Live at the Greek by Jimmy Page & The Black Crowes: The Historic 1999 Led Zeppelin Collaboration

Live at the Greek: Excess All Areas

Jimmy Page & The Black Crowes • Released: February 29, 2000 • Label: TVT Records

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Live at the Greek Overview: How the Collaboration Began

The seeds of the Jimmy Page and Black Crowes collaboration were planted four years before Live at the Greek was recorded. In 1995, during The Black Crowes’ Amorica or Bust tour, Page joined the band onstage at a show in France for covers of Elmore James’ “Shake Your Moneymaker” and Little Walter’s “Mellow Down Easy.” That brief but electric jam session left a lasting impression on both parties, demonstrating immediate musical chemistry between the guitar legend and the Southern rock upstarts.

The partnership truly took shape in June 1999 when Page found himself serving as music director for a benefit concert at London’s Café De Paris nightclub supporting two charities close to his heart: Supporting Children through Re-Education and Music, and the Action for Brazil’s Children Trust. His recent reunion with Robert Plant had come to an end earlier that year when Plant returned to his solo career, leaving Page without a band for the charity event.

Fortune smiled when The Black Crowes happened to be in London that same week, playing Wembley Stadium with Aerosmith and Lenny Kravitz. Renowned photographer and Page friend Ross Halfin contacted the Crowes’ manager Pete Angelus to see if the band would be available for the benefit gig. Angelus said yes without hesitation, recognizing the once-in-a-lifetime opportunity.

As Rich Robinson told Guitar World, “When the request came through our friend Ross, we were amazingly flattered, to say the least. All people ever see is the Rolling Stones influence in our music. But Zeppelin has been a huge influence on us for our whole career. They’re definitely up there as one of the major reasons why we’re in a band.”

The charity show featured a setlist heavy on blues covers including “Shake Your Moneymaker,” “Sloppy Drunk,” “Woke Up This Morning,” and Fleetwood Mac’s “Oh Well,” along with Led Zeppelin classics “Whole Lotta Love” and “You Shook Me,” the latter performed with Aerosmith’s Joe Perry and Steven Tyler. The performance exceeded all expectations, with the musical chemistry between Page and The Black Crowes proving undeniable.

Following the successful London show, Angelus approached Page’s manager to gauge interest in extending the collaboration through a handful of dates in the United States. Page jumped at the opportunity, having enjoyed the experience so thoroughly that he wanted to share it with a wider audience. Six shows were quickly booked for fall 1999 under the billing “Together on Stage: Jimmy Page and the Black Crowes.”

The Greek Theatre Two-Night Stand

The six-show run included three performances at New York City’s Roseland Ballroom, one at the Centrum in Worcester, Massachusetts, and two at the Greek Theatre in Los Angeles on October 18 and 19, 1999. The tour also featured an appearance at the anti-poverty benefit NetAid at Giants Stadium in East Rutherford, New Jersey, where they performed four songs before the proper tour began.

All shows sold out immediately, testament to the hunger among rock fans to hear Led Zeppelin material performed live by Page himself. The Greek Theatre’s 6,000-seat outdoor amphitheater, nestled in Griffith Park, provided an ideal setting for recording, with its natural acoustics and intimate atmosphere creating the perfect environment to capture the performances.

According to Steve Gorman’s 2019 memoir “Hard to Handle: The Life and Death of the Black Crowes,” convincing Page to record the shows required some delicate negotiation. Page initially had zero interest in making a live album and dealing with the associated pressure. Angelus convinced him by promising the recording would be completely out of sight and out of mind, with a mobile truck positioned outside the venue handling all technical aspects. Crucially, The Black Crowes covered all recording costs, but Page retained all rights, meaning nothing would be released without his approval.

Both Greek Theatre nights were recorded, and the results couldn’t have been more different. Gorman recounts that Page had a discernibly bad first night on October 18, becoming so rattled and down on himself that he didn’t even hang out after the concert. The second performance on October 19, however, found everyone on fire. The majority of the originally released recording comes from that triumphant second night.

The shows themselves ran over two and a half hours, with the setlist boldly venturing beyond the same ten Led Zeppelin tracks in perpetual rotation on classic rock radio. While hits like “Heartbreaker” and “Whole Lotta Love” made appearances, the performances dug deep into Zeppelin’s catalog with bombastic takes on “Sick Again,” the 11-minute epic “In My Time of Dying,” and other deep cuts that thrilled hardcore fans.

The Chemistry Between Page and The Crowes

The musical chemistry between Jimmy Page and The Black Crowes proved immediately apparent from the first rehearsals. Chris Robinson’s bluesy, soulful vocals provided a different flavor than Robert Plant’s high-register wail, but his interpretation brought authentic passion and credibility to the material. Robinson approached the songs with deep respect but not slavish reverence, making them his own rather than attempting mere imitation of Plant’s iconic performances.

Rich Robinson’s rhythm guitar work complemented Page’s lead playing brilliantly, creating dual-guitar interplay that recalled the best moments of classic rock’s golden age. The younger Robinson had studied Page’s techniques extensively and understood how to create space for Page’s solos while maintaining the songs’ powerful rhythmic foundation. Their guitar harmonies on tracks like “Sick Again” and “In My Time of Dying” demonstrated genuine musical understanding between the two players.

The Black Crowes’ rhythm section of bassist Sven Pipien and drummer Steve Gorman provided the heavy, swinging groove that these songs demanded. Gorman faced the unenviable task of filling the shoes of John Bonham, widely considered rock’s greatest drummer. Rather than attempting note-for-note replication of Bonham’s style, Gorman brought his own Southern rock sensibility to the grooves while maintaining the power and drive that made the original recordings so compelling.

Keyboard player Eddie Harsch added crucial texture and depth to the performances, handling the organ and piano parts integral to many Zeppelin recordings. His work on songs like “What Is and What Should Never Be” and “Misty Mountain Hop” filled out the sound and allowed the arrangements to breathe in ways that a simple guitar-bass-drums setup couldn’t achieve.

The collaboration also featured Black Crowes material, with “No Speak No Slave,” “Wiser Time,” and especially “Remedy” sounding particularly robust with Page’s guitar contributions. As Page told Guitar World about the performances, “I wish I could have been in the audience, because I know how good it was up onstage.”

Track-by-Track Analysis of Live at the Greek

Live at the Greek spans 18 tracks across two discs in its original configuration, with a carefully curated selection of Led Zeppelin classics and blues covers that showcase the collaboration’s strengths. The sequencing mirrors the flow of the actual concerts, opening with explosive rockers and building through dynamic peaks and valleys that demonstrate the band’s versatility and endurance.

The album deliberately focuses on the blues-based side of Led Zeppelin’s catalog, with deep cuts and fan favorites taking precedence over obvious radio staples. This curatorial choice reflects both Page’s desire to explore lesser-performed material and The Black Crowes’ affinity for rootsy, blues-influenced rock rather than the more mystical or acoustic aspects of Zeppelin’s repertoire.

The extended jams and improvisational passages mean that familiar songs transform into new experiences, with some tracks running significantly longer than their studio versions. The performances capture the spontaneous energy of live music, with minimal post-production sweetening preserving both the excitement and occasional rough edges of genuine concert recordings.

Standout Performances and Reimagined Classics

Disc One: “Celebration Day”

The album explodes into life with this powerful opening track from Led Zeppelin III. Chris Robinson’s vocals immediately establish his ability to handle Plant’s material with his own bluesy swagger, while Page’s guitar tone cuts through with familiar aggression tempered by decades of experience. The performance sets the template for what follows: respectful of the originals but unafraid to push into new territory through extended improvisational sections.

“Custard Pie”

This Physical Graffiti deep cut receives a wonderfully sleazy treatment, with The Black Crowes’ Southern rock DNA perfectly suited to the song’s blues shuffle. Page’s slide guitar work proves particularly inspired here, and the extended jam section allows the band to stretch out and demonstrate their improvisational chemistry. Robinson’s vocal delivery adds a gritty, swampy quality that brings fresh dimensions to the track while maintaining its essential character.

“Sick Again”

Another Physical Graffiti gem receives one of the album’s most dynamic performances. The dual guitar interplay between Page and Rich Robinson shines throughout, with the two players trading licks and building to explosive crescendos. Gorman’s drumming drives the song with relentless power, proving he could handle Bonham’s complex rhythms while adding his own flavor and personality to the grooves.

“What Is and What Should Never Be”

This Led Zeppelin II classic showcases the full band’s ability to navigate dynamic contrasts, moving from whisper-quiet verses to thunderous choruses. Harsch’s keyboard work adds crucial atmosphere, and the arrangement stays faithful to the original while feeling fresh and spontaneous. Robinson’s vocal interpretation captures both the tenderness and power the song demands, demonstrating his range and emotional depth.

“Woke Up This Morning”

The inclusion of this B.B. King blues standard demonstrates the deep blues foundation of the collaboration. The band stretches the song into a lengthy jam that highlights their shared musical vocabulary and common ground. Page’s guitar work here proves particularly expressive, drawing from his blues roots and reminding listeners of his pre-Zeppelin session work with artists across genres.

“Shapes of Things”

The Yardbirds classic receives a scorching rendition that pays homage to Page’s pre-Zeppelin days while showcasing his evolved guitar mastery. Page fanatics were thrilled when he dusted off this Jeff Beck-era gem for the shows. The extended psychedelic jam section in the middle allows Page to unleash some of his most adventurous playing on the album, utilizing effects and techniques he pioneered in the 1960s.

“Sloppy Drunk”

This blues standard, which the partnership had been performing since their initial 1995 collaboration in France, fits perfectly within the setlist’s aesthetic. The loose, jammy performance captures the spirit of the entire collaboration: master musicians connecting through shared love of the blues, unafraid to get raw and dirty. The interplay between Page’s lead lines and Rich Robinson’s rhythm guitar creates a thick, satisfying groove.

“In My Time of Dying”

The epic closer to Disc One, this Physical Graffiti marathon receives an absolutely massive 11-minute treatment that stands as one of the album’s definitive moments. The song’s slide-guitar-driven arrangement perfectly suits both Page’s playing style and The Crowes’ Southern rock approach. The performance builds to multiple climaxes, with Page’s slide work reaching transcendent heights and Robinson’s vocals conveying genuine spiritual intensity and emotional depth.

Disc Two: “Nobody’s Fault but Mine”

Disc Two opens with this Presence powerhouse, immediately re-establishing the energy after the extended workout that closed the first disc. The song’s heavy riff and stop-start dynamics showcase the band’s tightness and power, with Robinson delivering one of his most commanding vocal performances on the album. The groove locks in with devastating precision while maintaining organic feel.

“Heartbreaker”

Page’s legendary unaccompanied guitar solo receives a fresh workout in this classic track from Led Zeppelin II. While staying true to the structure of the original solo, Page adds new flourishes and variations that remind listeners he’s not simply recreating past glories but actively engaging with this material as a living musician. The band locks into a thunderous groove that rivals the studio version’s impact and intensity.

“Mellow Down Easy”

The funky blues groove of this Willie Dixon cover, one of the songs from the initial 1995 France collaboration, allows the band to showcase their collective musicianship in a more relaxed setting. The extended jam demonstrates the telepathic musical communication between the players, with each musician getting space to shine while maintaining the song’s infectious pocket and swing.

“Oh Well”

The Fleetwood Mac classic, featured in the June 1999 London charity show, receives a fierce interpretation that highlights the British blues-rock tradition both bands shared. The performance pays tribute to Peter Green’s guitar work while allowing Page to stamp his own identity on the material. The performance proves aggressive and psychedelic, with Page’s guitar tone particularly nasty and effective throughout.

“You Shook Me”

The Willie Dixon composition that appeared on Led Zeppelin’s debut album receives an extended treatment that allows for extensive jamming and improvisation. Harsch’s organ work proves particularly crucial here, evoking the swirling psychedelic blues of the original while the band stretches the arrangement into new territories. Page’s guitar solos demonstrate inventive phrasing and emotional depth, showcasing his continued growth as a player.

“Out on the Tiles / Immigrant Song”

The medley approach allows the band to pack maximum impact into a condensed timeframe. The transition between the songs flows seamlessly, with “Immigrant Song’s” Viking war cry providing a thrilling conclusion to the main set. Robinson handles the iconic vocal challenge admirably, and the band delivers the song with appropriate ferocity and power, bringing the crowd to its feet.

“Whole Lotta Love”

The encore closer and arguably Led Zeppelin’s most famous riff receives an absolutely explosive performance that brings the entire concert experience to a thunderous conclusion. The extended psychedelic middle section gives Page the opportunity to unleash some of his most experimental playing, utilizing effects and creating a sonic maelstrom. When the main riff returns after the chaos, it hits with devastating impact, leaving the audience exhausted and exhilarated.

Musical Approach and Arrangements

The overarching musical philosophy of Live at the Greek centers on authenticity and spontaneity rather than note-perfect recreation. Page and The Black Crowes approached each song as a living entity capable of evolution and reinterpretation, not as sacred texts requiring faithful reproduction. This mindset freed the musicians to take risks and follow their instincts in the moment, creating performances that feel genuinely alive.

Arrangements generally stay close to the original Led Zeppelin versions in terms of structure and key components but expand significantly in terms of length and improvisation. Songs that ran three or four minutes in their studio incarnations stretch to seven, eight, or even eleven minutes in concert, with the additional time devoted to instrumental exploration and dynamic development rather than mere repetition or vamping.

The blues foundation that underlies both Led Zeppelin’s music and The Black Crowes’ approach creates natural common ground. The collaboration emphasizes this shared DNA, with performances that strip away some of Zeppelin’s more orchestrated elements in favor of raw, garage-band energy. The result feels simultaneously more primitive and more sophisticated than the originals, recapturing the excitement of discovery while benefiting from decades of musical experience.

Chris Robinson’s vocal interpretations deserve special attention. Rather than attempting Plant’s stratospheric vocal range, Robinson brings the melodies down to more comfortable registers where his raspy, soulful delivery can shine. This practical adjustment actually benefits many songs, making them feel earthier and more grounded in blues tradition. His phrasing draws from soul and blues influences, adding emotional depth that complements rather than competes with the original versions.

Critical Reception and Chart Performance

Live at the Greek received generally positive reviews upon its release in February 2000, with most critics praising the performances while offering varied opinions on whether the collaboration successfully honored Led Zeppelin’s legacy or represented an unnecessary rehash of classic material. The critical consensus acknowledged the undeniable musical quality while questioning the necessity of the project in an era already saturated with classic rock nostalgia.

Many reviewers highlighted Chris Robinson’s vocal performance as a pleasant surprise, noting that while he couldn’t match Plant’s range, his soulful interpretation brought fresh perspective to familiar songs. The guitar interplay between Page and Rich Robinson earned universal praise, with critics recognizing the younger Robinson’s ability to complement rather than compete with the master guitarist.

Initial Reviews and Contemporary Reactions

Rolling Stone gave the album three out of five stars, acknowledging the musicianship while suggesting that the collaboration couldn’t escape the shadow of the original Led Zeppelin. The review praised specific performances, particularly the blues-heavy material, but felt that some of the harder rock songs suffered from comparison to the Zeppelin recordings, which remained definitive despite the years that had passed.

Entertainment Weekly proved more enthusiastic, grading the album an A-minus and calling it a successful marriage of Page’s guitar mastery and The Black Crowes’ roadhouse rock approach. The review particularly praised the extended jams and highlighted the album’s authenticity as a genuine live document rather than an overdubbed studio creation disguised as a concert recording.

AllMusic offered a thoughtful review that recognized both the strengths and limitations of the project. The review noted that The Black Crowes were perhaps the ideal contemporary band to tackle this material, given their authentic blues-rock foundation and proven ability to deliver powerful live performances. However, the review also questioned whether anyone beyond hardcore fans would need these versions when the original Zeppelin recordings remained available and definitive.

Fan reactions proved similarly mixed but generally enthusiastic. Led Zeppelin purists initially approached the album with skepticism, concerned that the collaboration might tarnish the legacy of the original band. However, many came away impressed by the performances’ quality and appreciating Page’s continued relevance as a live performer. Black Crowes fans embraced the album as validation of their favorite band’s musical credibility and ability to stand alongside rock royalty.

Revolutionary Digital Release and Sales

Live at the Greek made music industry history with its groundbreaking digital-first release strategy. Several factors necessitated this innovative approach: the rollout of the first-ever single-disc Led Zeppelin compilations was scheduled for November 1999 (Early Days: The Best of Led Zeppelin Volume One) followed in March 2000 by Latter Days: The Best of Led Zeppelin Volume Two. No one from the Zeppelin camp wanted record store shelves overcrowded with new, related material that might cannibalize sales.

Additionally, The Black Crowes’ old contract with Columbia Records stipulated that they couldn’t release re-recorded versions of their songs for two years, meaning a live album with Page would have to exclude their material or remain shelved until sometime in 2001. However, a summer 2000 tour with Page and The Black Crowes was already being planned, making the live album an ideal promotional vehicle that couldn’t wait.

The solution proved revolutionary. Digital retailer Musicmaker.com released the material in several customizable formats beginning February 29, 2000. In total, 19 songs from the two-night Greek Theatre stand were made available, with Black Crowes material initially excluded due to contractual restrictions. Fans could purchase all available tracks for $17.90, or buy five songs for $4.95 and pay a dollar for each additional song, building a single or two-disc set. Customers could arrange the setlist in any manner they chose, with the customized music available as downloads or express-mailed on compact disc.

The method proved successful on multiple levels. Live at the Greek appealed to consumers in a way that had never happened before, with such high-profile artists allowing them to personalize a recording. By taking it out of retail stores initially, there was no physical promotional overlap with the Led Zeppelin compilations. Much of the advertising was handled by rock radio stations, who would play material from the recording and direct listeners to the station’s website, which would then redirect them to Musicmaker.

Four months later, just as the Jimmy Page and Black Crowes summer tour was getting underway, TVT Records released Live at the Greek in a more traditional manner as a two-disc set for purchase in retail establishments. The album debuted at number 23 on the Billboard 200 album chart, spending 14 weeks on the chart and ultimately selling approximately 300,000 copies in the United States, though it never achieved gold certification.

In the United Kingdom, the album reached number 42 on the UK Albums Chart, performing less strongly than in the United States. European markets showed moderate interest, with chart positions generally falling in the 30-50 range across major territories. Despite modest commercial numbers by Led Zeppelin standards, the album proved financially successful for all involved, particularly given the relatively low production costs of a live recording.

Cultural Impact and Legacy

Live at the Greek’s significance extends far beyond its immediate commercial performance or critical reception, representing an important moment in both classic rock’s ongoing evolution and the music industry’s transition to digital distribution. The collaboration demonstrated that Led Zeppelin’s music could maintain relevance and power in new contexts without requiring Plant’s participation, a validation that would influence Page’s future musical decisions.

The album also established a template for how heritage rock acts could collaborate with younger bands in mutually beneficial partnerships. Rather than simply hiring a backing band or attempting to recreate the past exactly, the Page-Black Crowes collaboration felt like a genuine artistic dialogue between generations, with each side contributing equally to the final result.

Influence on Live Collaborations and Digital Distribution

Live at the Greek influenced numerous subsequent collaborations between veteran rock musicians and contemporary bands. The model of pairing a legendary guitarist with an established younger band became a recurring pattern in the classic rock world, with varying degrees of success. The album proved that such partnerships could work artistically and commercially when built on genuine musical respect rather than mere nostalgia or exploitation.

Perhaps even more significantly, the album’s digital-first release strategy pioneered distribution methods that would become standard practice in the following decade. The customizable aspect, allowing fans to select and sequence their own tracks, anticipated the iTunes era where individual song purchases would replace album sales for many consumers. The collaboration between a major artist and a digital platform demonstrated possibilities that the music industry was just beginning to explore.

The Black Crowes themselves benefited significantly from the collaboration, reaching new audiences and establishing their credibility as serious musicians rather than mere retro revivalists. The experience validated their approach to blues-based rock and demonstrated their ability to hold their own alongside genuine rock legends. Future Black Crowes albums and tours carried the confidence gained from this successful partnership.

For Jimmy Page, the collaboration provided crucial momentum and kept him active during a period when Plant was pursuing solo projects and resisting Zeppelin reunions. The success of Live at the Greek proved that demand for Led Zeppelin’s music performed live remained strong and that Page could still deliver at the highest level. This validation would eventually contribute to the legendary Led Zeppelin reunion concert at the O2 Arena in 2007.

Unfortunately, the planned summer 2000 tour featuring 55 dates fell apart after just 11 shows, officially due to a back injury Page had been battling. According to Gorman’s memoir, tensions arose when Rich Robinson allegedly snubbed Page’s offer to work with The Black Crowes in the studio, though this was vigorously denied by others involved. Despite the tour’s premature end, Page later joined the band in 2011 at London’s Shepherd’s Bush Empire during an encore to perform the first song they ever played together, “Shake Your Moneymaker,” demonstrating that the musical respect and friendship had endured.

Retrospective Evaluations and Reissues

Over two decades after its release, Live at the Greek has grown considerably in stature among classic rock fans and critics. The album benefits from hindsight, as listeners can now appreciate it on its own terms rather than as a disappointing substitute for a full Led Zeppelin reunion that would never truly materialize. The performances stand up remarkably well, sounding fresh and vital even as the recording itself has aged into historical significance.

Contemporary assessments recognize the album as one of the better live Led Zeppelin-related releases, comparing favorably to various officially released concert recordings from Zeppelin’s actual touring years. The sound quality exceeds many Zeppelin live albums, and the performances capture a spontaneous energy that some of the more heavily edited official releases lack.

The album has been reissued multiple times, with a 2013 edition and a 2019 reissue both maintaining the original’s exclusion of Black Crowes material due to ongoing contractual complications. Finally, an expanded 2025 reissue restored the Black Crowes songs, allowing fans to experience the complete collaboration as it was originally performed. This long-awaited inclusion of tracks like “No Speak No Slave,” “Wiser Time,” and “Remedy” provides crucial context and demonstrates the full scope of the partnership.

Music critics who initially dismissed the album as unnecessary have often softened their positions, acknowledging the genuine musical achievement represented by these performances. The extended jams and fresh interpretations now feel like valuable additions to the Led Zeppelin legacy rather than dilutions of it. The album occupies a unique space in rock history, neither tribute nor continuation but something authentically in between.

Younger rock fans discovering Led Zeppelin’s music in the 21st century often encounter Live at the Greek as an accessible entry point to the catalog. The performances feel less distant and historical than the original 1970s recordings, providing a bridge between classic rock’s past and present. For listeners who never experienced Led Zeppelin live during their active years, this album offers one of the closest approximations available from Page himself.

Production Credits and Album Personnel

The Black Crowes:

Chris Robinson – Lead Vocals, Harmonica

Rich Robinson – Guitar, Backing Vocals

Steve Gorman – Drums

Sven Pipien – Bass

Eddie Harsch – Keyboards, Organ

Special Guest:

Jimmy Page – Guitar, Producer

Production Team:

Jimmy Page – Producer

George Cowan – Recording Engineer, Mixing Engineer

George Marino – Mastering (Sterling Sound)

Recording Details:

Recorded: October 18-19, 1999

Venue: Greek Theatre, Los Angeles, California

Label: TVT Records

Released: February 29, 2000 (Digital), June 2000 (Physical)

Format: 2CD, Digital Download, Vinyl

Length: Approximately 140 minutes

Frequently Asked Questions About Live at the Greek