If Jimmy Page is the Steven Spielberg of guitarists, then “Stairway” is his Close Encounters. Built around a solid, uplifting theme—man’s quest for salvation—the epic slowly gains momentum and rushes headlong to a shattering conclusion. The grand finale in this case is the song’s thrill-a-second guitar solo.

Page remembers: “I’d been fooling around with the acoustic guitar and came up with several different sections which flowed together nicely. I soon realized that it could be the perfect vehicle for something I’d been wanting to do for a while: to compose something that would start quietly, have the drums come in the middle, and then build to a huge crescendo. I also knew that I wanted the piece to speed up, which is something musicians aren’t supposed to do.

“So I had all the structure of it, and ran it by [bassist] John Paul Jones so he could get the idea of it—[drummer] John Bonham and [singer] Robert Plant had gone out for the night—and then on the following day we got into it with Bonham. You have to realize that, at first, there was a hell of a lot for everyone to remember on this one. But as we were sort of routining it, Robert started writing the lyrics, and much to his surprise, he wrote a huge percentage of it right there and then.”

Plant recalls the experience: “I was sitting next to Page in front of a fire at our studio in Headley Grange. He had written this chord sequence and was playing it for me. I was holding a pencil and paper, when, suddenly, my hand was writing out the words: ‘There’s a lady who’s sure, all that glitters is gold, and she’s buying a stairway to heaven.’ I just sat there and looked at the words and almost leaped out of my seat. Looking back, I suppose I sat down at the right moment.”

While the spontaneous nature of Plant’s anthemic lyrics came as a pleasant surprise, the best was yet to come. The beautifully constructed guitar solo that Guitar World readers rated the “best ever” was, believe it or not, improvised.

“I winged it,” says Page with a touch of pride. “I had prepared the overall structure of the guitar parts, but not the actual notes. When it came time to record the solo I warmed up and recorded three of them They were all quite different from each other. All three are still on the master tape, but the one we used was the best solo, I can tell you that.”

“I thought ‘Stairway’ crystallized the essence of the band. It had everything there, and showed the band at its best. I’m not talking about solos or anything; it had everything there. Every musician wants to do something that will hold up for a long time, and I guess we did that with ‘Stairway.’"

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