Jimmy Page: Pretty much most of the time, if I wasn’t touring with Led Zeppelin, I would be working at home on the guitar. And I’d be working on pieces of music that I would sing and direct towards the next album — that would be recorded when that would come. And I had one piece of music that was an absolute epic, and I’d overlaid sort of bass and electric guitars. It was an acoustic guitar we used to start with, and a Mellotron, where — a Mellotron would allow you to play, on a keyboard way at the time, string sections and brass, etcetera. And I had this piece, and it was really quite ambitious at the time. And right at the very end of all this guitar noodling, there was this phrase, and it went [humming “Kashmir” phrase], and I thought, “That’s really wonderful. All this other stuff that you can — but that — that’s really interesting.” And so I started to play it, and I realized that you could play it in this sort of metric fashion, and it was almost like a round, where it would come ’round upon itself, and the — that first phrase — because it’s back to front from the way that it is on the record. I thought that, if that is played over this sort of metric riff with this cascading — and I thought at the time, brass — it’s going to be really interesting. And it’s “Kashmir,” of course. So — and I thought of that. I thought of that and its sort of — the density of it, and the — well, we’ll say the depth of that because the density comes more into something like “When the Levee Breaks.” That’s something which is really dense. But I visualized it with orchestra, right? So, yeah, I could see it and I could hear it. I could hear it.