Peter Grant

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Peter Grant
Peter Grant.jpeg
Datos generales
Nombre real Peter James Grant
Nacimiento 5 de abril de 1935
Bandera de Reino Unido Londres, Inglaterra
Nacionalidad Británica
Muerte 21 de noviembre de 1995
(60 años)
Bandera de Reino Unido Sussex, Inglaterra
Ocupación Representante, empresario
Información artística
Período de actividad 1963 - 1983
Discográfica(s) Swan Song Records, Atlantic Records, Bad Company
Artistas relacionados Led Zeppelin, The Yardbirds, The Jeff Beck Group, Terry Reid, The New Vaudeville Band, Bad Company, Maggie Bell, The Nashville Teens, Stone the Crows
Sitio web Sitio Oficial
Ficha Peter Grant en IMDb

Peter James Grant (5 de abril de 1935 – 21 de noviembre de 1995) conocido como Peter Grant, fue uno de los más influyentes mánager de la historia del rock. Fue representante de bandas como The Yardbirds, Led Zeppelin y Bad Company, productor ejecutivo para Swan Song Records, y responsable de los pagos y las condiciones contractuales de los músicos con los promotores de los conciertos.

Vida temprana[editar]

Grant nació en el sur de Londres, en los suburbios de South Norwood, Inglaterra. Su madre Dorothy trabajaba como secretaría. Asistió a la escuela Sir Walter St John en Grayshott antes de la segunda guerra mundial, y completó sus estudios en la Charterhouse School enGodalming.[1]​ Después de la guerra, Grant regresó a Norwood hasta la edad de 13 años, cuando se convirtió en trabajador de fabrica cortando metal en la zona de Croydon. Grant dejó el trabajo a las pocas semanas y obtuvo empleo en Fleet Street haciendo delivering de fotografías para Reuters.

Grant was soon attracted to the entertainment industry, and worked as a stagehand for the Croydon Empire Theatre until 1953, when he was called up for national service in the RAOC, reaching the rank of corporal.[2]​ He worked briefly as an entertainment manager at a hotel in Jersey before being employed as a bouncer and doorman at London's famous The 2i's Coffee Bar, where Cliff Richard, Adam Faith, Tommy Steele and others got their start.[3]​ Australian-born professional wrestler Paul Lincoln, who also co-owned the 2i's bar, suggested Grant appear on television and gave him the opportunity to wrestle under the titles "Count Massimo" and "Count Bruno Alassio of Milan," using his 6 ft 5 in frame to good effect.[3]​ This kindled his enthusiasm for acting, and he was hired by film studios as a bit part actor, stuntman and body double.

Carrera como actor[editar]

Between 1958 and 1963, Grant appeared in a number of films, including A Night to Remember (as a crew member on the Titanic), The Guns of Navarone (as a British commando) and Cleopatra (as a palace guard). He also appeared in television shows such as The Saint, Crackerjack, Dixon of Dock Green, and The Benny Hill Show. He was Robert Morley's double on many of that actor's films. The money he made from these ventures was invested in his own entertainment transport business. As the acting roles dried up, Grant made more money taking groups such as the Shadows to their concerts.

Representante Artístico[editar]

In 1963, Grant was hired by promoter Don Arden along with John Schatt to be the British tour manager for artists such as Bo Diddley, the Everly Brothers, Little Richard, Brian Hyland, Chuck Berry, Gene Vincent and the Animals. By 1964, Grant had started to manage his own acts including the Nashville Teens, an all-girl group called She Trinity, the New Vaudeville Band, The Jeff Beck Group, Terry Reid and Stone the Crows. His management was established in the same 155 Oxford Street office used by his friend, record producer Mickie Most, who had previously worked with Grant at the 2i's Coffee Bar. Most and Grant together set up the highly successful RAK Records label, which produced a string of hits throughout the 1970s.

In late 1966 Simon Napier-Bell asked Grant to take over management of the Yardbirds, who were constantly touring yet struggling financially. Mickie Most had suggested to Napier-Bell that Grant would be an asset to The Yardbirds, but as it happened, his arrival was too late to save the band. The experience, however, did give him ideas which were put to good use later with Led Zeppelin. As he explained:

When I started managing the Yardbirds, they weren't getting the hit singles, but were on the college circuit and underground scene in America. Instead of trying to get played on Top 40 radio, I realised that there was another market. We were the first UK act to get booked at places like the Fillmore. The scene was changing.[4]

Grant's no-nonsense approach to promoters, and his persuasive presence, were influential in the Yardbirds making money from concerts for the first time. Grant travelled closely with the Yardbirds, ensuring that all costs were kept to a minimum, that members were paid on time, and that the band retained artistic control. Unlike most other managers at the time who rarely set foot in a music venue, Grant's approach was hands-on.

Led Zeppelin[editar]

In 1968 the Yardbirds dissolved, with all band members departing except guitarist Jimmy Page, who promptly set about constructing a new group consisting of himself, Robert Plant, John Bonham and John Paul Jones. Originally dubbed by the media as the "New Yardbirds", the group chose the name Led Zeppelin, with Grant assuming the role of their manager. His trust and loyalty to Led Zeppelin was such that his managerial arrangement with the band was via a gentlemen's agreement.[5][6]

It is doubtful whether Led Zeppelin would have been as successful without Grant as their manager.[7]​ He negotiated the group's sizeable five-year record contract with Atlantic Records, and his business philosophy would eventually pay off for the label. Grant strongly believed that bands could make more money, and have more artistic merit, by focusing their efforts on albums rather than singles. Live performances were deemed more important than television appearances – if one wanted to see Led Zeppelin, one had to experience their performances in person.[8]

Led Zeppelin's particular success in the United States can partly be credited to Grant's keen sense of US audiences and the vast underground movement that was sweeping the country.[9]​ It was his knowledge of the American touring scene that thrust Led Zeppelin into the forefront of the burgeoning American rock market, and under his stewardship the great majority of Led Zeppelin concerts were performed in the United States, resulting in massive profits for the group.[10]​ He ensured that the vast bulk of ticket profits wound up in the hands of the band rather than in the hands of promoters and booking agents,[11]​ and is reported to have secured 90% of gate money from concerts performed by the band,[12]​ an unprecedented feat. By taking this approach he set a new standard for artist management, "single-handedly pioneer[ing] the shift of power from the agents and promoters to the artists and management themselves."[cita requerida]

Grant's determination to protect the financial interests of Led Zeppelin was also reflected by the sometimes extraordinary measures he took to combat the practice of unauthorized live bootleg recordings. He is reported to have personally visited record stores in London that were selling Led Zeppelin bootlegs and demanded all copies be handed over. He also monitored the crowd at Led Zeppelin concerts in order to locate anything which resembled bootleg recording equipment. At one concert at Vancouver in 1971 he saw what he thought was such equipment on the floor of the venue and ensured that it was destroyed, only to later learn that it was a noise pollution unit being operated by city officials to test the volume of the concert.[13]​ On another occasion, at the Bath Festival in 1970, he personally threw a bucket of water over unauthorised recording equipment.[14][15]​ Grant's famous dressing room scene in the film The Song Remains the Same, where he demands an explanation from concert staff about the sale of illegal posters, was typical of his no-nonsense dealings with people who tried to profit at the band's expense.

Grant is also recognised for the complete and unwavering faith that he placed in Led Zeppelin.[16]​ Unlike some other managers of the era, he never compromised his clients by exploiting them for short-term profit, instead always putting their interests first, and being a manager that split the profits five ways, between Grant and the other members of the band.[3]​ This was demonstrated by his decision to never release the popular songs from Led Zeppelin's albums as singles in the UK, out of respect for the band's desire to develop the concept of album-oriented rock. As was explained by Jones:

[Peter] trusted us to get the music together, and then just kept everybody else away, making sure we had the space to do whatever we wanted without interference from anybody - press, record company, promoters. He only had us [as clients] and reckoned that if we were going to do good, then he would do good. He always believed that we would be hugely successful and people became afraid not to go along with his terms in case they missed out.[3]

Grant's past experience in handling stars such as Jerry Lee Lewis and Gene Vincent also provided him with an excellent grounding in managing the pandemonium which frequently surrounded Led Zeppelin, particularly whilst the band was on tour.[cita requerida] Grant himself said that "Led Zeppelin looks after the music and I do everything else - and if it takes some strong measures to get our way, then so be it."[17]​ According to rock journalist Steven Rosen:

Peter Grant, former bouncer and wrestler, was, in many respects, the physical embodiment of a Led Zeppelin. Standing over six feet and weighing over 300 pounds, he used his intimidating presence to maintain order and to keep his charges safe and worry-free ... His raison d'etre was simple - protecting his band and their finances. When a bootlegger or unauthorised photographer was identified, it was the lucky infringing party who was let off with merely a severe verbal reprimand and confiscation of unauthorised T-shirts and film.[18]

However, although there were media reports of his heavy-handed, intimidating tactics, Grant was respected in the business. Jones said, "Peter was a very sensitive man. He was a very, very smart man. People just think of his size and his reputation, but actually he never had to use his size. He could out-talk anybody ..."[19]

Grant was instrumental in setting up Led Zeppelin's publishing company, Superhype Music in 1968. He was also the driving force in establishing Swan Song Records in 1974, which gave Led Zeppelin further financial and artistic control over its products. Although initially he solely managed Led Zeppelin, in later years he additionally assumed management of other bands signed to Swan Song, such as Stone the Crows, Bad Company and Maggie Bell. In 1975 he turned down a lucrative offer to manage Queen. When he was once questioned on what was the single most important thing a manager could say, Grant's response was "Know when to say 'no'." In 1977, he was asked by Colonel Tom Parker to manage a proposed concert tour of Europe by Elvis Presley, but Elvis died on 16 August 1977, just as negotiations had commenced.

Mr Zeppelin Arrepentimientos[editar]

In January 1972, Bernard Chevry, manager of the Midem music business festival wrote to Grant, asking for "Led Zeppelin and his backing group" to appear. Grant was annoyed that Chevry did not realise Led Zeppelin were a group, and in response took out a full-page advertisement in the trade paper Record Retailer, showing the original Midem letter, captioned "Mr Zeppelin Regrets. ... ." The response was seen by most of the music industry, and humiliated Midem. Grant later described Chevry as "a prat".[20][21]

Accidente en Oakland[editar]

In 1977, Grant gave his approval for Led Zeppelin's tour manager Richard Cole to hire John Bindon to act as security co-ordinator for the band's concert tour of the United States. Bindon had previously provided security for actors Ryan and Tatum O'Neal.

Towards the end of the tour, a major incident occurred during their first concert at the Oakland Coliseum on 23 July 1977. Upon arrival at the stadium, it was alleged that Bindon pushed a member of promoter Bill Graham's stage crew out of the way as the band entered the stadium via a backstage ramp. Tension had been simmering between Graham's staff and Led Zeppelin's security team during the day, and as Grant and Bindon were walking down the ramp near the end of the concert, words were exchanged with stage crew chief Jim Downey, which resulted in Bindon knocking Downey unconscious.[22]

Within minutes, a separate off-stage incident involving Graham's security man Jim Matzorkis, who allegedly slapped Grant's 11-year-old son Warren over the removal of a dressing room sign,[23][24][25]​ escalated into an all-out brawl that resulted in Matzorkis being taken to hospital after being beaten by Grant and Bindon. The band, except John Bonham, were performing on-stage and were unaware of what was transpiring backstage.[26]​ Led Zeppelin's second Oakland show took place only after Bill Graham signed a letter of indemnification absolving Led Zeppelin from responsibility for the previous night's incident. However, Graham refused to honour the letter because, according to his legal advice, he was under no obligation to agree to its terms.

Members of the band returned to their hotel after the concert, and were woken the next morning by a surprise police raid after Graham had changed his mind and decided to press charges.[27]​ Bindon, Cole, Grant and Bonham received bail and travelled to New Orleans on 26 July, but the remaining dates on the tour were subsequently cancelled due to the sudden death of Robert Plant's son, Karac, back home in the UK. As they returned to Britain a suit was filed against them by Graham for $2 million.[28][29]

After months of legal wrangling, Led Zeppelin offered to settle and all four pleaded nolo contendere, receiving suspended sentences and undisclosed fines. Bindon had already been dismissed by the band upon return to Britain. Grant later stated that allowing Bindon to be hired was the biggest mistake he ever made as manager.[30]

Después de Led Zeppelin y su muerte[editar]

Horselunges Manor
Horselunges Manor, Grant's Home in East Sussex

Marital problems, diabetes, cocaine addiction and the death of Led Zeppelin drummer John Bonham all took their toll on Grant's health, and after the official breakup of Led Zeppelin in 1980, and the subsequent folding of the Swan Song label in 1983, he virtually retired from the music business to his private estate in Hellingly, East Sussex.

Towards the end of his life, however, he conquered his addiction and lost a significant amount of weight. His first public appearance for many years was in 1989, when he and Jimmy Page both attended a Frank Sinatra concert at the Royal Albert Hall. Grant subsequently sold his estate, and moved to nearby Eastbourne, where he was offered the civic position of local magistrate for the town council, but turned it down.[31]​ In 1992, he appeared in the film Carry On Columbus as a cardinal.[32]​ In his remaining years, Grant became a keynote speaker at music management conferences such as In The City, where he was lauded by latter-day peers.[33]

On the afternoon of 21 November 1995, while driving to his home at Eastbourne, Grant suffered a fatal heart attack, his son Warren by his side. He was 60 years old. Grant was buried on 4 December 1995 at Hellingly Cemetery, with the funeral service held at St Peter and St Paul's Church, Hellingly, East Sussex. His eulogy was read by longtime friend Alan Callan.[34]​ Coincidentally, it was the 15th anniversary of Led Zeppelin's official breakup. His final public appearance had been at the final night of the Page and Plant tour at the Wembley Arena in July 1995.[33]

Grant was survived by son Warren, his two daughters Amy and Tiffany and his sister Helen.

Tributos y elogios[editar]

Grant has been widely recognised for improving pay and conditions for musicians in dealings with concert promoters. According to music journalist Mat Snow, "Peter Grant enjoys a proud position in the pantheon of legendary British rock managers."[35]​ stated that "Peter Grant was the most colourful and influential manager in the history of rock."[cita requerida] Phil Everly, from the Everly Brothers, noted that "[w]ithout his efforts, musicians had no careers. He was the first to make sure the artists came first and that we got paid and paid properly."[36]

Chris Dreja, whom Grant had managed whilst he was with the Yardbirds, recalls:

We owe so much to that man. He changed the balance for musicians ... His vision was amazing. His dedication was with Led Zeppelin, and between them they had a very powerful tool.[11]

Similarly, Page has described Grant as groundbreaking in his style of management, explaining that "Peter had changed the dynamic that existed between bands, managers and promoters. He was a superb, canny manager."[37]

In 1996, the MMF (Music Managers Forum) award for outstanding achievement in management was renamed the Peter Grant Award, in his honour.


Apariciones en la televisión[editar]



  1. Welch, 2002, p. 14.
  2. Led Zeppelin In Their Own Words compiled by Paul Kendall (1981), London: Omnibus Press. ISBN 0-86001-932-2, pp. 17-18.
  3. a b c d Mick Wall (2008), When Giants Walked the Earth: A Biography Of Led Zeppelin, London: Orion
  4. Ian Fortnam, "Dazed & confused", Classic Rock Magazine: Classic Rock Presents Led Zeppelin, 2008, p. 34.
  5. Welch, 2002, p. 69.
  6. Shepherd, Fiona (1999). «Recognise the face of bass? (Clue: Think Led Zeppelin)». The Scotsman (ECM Publishers, Inc). (subscription required). Consultado el 14 de abril de 2012. 
  7. Welch, 1994, pp. 24,56.
  8. Dave Lewis (2003), Led Zeppelin: Celebration II: The 'Tight But Loose' Files, London: Omnibus Press. ISBN 1-84449-056-4, p. 30.
  9. Liner notes by Cameron Crowe for The Complete Studio Recordings
  10. Lewis y Pallett, 1997, pp. 67-69.
  11. a b A to Zeppelin: The Story of Led Zeppelin, Passport Video, 2004.
  12. Error en la cita: Etiqueta <ref> no válida; no se ha definido el contenido de las referencias llamadas tripleJ
  13. Newspaper clipping on (official site)Uso incorrecto de la plantilla enlace roto (enlace roto disponible en Internet Archive; véase el historial y la última versión).
  14. Welch, 1994, p. 56.
  15. Led Zeppelin official website: concert summary
  16. "I first met Jimmy on Tolworth Broadway, holding a bag of exotic fish ...", Uncut, January 2009, p. 40.
  17. Lewis y Pallett, 1997, p. 912.
  18. Steven Rosen, "Led Zeppelin's 1977 Tour - A Tragic Ending!", Classic Rock Legends.
  19. David Cavanagh, "Interview with John Paul Jones", Uncut.
  20. Lewis y Pallett, 1997, p. 148.
  21. Welch, 2002, pp. 131-132.
  22. Welch, 2002, p. 201.
  23. Welch, 2002, p. 278.
  24. Welsh, Chris (2001). John Bonham: A Thunder of Drums. p. 117. ISBN 0-87930-658-0. 
  25. Rapallo, Sam (May 1992). «Oakland Incident Revisited». Electric Magic: The Led Zeppelin Chronicle (US: Electric Magic Press): 12-18. 
  26. Williamson, Nigel (2007). The Rough Guide to Led Zeppelin. London: Dorling Kindersley. p. 122. ISBN 1-84353-841-5. 
  27. Graham, Bill; Greenfield, Robert (2004). Bill Graham: My Life Inside Rock And Out. Da Capo Press. p. 267. ISBN 0-306-81349-1. 
  28. Welch, 2002, pp. 203-204.
  29. Chris Welch (1994) Led Zeppelin, London: Orion Books. ISBN 1-85797-930-3, p. 85.
  30. Williamson, Nigel (2007). The Rough Guide to Led Zeppelin. p. 248. ISBN 978-1-84353-841-7. 
  31. Welch, 2002, p. 240.
  32. Ross, Robert (2002). The Carry on Companion. p. 135. ISBN 0-7134-8771-2. 
  33. a b Lewis y Pallett, 1997, p. 913.
  34. Peter Grant's eulogy, reproduced by Led Zeppelin fanzine Proximity
  35. Mat Snow, "Apocalypse Then", Q magazine, December 1990, p. 77.
  36. Pace, Eric, "Peter Grant, 60, An Ex-Wrestler Who Managed Led Zeppelin", New York Times, 26 November 1995.
  37. Blake, Mark, "The Keeper of the Flame", Mojo magazine, December 2007.


  • Lewis, Dave; Pallett, Simon (1997). Led Zeppelin: The Concert File. London: Omnibus Press. ISBN 0-7119-5307-4. 
  • Welch, Chris (1994). Led Zeppelin. London: Orion Books. ISBN 1-85797-930-3. 
  • Welch, Chris (2002). Peter Grant: The Man Who Led Zeppelin. London: Omnibus Press. ISBN 0-7119-9195-2. 

Links Externos[editar]

Plantilla:Led Zeppelin Plantilla:The Yardbirds