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“Houses Of The Holy and Physical Graffiti are sort of interconnected, so I’m involved with both records to a degree. There were a bunch of engineers on both records, actually. We cut tracks at Stargroves, which was Mick Jagger’s house, using the Stones’ mobile. So we had all of these tracks, and Pagey would figure out what he wanted to do with them. That was his vibe.
“This was one of the most exciting things I’d ever done in a truck. The acoustics in Stargroves were great. We put John Bonham in his own room in the conservatory, Page’s amp was in a fireplace – all kinds of crazy shit we would get up to.
“Once again, working with Page and the boys was just wonderful; they were creative as all hell. We were isolated in the sense that we weren’t working in a studio, and Pagey liked that a lot. He’d used Hedley Grange, and Stargroves was a very good substitute. I really liked the room we had for Bonzo – when you hear the sound of the snare on D’yer Mak’er and Dancing Days, it just takes your head off.
“With D’yer Mak’er, they’re playing Jamaican rock. It’s amazing, and they really got the feel of it. This is a tribute to the fact that the rhythm section could play anything. It didn’t matter. If Pagey had an idea for a very strange rhythmic pattern, he would show Bonzo how to do it, and once Bonzo locked into it he’d be off to the races; not tempo-wise, but being very creative to the beat that was given to him.”