetwogo-gettersfacingeachotheracrosslargedesks,foreveronthephone,doingdeals,promotingbandsandsettinguphitrecords.ItseemedliketheengineroomofSwingingSixtiesLondon.

IthadbeensixyearssincetheSohocoffeebarandwrestlingdays.WhilePeterhadbeenbusyasatourmanager,MickieMosthadrealisedhisowndreamsofstardomandwasalreadyawealthyman.HehadformedtheMostBrotherswithAlexMurraybackin1958.TheduorecordedforDeccaandtouredwith Cliff Richard& The Shadows. Then, in 1959,Most put togetherMickieMost& ThePlayboys and lived andworked in SouthAfrica. He had eleven number one hits there by singingcoversof thelatestAmericansongs.SaysMickie:IwenttoSouthAfricainthelateFifties.IhadbroughtGeneVincentout toSouthAfricawithhismanagerDonArdenandwedidatourtogether.Donsaid,JustgivemearingwhenyoucomebacktoEngland.

ItwasduringthisperiodthatPetermarriedhiswifeGloria,apetiteformerballetdancer,whohedmetinLondon.SaysMickie:ShewasveryniceGloria.Ihadknownhersince1962whentheyfirstgotmarried.IdidntgototheweddingbecauseIwasinSouthAfrica.TheyhadbeenmarriedforayearwhenIdidthatfirsttour,whichwasin1963.

PeterGrantswifewouldremainintheshadowsthroughouttheirmarriage,rarelyattendingpubliceventsandshyingawayfromthekindofcelebritywhichherhusbandattracted.Sheconcernedherselfsolelywith the raisingof their twochildrenandmaintaining thehousehold.I think they lived two

separate lives, says film director Peter Clifton, one of few people ever to take a photograph ofGloria.Shejustdidntwanttobeinthelimelightatall.

At the timeofhismarriage toGloria,Peterwas stillworking forDonArden. Heknewall thetricksinthebook,saysMost.Hewasamasteratpromotions.HehadthiscompanycalledAnglo-AmericanArtistsinCurzonStreetandhehadtheballstobringoverthesepeople.IrememberPeterGrant going to a prison in Arkansas, waiting outside the gates for Chuck Berry to be released.WannacometoEnglandtodoatour?hesaid,asBerrywalkedfree.

In 1962MickieMost returned to England, hoping to break into the beat group scene as a solosinger.But itwas hard to gain acceptance, as therewere somanyR&Bacts alreadypursuingTheBeatlesintothechartsandtheclubs.

SoIcalledDonArden,continuesMost.Hesaid:Whatareyoudoing?Notalot.WellImjustputtingthistourtogether,doyouwanttogoonit?TherestheEverlyBrothers,LittleRichard,JerryLeeLewis,ohandwevegotagroupcalledTheRollingStones.SoIdidthetourandeverytimewewereinhittingdistanceofLondonIdrovehome.IhadaPorschecarthatIdshippedbackfromSouthAfrica. Iwasalreadyamillionaireat theageof24.MickJaggersaid: Areyougoingbacktotowntonight?IwasmarriedandhadaplaceinLondon,soIdidntwanttostayinahotelifIcouldgetback.IwasopeningtheshowanddoingmyJohnnyB.GoodeChuckBerryimpersonation.The Stones were just doing their Bo Diddley impersonation, so wed all be off stage in fifteenminutes.ThenwejumpedinthecarandMick,KeithandmedrovebacktoLondontogether.

ItwasduringthisUKtourthatMickiebumpedintohisoldpalfromthe2Is.PeterGrantwasthetourmanagerandhesaid:UlloMickie,howareyougoing?Wewerelikematesforthewholetour.ThenafteritfinishedwedidanotheronewithDuaneEddyandTheShirelles.Peterwasbrilliantasatourmanagerandhereallylookedafteryou.Ifyouneededafewbobhewouldgiveyouasuboutoftheprogrammemoneyorsomething.HewasgreatwithartistsandtherewerenobiggerartiststhantheLittleRichardsofthisworld,nottomentionJerryLeeLewis.Hesnotastrollinthepark,Icantellyou!Itouredwithhimandhewasabloodynightmare.Youneverknewwhenhewasgonnasmackyou in the head for nothing.Hewas just a loony guy.Hed say tome, Hey, ya got some of thatEnglishmoney?Getmea cigar.Thenextdayhed say, Mickie, yagot anymoreof thatEnglishmoney?

Jerry.Youretopofthebill.Youregettingthousands,Imgettingnopence,andImspendingmoneybuyingyoucigars.Gotothebank,changeyourdollarsintopoundsandgetyourowncigars.

AhgoonMickie,getmeacigar.AndIdgiveinandgethimacigarbecauseyouneverknewifhewasgoingtothrowapianoatyou.AndLittleRichardneverhadacleanshirt.Soheddecidetoborrowmy shirt with the cufflinks and halfway through his act hed take his jacket off, then thecufflinksandthrowthemattheaudiencefollowedbytheshirt.Oy,thatsmyshirtyourethrowing!Thenhisguitarplayerwouldturnupwithoutaguitar,sohedusemineeverynightandbreakallthebloodystrings.PeterGrantsawallthisandhewastheonlyonewhocouldtakecareofthem.

AlthoughwehadmetintheFiftiesweneveractuallydidanythingbusiness-wiseuntiltheSixties.IwastellingPeterthatthereasonIcamebackfromSouthAfricawasthatIwantedtogointothestudio

andproduceartists.IcouldplayandsingabitbutIwasntthatwonderful.Itwasonthattour,infact,thatwefoundTheAnimals.WewereinNewcastleandwenttotheClubAGoGoandonstagewereTheAnimals.Ilovedthebandandthoughttheyweregreat.Togetthemtosigntomewasdifficult.Theydidntknowmefromabarofsoap.Buteventuallytheydid,wewentintothestudio,cutHouseOfTheRisingSunandtherestwashistory.

Most used all his experience and flair to achieve an astonishing success rate as a producer. HerecordedsomeofthebiggestpopactsoftheSixties.AswellasTheAnimals,heproducedHermansHermits,Donovan,LuluandTheYardbirds.WhenhesetupRAKRecordshecontinuedhissuccessintotheSeventieswitharosterofartiststhatincludedSuzieQuatroandHotChocolate.

ItseemedlikePeterGrantwasbeingleftbehind.AmongthefirstactshesignedwasabandcalledThe Flintstones and the all-girl group She Trinity, originally from Canada. Unusually for a girlgroup in this era they played their own instruments but changing personnel weakened the band,althoughBerylMarsden,formerlyofShotgunExpress,wasbrieflyamember.SheTrinitysignedtoColumbiaandreleasedthreesingles,includingaspiritedcoverofBobbyFuller sIFoughtTheLawretitledasHeFoughtTheLawbuttheywerenotagreatsuccess.

Intheevent,PeterGrantfaredmuchbetterwithabandwhosemusicwaspolesapartfromthebluesorheavyrock.Unlikelyasitmayseem,TheNewVaudevilleBandapasticheTwentiesactwouldprovidetheunlikelystepping-stoneforPeter smanagementaspirations.Atleasttheyhadasmashhitrecord and their success ensured he went back to America in triumph. The band also served tointroducehimtoanotherimportantfigureinhislife,theequallyhard-nosedandpugnaciousRichardCole.A former scaffolder fromnorthLondon,Colewould becomeGrants right-handman in theexcitementandbattles tocome.Peterhadalreadycomea longwayfromhishumblebeginnings inBattersea.Nowhewasabouttoembarkonhisgreatestadventure.

MickieMost:AtthattimePeterwassaying,Iwanttogetintomanagementmyself.SoweformedacompanycalledRAKMusicManagement.PeterandIwerepartners inthismanagementcompanyanditledtoLedZeppelin!

*Charterhouselaterbecamethebirthplaceofanothersuccessfulrockband,Genesis.

*Collier sEncyclopaedia.

*IUsedToBeAnAnimal,ButImAllRightNow(Faber&Faber1986).

3STAIRWAYTOZEPPELIN

Hewas a big lump of jelly. You didnt look at him and think What a tough guy youthoughtWhatabigguy.

SimonNapier-Bell

Under the stewardship of Peter Grant, The New Vaudeville Band hit the charts in 1966 withWinchesterCathedral.AmockTwentiesditty,completewithmegaphonevocals,thesongwasalongway from rocknroll andmore of a novelty item, hardly the kind of thing to interest a buddingentrepreneur inGrantsmould. Yet therewere undercurrents of intrigue behind the scenes of thisseeminglyinnocuousnoveltyoutfitthatmightwellhaveattractedPetertotheminthefirstplace.

TheNewVaudevilleBandwasthecreationofLondonbornsongwriterandrecordproducerGeoffStephens.Sessionmenhadrecordedthesongandatouringbandwashastilyputtogethertoexploitthehit.Peterwascalledintoknockthemintoshape.TherecordreachednumberfourintheUKand,astonishingly for anovelty itemsteeped innostalgia, it got tonumberone inAmerica.Thegroupenjoyedseveralmorehitsathome,includingthechirpyFinchleyCentralin1967.

However, there was resentment from a rival outfit. The Bonzo Dog Doo Dah Band had beenplayingTwentiesstylecomedynumberssince1962.Theirleadsinger,VivianStanshall,wasfuriouswhentheBonzostrumpetplayer,BobKerr,defectedtohelpformthecharttoppingVaudevillians.

BobKerrinsiststhathedidntquittheBonzostostealtheiract.Heleftbecauseofargumentsandwas fed up with the band. Vivian Stanshall had his own theory of why I left, because the NewVaudevilleBandthingcameup.ButIleftbecauseIjustcouldnttakeitanymore.Ireallywantedtorunmyownband.Aweeklater,achapcalledHenryHarrison,adrummerfriendofmine,phonedmeupandsaid:Look,theresthisrecordthatisgoinginthechartscalledWinchesterCathedral.IvegottogetabandtogetherandyouretheonlyblokeIknowwhocanhelpme.GeoffStephens,whowroteit,wasagreatmateofhis.SoIsaid,Oh,soundsgoodtome.

SowewentuptomeetGeoff,whodrecordeditallandHenryhadgotsomeotherguystogetherbuttheydidntlookright.IsuggestedIcouldgetsomeguyswhocouldreallyfitinwiththatstyleofmusic.ThreedayslaterwewereonTopOfThePopsdoingit.IhadthewordsstrappedtothesideoftheHammondorgansoIdrememberhowtosingit!

Members of the Top Of The Pops orchestra had recorded Winchester Cathedral with a secretvocalist (secret because he was signed to another label). Most of the subsequent Vaudeville Bandsongswerepre-recordedforthembysessionplayers.TherewererumoursgoingaroundthatGeoffStephens had originally asked theBonzos to do that record, but he never did.Therewas also thisthing thatVivsaidwed stolenhis show,whichwasnot trueatall, saysBob.Heneversaw theshow,sohewouldntknow.

AfterdoingTopOfThePopsandacoupleofLondongigs,PeterGrant took theNewVaudeville

BandtoAmerica,wheretheyappearedontheprestigiousEdSullivanShow.Thesinglehadalreadybeenatnumberone,butasaresultoftheirTVappearance,itwentbacktothetopandsalesexceededsevenmillion.

Americansjustlovedthem.Asthebandsalbumwentgold,PeterwasonatouroftheStateswithBobKerrandhismates,playingcabaretinLasVegasandsharingbillswithTheBeachBoysandTheMamas&ThePapas.WinchesterCathedralwasevencoveredbyFrankSinatraandDizzyGillespie.ItwasallafarcryfromthepubsofLondon.SaidPeter:TheyonlyhadonehitsongbutItookthemon tour to places like Las Vegas and Reno, Nevada, playing on the cabaret circuit. They werentexactlyarockband,butitwasagreatexperience.

Eveninthisapparentlyidyllicsituationtherewereproblemsthatcouldbesolvedonlybythesmackoffirmmanagement.Thebandwantedmoremoney.FollowingdisagreementswithGrantoverpayand conditions, Bob Kerr was fired.* Meanwhile Grant called in Richard Cole to take charge ofAmericantouringoperations.ColeenjoyedhisstinttouringwiththeNewVaudevilles,theexperiencecementinghisrelationshipwithGrantandstandingbothmeningoodsteadforfutureexpeditionstotheStates.

RichardwasatoughcharacterfromatoughdistrictinnorthLondon.Hehadfoughtasaboxerandcertainlyknewhowtohandlehisdukes.Hisworkasascaffolderonconstructionsitesensuredhehadavice-likegripofsteel.WhenIwasakidIdidboxingsoIpickedstuffupfromanearlyage,hesays.Alsoscaffoldingisnotaneasybusiness.Youdevelopverystrongforearmsandfingerstoget a grip. Its very easy to shake peoples hands and almost break their bones.Those scaffoldingtubesweigh90poundsandyoureallyhavetoholdthemtightoryoudneverliftthem.Youdevelopmusclesthatotherpeopledonthave.Icouldgrabpeoplebythethroatandtheycouldntmove!

LikePeterGrant,Colewantedmore out of life than labouring or fighting.He lovedmusic andbandsand,likemostsharpyoungmenoftheSixties,hewaswellintoclothes.HeevenhadplanstobeafashiondesignerandclaimstohavedesignedtheshirtswornbyJohnLennonandRingoStarrontheRevolver album cover. In the event, he found himself being drawn into the band business andeventuallybecameoneofrocksmostrespectedtourmanagers.

Hisintroductiontohumpinggear foralivingcamewhenhewasdrinkinginTheShip,amusicbizpub inSohosWardourStreet, just a fewyards away from theMarqueeClub.Hebumped intoRichard Green, a journalist from RecordMirror, fondly known as The Beast.* Cole recalls theoutcomeoftheirmeeting.IwasdrinkingwithTheBeastandIsaid,Doyouknowanybandswhovegotarecordinthechartsthatmightneedaroadmanager?Hesaid,WhydontyoutryUnit4Plus2?HegavemeanumberandIwenttoseetheirmanagerJohnL.Barkerandgotthejob.Iwasonlywith themforacoupleofmonths.Theywereniceguysbut theywerent reallymy typeofpeople.TheyweresuchastraightbunchandIdidntgetonwiththeirpersonalmanager,soIleft.

SoonRichardhadareputationforbeingatoughroadwrangler .HeworkedwithmanyLondongroupsincludingHerbieGoins&TheNightTimers,butdeepinsidehewaslookingforajobwithareallysuccessfulhitband.OnenighthewenttoapartyatTheMoodyBlueshouseinRoehampton.TheWhowerethereandoneoftheirstaffmen,MikeShaw,askedRichardifhewantedtoroadieforTheMerseybeatswhodlatelybecomemanagedbyKitLambert,TheWhosco-manager.Instead

oftakinguptheoffer,RichardwentlooningoffonholidayinSpainwhereheenjoyedthesunshine,drankalotandsatinondrumswithabandheheardinaclub.Afteronenumbertheythrewmeoff.ButtherewasaguitaristcalledMickWilshire.WhenIcamebacktoLondonIcalledMikeShawandaskedhimifthejobwithTheMerseyswasstillgoing.Hesaid,NobuttheyhadjustfiredTheWhosroadmanagerCyLangston.Theirvanhadgot stolenoutsideBatterseaDogsHomeandhegot thebullet.SoIjoinedTheWhoandwaswiththemforaboutayear.

CaughtupinthechaoticlifestyleoftheSixties,Richardlosthisdrivinglicenceandfledagaintothecontinent,thistimetoStTropezintheSouthofFrance.HehungoutwithvisitingmusiciansLongJohnBaldryandEltonJohnbeforereturningtoLondonwherehefoundworkwithFreddieMack&TheMacSound.Hehadsomanymusiciansinthebandheneverevenknewtheirnames,saysCole.Heonlyknewthembythesongtheysang!InthebandwasdrummerB.J.Wilson,laterwithProcolHarum and at one time a contender to joinLedZeppelin.Richardwent on toworkwith yetmorebands,includingTheYoungRascals,overfromAmericatotourtheUK,andTheSearchers.Theywantedtokeepme,butIwascomingoutofTheShipagainonenightandbumpedintoMickWilshire,whowasback fromSpainandnow in theNewVaudevilleBand. Weneedsomebody likeyou,hesaid.Theroadiewevegotisnogoodatall!Whydontyoucomewithus?WeregoingtoAmerica.Iwas just 20 years old.Mick gavemePeterGrants number. So I called Peter up andwent to hisoffice.Hesaidtome:Howmuchdoyouwant?SoIsaid,Iwant30aweek.Takeitorleaveit.Hekindalookedatme.Yearslaterhetoldmethathethought:Thisistheguyforme.Heisntgoingtofuckaroundwhenhesgettingthemoneyoffthepromoters!

Richard remembers Peter s lair atRAKManagement office at 155OxfordStreet.Grant sat at alargedeskononesideoftheroomandMickieMostsatathisdeskontheotherside.IrememberPeterwagging his finger atme and saying, If you ever fucking repeat anything you hear in thisoffice, Ill cut your fucking ears off. I said, If you aregoing topoint your fucking finger atmemuchlongerImgoingtofuckingbiteitoff!So,thatshowImetPeterGrant.

TheofficethatMickieandPetersharedbecamelegendary.Thewholebuildingwasfullofmusicbusinesscompaniesandbecameknownas theBritishversionofTheBrillBuilding, theManhattanoffice block, where writers churned out streams of hit songs for music publishers and recordcompanies.

Of course beingLondon, theRAKHQwasnt quite as glamorous as itsNewYork counterpart.Recalls Mickie Most: We used to be on the sixth floor of the building in Oxford Street andsometimestheelevatorwasntworkingbecausesomeonehadleftthebloodygateopen.Peterwouldjustgoallthewayhomeagain.Hewouldntwalkupsixflightsofstairs.ThelandlordswereMillets,thecampinggearstoreonthegroundfloor.Theywereresponsiblefortheheatingofthebuildingandsometimestheyforgottoputitoninthewinter.IrememberPetergoinginthereandgrabbingholdofthemanagerofMilletsandsaying,IfyoudontputthatfuckingheatingonIllputyouinthefuckingboiler!Fromthenonweusedtohaveheatanytimewewanted,eveninthemiddleofthesummer.

Another occupant of the building, who subsequently worked for Peter Grant, was publicist andjournalistBillHarry.HehandledthepressfortheNewVaudevilleBandandlaterbecamethefirstofLedZeppelinslongsufferingPRs.Liverpoolborn,BillHarrywasanexpertonTheBeatlesandtheentireMersey scene. He had gone to school with, and befriended, John Lennon and in July 1961founded themagazineMerseybeat,oneofBritains first ever fanzinesandalsooneof thebest.He

moved toLondon toworkasapop journalistand laterbecamean independentPRwithclients thatincludedTheHollies,TheKinks,PinkFloydandSuzyQuatro.

BillhadknownPeterGrantwhenhewasstillaroadmanagerforGeneVincentandworkingforDonArden.WemetinLiverpoolandhadafewdrinksandgotonquitewell,hesays.Hewasabigmaneventhen.WhenHarrymovedtoLondonhebeganworkingfortheEllisWrightAgency,runby two former university students, Terry Ellis and ChrisWright. Before long these two buddingentrepreneurswouldmergetheirnamesChrisandEllisintoChrysalis.

TheyhadasmallofficeinRegentStreetandaskedmetodopublicityfortheiractslikeTenYearsAfterandJethroTull,saysBillHarry.Thentheymovedofficeinto155OxfordStreet.Everyfloorhad a showbiz company, which was quite unique. When Ellis-Wright decided to call themselvesChrysalisandmoveintoOxfordStreet,theyaskedmetorentanofficetheretoo.Therewereshopsonthegroundfloor.Terry,Chrisandmehadasmallofficeonthefirstfloor.IslandMusicandMikeBerry, thepublisher,occupied thenext floor.On the top floorPeterGrantandMickieMostsharedtheir office. We were always going up there and chatting, so there was a lot of communicationbetweenthecompanies.

Bill Harry did PR for Chrysalis acts and the latest crop of blues bands, Chicken Shack, SavoyBrownandFree.WhenPeterspottedhimbustlingaboutthebuildingheaskedhimtodoPRforhisactsaswell.MickieandPeterhadanopen-planoffice.Itwasntbigbymodernstandards,buttheyseemedtogetonreallywell,eventhoughtheywereasdifferentaschalkandcheese.TheyhadtheirownseparatebusinessesandPeterdidntevenhavehisgroupsrecordedbyMickie.Really,theywerejustsharinganoffice.

ItwastheeraofpirateradioandGrantwasntslowtopickuponthepromotionalpotentialoftheoffshorestations.Onatleastoneoccasion,GrantandMostseffortstoreachthepiratesendedupinfarce.Mickie:IhadayachtandweusedtosailouttoRadioCarolineintheNorthSea.Weusedtogoouttheretotryandplugourrecords.TherewashimandIdrivingthisbloodyboatandwhatweknewaboutyachtingwasdangerous!WelosttheanchoratClacton.Wedroppeditoverboardanditwasnttied to theboat.Thechainwasgoingoutandallofa sudden thewhole lotwentover the side.Wedidntrealiseitwastidalandwetiedupattheendofthepierandhalfwaythroughthenight,wewerehangingfromthemooringsbecausethewaterhaddisappeared!

WeweretryingtogettoRadioLondonandRadioCarolineIthink,becausetheywerestuckoutthereonsomebloodysandbankoffClacton,orwherever.Weeventuallygotoutthereontheboatanditwasblowingagale.Iwastryingtothrowtheserecordsonboardandtheykeptfallingintothesea.Wenevergotoneofthemontothefuckingboat!Wehadsomuchfun.Icantremembertheartistwewerepromotingbutwhoeveritwas,hisrecordsarestillatthebottomoftheNorthSea.Ifyouwannadiveyoullfindthembecausetheoldshellacneverrots.Theyrestilldownthere.

Ihadjustgottheyachtandknewnothingaboutboatsreally,sohowwegotthereandbackbeatsme.MeandPeterjustturnedleftwhenwegotoutoftheThamesEstuary.Itwashighlydangerous.Ididnt thinkabout thesandbanksandrestrictedareas. I justheadedwhereI thought thepirateshipsmightbe.Theycertainlywerentexpectingusbecausetherewerenomobilephonesinthosedaysortelecommunications. The shipswere illegal and youwerent supposed to communicatewith them.

Anotherthingwastherewasnoalcoholallowedonboardthepirateradioships.Wehadallthisboozeontheyacht,butwethoughtwecouldntgetthempissed.Wedgetintotrouble.OneoftheDJswasaguy calledTonyWinsor.Hewas anAustralian guywho had been around a long time and hewasmoreinterestedintheScotchwehadonboard,nottherecords.ThrowtheScotch!hedshout.Itwassofunny.Wehadabigyachtwith lotsofcabins,but I toldPeter tostayamidshipsbecauseIdidntwanthimtotipusup!Hedbesittingtheregrumbling.Whatistheretoeat?Imfuckingstarving.Hewas always hungrywas Peter. I said, Dontworry,whenwe get to Southend,well have fish andchips.

PeterandMickieneverdaredriskrepeatingtheirexpeditiontothepirateshipsatseabuttheydidtry boating up theThames,with equally hilarious results.Theywere due to have lunchwith a topproducerattheBBCstudiosatTeddingtonLoch.IsaidtoPeter,letsgoontheboat.SowehadlunchwiththisguyandwesaidgoodbyeandtheBBCguyswereallwavingatusoutofthewindow,aswecastoff.Butwecouldntleave.TheThameshadrisenandwewerelockedin!IcouldntgetunderthebridgeandsowehadtogoroundandroundincirclesgoingGoodbye,goodbye!WecouldntgetunderHammersmithBridgeeitherandhadtowaitanhourforthetidetodrop.Weusedtogetintoallsortsoftrouble.

Peter once described his partnershipwithMost: RAKMusicManagementwas the name of thecompany, but names are not important in this business. People dont say, Lets get in touchwithRAK,theysay,LetsgoseePeterGrant.Itsthepersonalbitthatmatters.AtonepointjustMickieMost,myselfandthreegirlsworkedinthoseofficesandyetwehadfourLPsintheTopTwenty.

DuringhisOxfordStreetyears,PeteralsomanagedguitaristJeffBeckandsingerTerryReid,andhadabusinessinterestinDonovan.Theworkingdaycouldbehecticonthetopfloorwithphonesringing constantly and a steady stream of visitors, some welcome, others not quite so welcome.Peter s explosive temper sometimes got the better of him. Usually calm, smiling and benign, hewouldsuddenlybecomeenragedattheincompetenceorworsethediscourtesyofothers.

MickieMost:Peteronthephonewasamazing.IrememberheoncehadanofferforLedZeppelinfor amillion dollars and he told them to fuck off.He said, Listen,when you get some seriousmoneytogetherthenwelldoit.Isaidtohim,Whatwasallthatabout?andhesaid,Theyregivingusamilliondollarsforthatgig.Nah,itsnotenough.Whenheusedtogetreallyannoyedhedkickthefrontofdeskout.SoifIcameintotheofficeinthemorningandfoundthedesklyinginpieces,IknewPeterhadhadaparticularlygoodevening!Thedeskhadthisfrontpanelandhewouldswearandkickthepanelout.

Suchanticsundoubtedlyamusedandintriguedtheparadeofartistsascendingtheerraticlifttotheiroffice in search of work. One such visitor was the multi-talented John Baldwin of Sidcup. Betterknownas JohnPaul Jones,hewasaclassically trainedmusician,adepton thekeyboardsandbass,whocouldturnhishandtowritingandarrangingmusic.HewasmuchindemandforsessionsanddidalotofworkforMickieMost.Anothervisitorwasafrail,curlyhairedyoungguitaristcalledJimmyPage.SaysMickie:Jimmyusedtoplayonall therecordsIwasmakingasasessionmusicianandJohn Paul Jones used to be an arranger, bass player and keyboard player. They were both verytalentedmusicians.JohnPaulJonesisagenius.Imsurehesnotaswellappreciatedasheshouldbe,buthesabrilliantguyandhedidsomegreatstuff forme.Heonce toldme thathe took thenameJohnPaul Jonesbecause itwould lookgoodona cinema screen.His ambition thenwas towrite

musicforthemovies.

JohnBaldwinwasbornonJanuary3,1946inSidcup,Kent.HisfatherwasapianistandarrangerforbigbandsandJohnwasdestinedforamusicalcareerfromanearlyage.Iwasachoirmasteratourlocalchurchattheageof14.ThatshowIpaidformyfirstbassguitar!IwasatboardingschoolatBlackheathfromtheageoffivebecausemyparentswereinavarietyact,touringroundtheworld.Ispent threeyearsatElthamGreencomprehensiveschool.ButIdidntdoverywellwithmyexams,mainlybecauseIwasoutplayinginbandsonAmericanbases.

JohnsfirstbandwascalledTheDeltaswithguitaristPeteGage,whowaslaterwithElkieBrooksinVinegarJoe.WeplayedgigsallthroughourGCEs.Iwasasleepmostofthetime!ThatwasmyfirstseriousbandwhenIwas15.SoIhadalotofexperience.Iusedtoplaywithmydadinatrio,playingweddings.Wedidwaltzesandquickstepsandnobodyknewwhatwewereplayingafterafewdrinks,sowedplayabitofjazz.Itwasallusefulstuff,whichgotusedallthroughmysessioncareerandever since.Keyboardsweremy first instrument,butmy fatherwasa reallygoodpianist and IneverfeltIdeverbeanywherenearasgoodashim.SoItookuptheorganbecauseitwasdifferent.Ilikedthewaythenotessustained.

JohnhadthoughtofgoingtotheRoyalCollegeofMusicbuthadtowaituntilhewas17.Attheageof16highereducationwasnthismainpriority.Hewantedtoplaypopmusicandearnsomemoney.SoIstoodonthecornerofArcherStreetinSohoeveryMondayforthreemonthshopingforagig.Thatwastheplaceallmusicianswentlookingforwork.EventuallyImetJetHarrisandaskedhimifhewantedabassplayer.Hesaid,WellIdontbutseethosepeopleoverthere.HewasjustformingabandasJet&Tony,whichIdreadaboutintheMelodyMaker.ThatswhyIwaslookingforhim.ButhedgotabassplayerfromtheJettBlacks,soIrehearsedwiththeJettBlacksacoupleoftimes.

John finally got called back to play with Jet & Tony when the group was number one with anumber called Diamonds.He touredwith them for 18months until they broke up.Recalls John:ThefirsttimeImetPeterGrantwasin1963whenIwasstillwithJetHarrisandTonyMeehan.Iwentout on tour with their backing band, which included a tenor sax, baritone and another guitar. JetplayedtuneddownguitarandIplayedthebass.Iwas17yearsoldandearningthirtypoundsaweek!Ithinkwecarriedourowngearuntilweallchippedinafewquidtogetaroadie.IranintoPeterwhenhewasdrivingthevanforGeneVincentandwesawhiminWardourStreet,outsideTheFlamingoClub.Hewasabigblokebutheseemedveryfriendlyandanicechap.IthinkyouhadtobedrivingforGeneVincent.

After the Jet&Tony experience, John began doing sessions forDecca records at the behest ofTonyMeehan.Hewasearninggoodmoneyinthestudios,andbetween1964and1968recordedwithahugerangeofartists includingLulu,TheRollingStonesandDonovan.InApril1964hereleasedhisowninstrumentalsingleAFoggyDayInVietnamwithoutmuchsuccess.Howeverhebegantomake the switch fromplayingbassguitaron sessions toarranging themusic.Hedidboth jobsonDonovansSunshineSupermanandasaresultcametotheattentionoftheproducer,MickieMost.

Says John: The next time I saw Peter Grant was when I was working forMickieMost as hismusicaldirector.Theyhadthathugeforty-footofficeat155OxfordStreet.MickiehadadeskdownoneendandPeterhadadeskattheotherend.Theyusedtofaceeachotheracrossthislongroom.So

if you sawMickie, you sawPeter. Itwas just a smallbunchofpeopleworking there.TheyhadanaccountantandIrenethereceptionist,whowaswonderful.Shemoreorlessranbothofthem!PeterwasmanagingtheNewVaudevilleBandatthetimeandlaterTheYardbirds.

During1967theNewVaudevilleBandtookupmuchofPeter stimebutheknewtheywere,atbest,anoveltyact,sohewasanxioustoexpandhisinterestsandlookoutfornewprojects.Hewasperhapsfortunate thatTheYardbirdsvirtuallyfell intohis lapwhileMickieMostwasproducing their1967albumMindGames.JohnPaulJonesworkedonseveralofthesongsonthealbumatMickiesbehest.During these sessions John renewed his acquaintance with Jimmy Page, now a member of TheYardbirds,andamutualadmirationsocietywasestablishedbetweenthetwo.Nothingcameofitfornow,though.

By1967,themusicbusinesshadchangeddrasticallysincePeterGrantcuthisteethasatourmanagerwithvisitingAmericanrocknrollstars.Mostimportantly,theemphasishadswitchedtopromotinghome-growntalentinthewakeoftheglobalsuccessofTheBeatlesandTheRollingStones.

After The Beatles world-shattering 1964 US tour, British acts could now reasonably expect toconquer the American market, given a fair wind and a hit record. Such aspirations would haveseemed likeapipedreamadecadeearlier,whenAmericanproduct ruled theairwaves.Thealbummarketwasalsobeginningtodevelop,andmoreseriousandtalentedbluesandrockbandswereincreasinglyinfiltratingthepopcharts.HippiefavouritesCream,JimiHendrixandPinkFloydwereat the forefrontofasocialandmusical revolution.PeterGrantwasanElvisPresley fan fromwayback,buthecouldrelatetothekindofstuffyoungBritishbandswereplaying.Hecouldcertainlyseetheirpotential.TheAnimalshadbeenabighitinAmerica,buthadntpersonallymademuchmoney.Despitetheircheesyimage,theNewVaudevilleBandhaddemonstratedtohimthepowerofUSradioplay.Somehowtherehadtobeawayofputtingtogetheragreatlookingbandthatplayedcuttingedgerockandwhocouldreaptheirjustrewards.

TheYardbirds,he reasoned,mightbe thekey to thepuzzle. Inviewof their importance toPeterGrantsgreatestenterprise,itisrelevanttorecaptheirexploits.Firstassemblingin1963,theoriginalYardbirdswerededicatedtointerpretingthebluesriffsoftheirheroes,ChuckBerry,BoDiddleyandMuddyWaters. Hailing from the leafy suburb of Richmond in Surrey, these polite, good-lookingyoung kids pioneered the R&B revival in Britain, alongside the somewhat less well-manneredRolling Stones and Pretty Things. Over the next four years the group was blessed with someextraordinarilytalentedleadguitarists,arguablythebestoftheirgeneration.EricClapton,JeffBeckandJimmyPageallstartedtheircareerswithTheYardbirds.

TheywereoriginallymanagedbythemercurialGiorgioGomelsky,whoin1963employedthemtoreplaceTheRollingStonesatRichmondsCrawdaddyClub.Atthistimetheline-upincludedKeithRelf (vocals), Eric Clapton (guitar), Chris Dreja (guitar), Paul Samwell-Smith (bass) and JimMcCarty(drums).BoostedbySlowhandClaptonsraveupsolos,thebandquicklywonafanaticalfollowing. However Clapton was a blues purist and he grew increasingly unhappy with theirdeliberately commercial singles, particularly For Your Love, a GrahamGouldman song repletewithharpsichordandbongobacking,andachoralchantthatsoundedasifithadbeenrecordedbyacongregationofmonks.

InMarch 1965, as the record shot up the chart, Eric decided to quit, only to resurface in JohnMayallsBluesbreakersandthenCream.ChrisDreja, thebandsrhythmguitariststillfeels thatTheYardbirdswerententirelytoblameforClaptonsshockdeparture.ItwasGotToHurry,theB-sideofForYourLovethatgotEricthejobwithJohnMayall.IoftenwonderwhatthoughtswentthroughEricsheadwhenheleftthegroupandForYourLovedidsowell!

Meanwhilethebandhadgigstoplayandneededanewguitarist.FirsttheyapproachedJimmyPage.RecallsJimMcCarty:HedseenusafewtimesandheknewourmanagerGiorgioGomelsky,buthewastoowellestablisheddoingsessionstowanttogooutontheroad.JimmyrecommendedtheytryouthisfriendJeffBeck,thenleadinghisownbandTheTridents.ChrisDrejarecallsthatwhenJefffirst joined the band he was regarded as a bit of an enigma. We didnt know much about hisbackgroundbutalthoughhewasntveryverbalheusedtotalkthroughhisguitar.Itwastheoddestthing.Youdbesitting in thevangoing tosomedreadfulplaceandJeffwould remainprettyquiet.Thenhedgethisguitaroutandhereallycamealive.Althoughitshardforpeopletobelievenow,Ericwasntaguitarvirtuosoatthatpoint.Hewasstilllearninglicksandsometimeshewouldntplayleadguitar,hedgoandstandbehindhisamp.

Once JeffBeckwasestablished inTheYardbirdshe clearlywanted toputhisown stampon themusic.SaysChris:Heworkedfromemotionsandalthoughhewasprettygoodwithus,ifsomethinggotuphisnosehe justblewup, stormedout,walkedoff and smashedhisguitar.Hehadacontrolproblem!

BeckdevelopedhisuniquesoundonTheYardbirdsalbumsandsingleslikeHeartFullOfSoul,EvilHeartedYouandShapesOfThingsduring1966.SaysChris:Jeffwasprobablythebestthingthathappenedtothebandbecauseduringhiserathemusicwasoutstanding.Hessuchalovelyguyandsuchatalented,originalguitarist.

Despite the bands successful second wind with Jeff Beck at the helm, the endless touring,particularly inAmerica, began to take its toll. Their blond-haired lead singerKeithRelf began todrink heavily,which badly affected his performances on stage.Dreja: AsKeithwas very fragile,bothhealthwiseandmentally,thedrinkstartedtogetontopofhim.Therewerepressuresonhimthatwedidntknowabout,butitwashardforhimtocompetewiththeleadguitaristandfrontaband.Sohestartedtogetseriouslyoutoforderattimes.

Ononeoccasion,TheYardbirdswerebookedtoplayattheCambridgeMayBall,wherethedrinkswereplentifulandtheuppercrustsetweremoreinterestedinpartyingthanlisteningtomusic.KeithRelfgotcompletelyoutofhisheadandbeganabusingtheaudienceduringtheirset.JimmyPagehadgonealong tosee thegigandfoundthewhole thingmostamusing.ButbassplayerPaulSamwell-Smithwasextremelyembarrassed.

Chrisrecalledthescene:Theydotreatyouverywellintermsoffoodanddrinkandyoudogoonverylateatnight.Keithhadarealskinfulandbythetimewegottoplaythesetallhecoulddowasblowraspberries.Hedforgottenwherehewasandwhathewasdoing.Heliterallyhadtobetiedtothemikestand,andofcourseitwasinfrontoftheEstablishmentcrowdwhichreallygotupPaulsnose, to be let down in thisway.Thiswas the last straw forPaul.He announcedhedidntwant tocontinue. Ironically Jimmy Pagewas at the gig and he loved it. He thought this is great this is

rocknroll!

ThenextdayKeithrangeverybodytoapologiseandtorevealthathehadbrokentwofingersinhisrighthandtryingoutkaratechops.HehadbeenwoundupbyAllanClarkeofTheHolliesandtriedtobreaksomeplastictrayswithhisbarehands.Thenexttimethebandsawhimhehadhishandinasling.SometimesKeithgotsodrunkatgigsthebandusedtopackhiminthebackofthevanwithallthegear.Theyddumphimoutsidehishousewithhisharmonicasandbottleofwhiskey.

Chris:Thereweredemonsgoingoninhisheadonecanworkoutnow.Thebandwasbecomingmoreguitarorientedandhewasneveragreat singer.Hewasabrilliantharmonicaplayer,butPAsystemswerent as sophisticated as they are now.So things got to him.The thingwas JimmywasthereandwhenPaulpulledoutJimmywassokeentoplayinthebandhecameinonbass.Hedecidedhewantedabitoflifeontheroad.

JimmyPageplayedhisfirstdatewithTheYardbirdsatTheMarqueeafterjustacoupleofhour srehearsalandstayedwiththebandfortwoyears.PagesfirstYardbirdstourcameinSeptember1966,supportingIke&TinaTurnerandTheRollingStones.Nextcame theStates,bywhich timeJimmyhadstoppedplayingbassandstartedplayingleadguitaralongsideJeffBeck.Theywerepalsbutonstagetheycouldbedeadlyrivals.

RecallsChris:TheywereverydifferentpersonalitiesJeffandJimmy.Therewasthisslightlyoutofcontrolegomaniacand thisguywhohadspentyearsdoingsessionsforBurtBacharach.Jimmywassoprofessionalandveryfresh,ashehadntbeenontheroad.Hewasaveryastuteguytooandknew the business. We were just nave really. Jimmy knew exactly where he was going. Verydisciplined,verycontrolled.

Jimmywasadoctor s son fromEpsomandhadavery similarbackground tous.Buthehadacertainshrewdnessthatmostpeopleinrocknrolldidnthave.Hewasalsoaveryadaptableguitarplayer.Asabusinessmanhehadquitea toughedgetohimbecausehedspenta lotof timearoundproducersandhadprobablypickedupallthevibes.

Indeed, by the time he became a Yardbird Jimmy Page was among the most experienced popmusicians inBritaineven thoughhewas largelyunknownoutside themusic industry itself.BornJamesPatrickPageonJanuary9,1944atHeston,Middlesex,hegrewupinEpsom,thehomeoftheDerbyingenteel,Tory-votingSurrey,aworldawayfromtheswamp-infestedAmericansouthwheretheblues took root.Like JohnPaul Jones, he sang in a choir and seemedprecociouslygifted as amusician.Hetookupguitarfromtheageof13,hadafewlessonsbutwasessentiallyself-taught,andremembershavinghisguitarconfiscatedat schoolwhenhe triedpractisingduringclasses.Hewasturned on to rocknroll in 1959 when he heard Elvis Presleys hit Baby, Lets Play House.ThereafterhedevotedalmostallofhissparetimetoperfectingScottyMooressolosonElvissearlySunrecordings.After leavingschoolhe joinedNeilChristian&TheCrusaders,whohadseenhimplayinginalocaldancehall,andbytheageof15JimmysreputationasaskilledChuckBerrystyleR&B player was starting to spread, albeit within musicians circles only. Around this time hebefriendedJeffBeck.He looked likeashrimpwhowasas thinasapipecleaner,saidBeck.Heusedtoplayfiery,faststuff.Thetroublewas,noonewaslistening.

Heavy touring, latenights and comfortlessberths took their toll on Jimmy,whowas just out ofschool,andhesufferedaboutofglandular fever.So,after twoyearsgiggingwithTheCrusaders,JimmyquitandwenttoArtCollegefor18months,althoughheoftentooktimeouttojamwithhisfriendJeffBeck.AstheR&Bboomtookoffhevisitedalltheclubsandsatinwithbands,andinlate1962 was invited to play on his first session by producerMike Leander. Intriguingly, the sessionyieldedDiamondsthenumberonehitbyJetHarris&TonyMeehan.Sensingthatthiswaswherehisfuturelay,JimmystudiedmusicmorecloselyandembarkedonacareerasoneofLondonsmostin-demandyoungsessionguitarists.Heplayedonhundredsofrecordsoverthenextfewyears,workingwitheveryonefromBurtBacharachtoJohnnyDankworth.HealsoplayedonrecordsbyTheWho,TheKinksandThem. Jimmyeven releasedhisownsolo singlecalled She JustSatisfies in1965.ThatsameyearhedidsomeworkforImmediateRecordsbossAndrewOldhamandproducedsomebluestrackswithEricClapton.By1966hewasreadytoquitthestudiosandgobackontheroad.TheYardbirdsseemedliketheidealsetting.

BythistimemanagerGiorgioGomelskyhaddroppedoutofthepicture,tobesucceededbySimonNapier-Bell,who had formerlymanagedMarcBolan and JohnsChildren. SaysChrisDreja: Wenevermade anymoneywith Giorgio. He admitted that he was very loose withmoney.We didntreallymakea lotmorewithSimonNapier-Bell.NowJimmyPageknewthisguyPeterGrantfromwayback, havingdone lots of sessions forMickieMost.Apparently Jimmyhadgoneup toGrantsayingwewereaworldfamousband,weddoneall these tours,hadall thesehitsandhewasonlygettingtwentyquidaweek.SoPeterstartedtogoontheroadwithusandpartiallymanageus.SimonNapier-Bell spoke toGrant and said: Well, the boys are all right but there is one troublemaker,meaningJimmyPage.

Jimmyhimselflaughedwhenheheardthisdescription.Tooright!hesaid,emphasisingthewaythebandtouredendlesslyforlittlefinancialreward.

ChrisDreja:SimonNapier-Belldidgetusonepublishingadvance,whichwasthefirstrealmoneywehadeverseen.HehadfilmconnectionsandthroughthatweappearedinthefilmBlowUpwhichprobablywasgoodforus.

InthemovieJeffBecksmasheduphisguitar,PeteTownshendstyle,whilethebandplayedTrainKept A Rollin renamed for the movie as Stroll On. It was one of the best moments in theambitious 1966 cult film, dir