Jimmypage's Instagram Audience Analytics and Demographics
@jimmypage
United Kingdom
Business Category
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Learn MorePROFILE OVERVIEW OF JIMMYPAGE
22.6% of jimmypage's followers are female and 77.4% are male. Average engagement rate on the posts is around 1.63%. The average number of likes per post is 22889 and the average number of comments is 240.
Jimmypage loves posting about Entertainment and Music, Music, Rock, Band.
Check jimmypage's audience demography. This analytics report shows jimmypage's audience demographic percentage for key statistic like number of followers, average engagement rate, topic of interests, top-5 countries, core gender and so forth.
Followers
Posts
GENDER OF ENGAGERS FOR JIMMYPAGE
AUDIENCE INTERESTS OF JIMMYPAGE
- Music 55.63 %
- Photography 46.90 %
- Beauty & Fashion 45.03 %
- Travel & Tourism 39.39 %
- Art & Design 38.41 %
- Books and Literature 37.66 %
- Sports 36.62 %
- Movies and TV 35.05 %
- Restaurants, Food & Grocery 34.98 %
- Business & Careers 34.70 %
- Fitness & Yoga 33.44 %
- Cars & Motorbikes 32.90 %
RECENT POSTS
On this day, 50 years ago to the day, ‘Houses of the Holy’ was released. My original idea for the opening tracks for ‘Houses of the Holy’ was that a short overture would be a rousing instrumental introduction with layered electric guitars that would segue in to ’The Seasons’, later to be titled ‘The Rain Song’. Again there would be a contrasting acoustic guitar instrumental movement with melotron that could lead to the first vocal of the album and the first verse of the song. ‘The Seasons’ was a memo to myself as a reminder of the sequence of the song and various ideas I’d had for it in its embryonic stage. I’d worked on it over one evening at home. During the routining of the overture now titled ‘The Plumpton and Worcester Races’, the half time section was born and the overture shaped in to the song, ‘The Song Remains The Same’. These rehearsals were done in Puddle Town on the River Piddle in Dorset, UK. The first set of recordings were done at Olympic Studios with George Chkiantz. We then came to record at Stargroves, Sir Mick Jagger’s country home, and, like Headley Grange, with the Rolling Stones recording truck. ‘The Song Remains The Same’ was played on a Fender 12 string, the same one used on Becks Bolero, with my trusty Les Paul number 1 on overdubs in a standard tuning. The ‘Rain Song’ was an unorthodox tuning on acoustic and electric guitars. On live shows, it became a work-out feature for the double neck.
On this day in 1990, I played at the Nordoff Robbins Silver Clef awards show. Nordoff Robbins is a music therapy charity. I guested with Robert Plant who had been Cleffed! Also on the bill was Cliff Richard and The Shadows, Dire Straits, Elton John, Eric Clapton, Genesis, Paul McCartney, Pink Floyd, Status Quo and Tears for Fears. Our set consisted of: 'Hurting Kind' / 'Tall Cool One' / 'Wearing and Tearing' / 'Rock 'n' Roll'. 'Wearing and Tearing' was performed live by Robert and myself for the first time. I had an opportunity to speak with the Cobbold family, who owned Knebworth House, and of Edward Bulwer-Lytton, the 19th Century author, who wrote ‘Zanoni’ (1842) and ‘A Strange Story’ (1862). They told me his library was still in existence in the house.
On this day, @LedZeppelin played at the Bath Festival twice - once in 1969 and once in 1970 - and both concerts coincided on the 28th June. In 1969, Led Zeppelin were within the bill, but I remember seeing The Nice play with Keith Emerson for the first time. He was phenomenal to watch at that time, stabbing the keyboard with knives to set up a drone, whilst playing and improvising over it. Rocking the organ backwards and forward, switching it on and off, making it alter in pitch and defying gravity. At this time he was the Hendrix of the Hammond organ. Fantastic. In 1970, we played and it was really cold. The people at the front of the audience were covered by sleeping bags, coats and blankets to keep them warm. It was because of the cold weather that I wore my overcoat and hat that day. It was an honest statement. This was around the Bron-Yr-Aur and third album period, so material was played hot off the press. We started with 'Immigrant Song' and were relentless in showing why we deserved to be top of the bill. Here's a setlist. Setlist Immigrant Song Heartbreaker Dazed & Confused Bring It On Home Since I've been Loving You Thank You The Boy Next Door (That's The Way) What Is and What Should Never Be Moby Dick How Many More Times Whole Lotta Love Communication Breakdown Long Tall Sally There was an attempt to film this, but, as we preferred to play at dusk, the filming was unsuccessful as the film crew had brought daylight film - as opposed to the High Speed film needed to capture night filming. Sir Peter Blake told me that he attended both of these concerts. 📸 © Michael Putland, 1970
On this day in 1999, I played at the 'Scream' event for the charities Task Brasil and ABC Trust at the Café de Paris in London. Also volunteering for that evening were the feisty @stereophonicsofficial; it was an early outing in London for them, and everybody took notice that night. Steven Tyler and Joe Perry from @aerosmith jammed a few numbers with me, as did Chris and Rich Robinson of the Black Crowes. It was really kind of all these guys to help the event out and make it one incredible concert. It was as a result of this event that I was to team up and tour with the Black Crowes in the US. 📸 © Ross Halfin, 1999
On this day in 1995, I played Glastonbury Festival with Robert Plant and our coat of many musical colours ⛺️✨🎶 Broadcast on TV and Radio, it was a little windy that day and the elements made sport with the wind bombarding the sound as it released from the PA speakers and drifted all over the place. But it was exhilarating to play Glastonbury and we played really well to a really enthusiastic audience who were willing us on. Setlist The Wanton Song Bring It On Home Thank You No Quarter Gallows Pole Since I've Been Loving You The Song Remains the Same Friends Calling to You Smokestack Lightning Break On Through (to the Other Side) Dazed and Confused Calling to You Four Sticks In the Evening Kashmir 📸 © Ross Halfin, 1995
On this day in 1969, @LedZeppelin recorded The John Peel Sessions at Maida Vale, London. We recorded this show to promote Led Zeppelin II. In typical Led Zeppelin tradition Travelling Riverside Blues was made up on the spot from a riff I had on the electric twelve string. We had reached a point at the BBC where you could overdub a solo over the initial track of the song. This helped a lot to give a more complete rendition of our material and I must say the BBC engineer Tony Wilson did a really good job for us on this day. The BBC producer was John Walters. 'Whole Lotta Love' / 'What Is and What Should Never Be' / 'Communication Breakdown' / 'Travelling Riverside Blues'
On this day in 2010, I was in Rio where I would be getting an injection of high voltage Samba at the percussive samba schools of Mangueira, Portela and Beija Flor 🇧🇷 During this period, I had a showcase that coincided with the build up to a World Cup football match being projected on an adjacent wall in the hall. The Brazilians are known for their passion for football and the same school's percussion and dancers timed the conclusion to their mini-showcase admirably as the glances became more than anxious from those watching the screen, awaiting the kick off.
On this day in 1970, I played Reykjavik with @Led Zeppelin We went to the land of the ice and snow
On this day in 1966, I played my first show with The Yardbirds at Marquee Club, London. In the summer of 1966, Jeff Beck had invited me to a Yardbirds show at the May Ball at Queen's College, Oxford, where the band were to perform in a giant marquee. They were really playing well that night but the audience of penguin-suited university bods were mainly unreceptive and too busy being loud drunks. During the set, Keith Relf became disenchanted with the audience and morphed into what would later be termed a punk, with colourful language and insults to what was a drunken bunch of Hoorays. Keith was wobbling but he finished the set with suitable angst. I thought he was brilliant under the circumstances, but Paul Samwell Smith left the band that evening. Three days after the Oxford gig, on this day in '66, The Yardbirds had this date at London's Marquee club with no bass player. In the event that Paul was not going to return, I volunteered to play bass with them. This was my debut. It was not an easy job to fill the massive powerhouse role set by Paul Samwell Smith, but I pulled it off.
On this day in 2008, I received an honorary doctorate of music at the University of Surrey at Guildford Cathedral. I had visited the Cathedral before in my Epsom choirboy days, but over forty years later receiving this degree was a moving experience for me and my family, who were also present at the ceremony. The University had some cool facilities and students were up to some interesting music, with sound engineers graduating in digital and analogue recording.
On this day in 1965, I went to see John Mayall & the Bluesbreakers at the Pontiac Club in Putney, London. It showcased Eric Clapton's magnificent mastery of the blues guitar. Eric came to stay at my home in Epsom that night as I had told him about the recordings and guitar sound I was getting from my Simon recorder. We played together and tracks surfaced on the 'Blues Anytime' series on Immediate Records. I went on to produce 'I'm Your Witchdoctor' and 'Telephone Blues' with Mayall and Clapton, as well as 'Sitting on Top of the World' and 'Double Crossing Time'.
On this day in 1966, I played on Chris Farlowe's 'Out Of Time'. I played the acoustic and you can hear it soloing in the middle of the song. It's a Jagger/Richards composition and Farlowe's version is brilliant. It went to No. 1 and was in the UK charts for 40 weeks. This is the acoustic which was played on the song. Chris Farlowe & The Thunderbirds: The Beginning... was recorded at RG Jones Sound Studios in Morden, London in 1961 and released via JimmyPage.com in 2017.
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