THE STUDIO BROADCAST (2CD) by DAVID COVERDALE & JIMMY PAGE Compact Disc Double

The Coverdale-Page project commenced in 1991 at the suggestion of American A&R executive John Kalodner, as both artists were

signed to Geffen Records at the time in North America. The two had met at least once before, at Castle Donington's 1990 Monsters of Rock festival, which Whitesnake headlined. Aerosmith were second on the bill and Page guested on their encore, "Train Kept A- Rollin'".

The pair’s only studio album was released by Geffen in North America and EMI internationally, on 15 March 1993. The LP wasrecorded at Little Mountain Sound Studios in Vancouver, Criteria Studios in Miami, Granny's House in Reno, Nevada and Abbey Road Studios, London. Recording commenced in the autumn of 1991 and concluded in early 1992. It was produced by Page, Coverdale and Canadian record producer, Mike Fraser. Coverdale-Page reached No. 4 in the UK and No. 5 on the US Billboard 200 chart.

Two months after the LP hit the shelves, Robert Plant released his solo album Fate of Nations. Critics were not impressed, and it peaked at Number 34, by far the worst showing of his solo career. He wound up opening up for Lenny Kravitz on the road! He wasunable to mask his disdain for Coverdale/Page when speaking to the media, labelling the project “David Cover-version.” It was rightaround this time he phoned up Page and began talking about the possibility of some sort of reunion. This immediately put the kibosh on the planned giant Coverdale/Page tour, and they wound up playing nothing more than a tiny run of shows in Japan that December.

Prior to hitting the road however, Dave and Jim booked studio time to rehearse their set and, somewhat unusually, they agreed to let a tiny local radio station broadcast the entire proceedings. This new CD contains this rehearsal session, released here for the first time, which makes available something of a ‘fly-on the-wall’ introduction to Messrs Coverdale and Page performing a set of not-half-badmaterial, which, to be honest, and despite Bob Plant’s criticisms, is actually somewhat more enjoyable and creative than his own work from the same period.