Barney Hoskyns: Demystifying Zeppelin
All About Jazz: You have written a number of biographies through the years. How do you choose your subjects?
Barney Hoskyns: They have to be good stories and they have to be subjects you love. They also have to be realistic prospects commercially, otherwise you don't get the advance money to enable you to research the subject for two years.
AAJ: What were your motives for writing Trampled Underfoot?
BH: I guess I felt the truth hadn't quite been told, because there was a lot of secrecy around the band. I knew there were a lot of Zeppelin insiders who hadn't told their version of the story, and I wanted to attempt a kind of anti- Hammer of the Gods (William Morrow, 1985) by demystifying the legend a little.
AAJ: Led Zeppelin has been documented exhaustively by other authors. Was there a need for a fresh take on the band? What was your intended perspective?
BH: I figured that talking to a lot more insiders than had ever spoken before would offer a new perspective on what the band meant. I didn't realize I'd end up doing 130 interviews.
AAJ: With so much having been written about Led Zeppelin, how did you decide what had real value and what had not?
Barney Hoskyns: I tried to focus on key stages and events and elicit as many quotes on those as possible. What of course makes the story interesting is that everybody sees things in slightly different ways. Nevertheless there was a lot of consensus on central themes like the personalities of the group members and Peter Grant et al. I think the timing was right. People have kept schtum for a long timeto no obvious benefit to themselvesand now they wanted to have their say before it was too late.
AAJ: Was there a particular bit of history that was difficult to unearth?
Barney Hoskyns: Probably John Paul Jones ' early years, since he's by far the least documented of the four Zeppelin members.
AAJ: Why is Led Zeppelin's shady side so attractive to its biographers and its audience?
Barney Hoskyns: We live vicariously through the dark side and extreme behavior of other people, usually stars of stage and screen. We need our celebs to act out the dysfunctions that we either can't or don't want to.
AAJ: When did you first come across to their music?
Barney Hoskyns: When I was quite young, about 12, and into T. Rex, David Bowie and Slade. A school friend brought in his older brothers Zeppelin albums and I was never quite the same again.
AAJ: You had an opportunity to interview the members of Led Zeppelin. What were your impressions when you met them?
Barney Hoskyns: Plant is almost impossible to dislikea big man in every sense of the word, with a big mind and a big heart. Jonesy is more circumspect, like a genial music teacher always the most detached and least narcissistic member. Page I have problems with, because he's both deeply paranoid and rather uninteresting. Not the best combination.
AAJ: How receptive are the musicians when you approach them for their input into these books?
Barney Hoskyns: 98% non-receptive, as I would be myself. No one relishes the idea of someone rooting around in their dirty underwearwhich is essentially what biography is.
AAJ: What are your favorite Led Zeppelin musical moments from the band's active period?
Barney Hoskyns: My absolute favorites are "Ramble On," "The Ocean," "The Lemon Song," "Friends," "Immigrant Song" and "Gallows Pole."
AAJ: What did you think of the film Celebration Day (Atlantic, 2012) and the reunion gig itself?
Barney Hoskyns: It was better than anyone had any right to expect. Jason will never be his dad but he did an amazing job holding the groove down that night.
AAJ: Given the sheer amount of information, how did you go about researching the book? What sort of research was involved in writing Trampled Under Foot?
Barney Hoskyns: I never set out to write an oral history, but after I'd done a hundred interviews I suddenly thought, "There's an opportunity here to offer Zep fans something different." You forfeit your own narrative interpretation, but as everything from the Jean Stein-George Plimpton book on Edie Sedgwick to Legs McNeil's punk classic Please Kill Me (Penguin Books, 1997) or Crystal Zevon's book on Warren proves, oral history done right can be "unputdownable."