I wasn't on 'You Really Got Me,' but I did play on the Kinks' records.
Right from the first time we went to America in 1968, Led Zeppelin was a word-of-mouth thing. You can't really compare it to how it is today.
I really don't listen to Led Zeppelin that much.
I do know there's a lot of music where Led Zeppelin has been leant on. We didn't do anything about it. And I wouldn't want to, either.
Led Zeppelin isn't done yet, quite clearly, because every year since 1968 there's been new fans.
The re-releases have more than doubled the amount of Led Zeppelin work out there. I wanted it done authoritatively, 'cause I was the one writing the stuff; I was the producer and mixer. I don't think it's any more weird than writing your autobiography.
We were lucky in the days of Led Zeppelin. Each album was different. We didn't have to continue a formula or produce a certain number of singles. Because, in those days, radio was still playing albums. That was really good.
I would say New York, Chicago, Memphis, and Los Angeles were my favorites.
The fourth album encapsulated some remarkable music that was really groundbreaking. We were able to have something like 'When the Levee Breaks,' which, sonically, was very menacing. But then you had the flip side: something like 'Going to California,' which is really intimate.
With Led Zeppelin, it has always been that mystique of how the music is done - how it works, why it works.
How many guitars do I have? I don't know. I don't know! But I think the answer to it is, more than I can play at any one point in time. Even though I do have double necks, so I can try and play more than at one time!
That's one of the problems with the Zeppelin stuff. It sounds ridiculous on MP3. You can't hear what's there properly.
I play like I play. You hear it on 'Celebration Day.' It's pretty good for a one-night shot.
I liked the Sex Pistols' music. I thought it was superb.
You shouldn't really have to use EQ in the studio if the instruments sound good. It should all be done with microphones and microphone placement.
You want that - peers respecting what you're doing.
Zeppelin vinyl is quite revered in audiophile circles.
The whole thing about 'The Rover' is the whole swagger of it, the whole guitar attitude swagger. I'm afraid I've got to say it, but it's the sort of thing that is so apparent when you hear 'Rumble' by Link Wray - it's just total attitude, isn't it?
Our intent with Led Zeppelin was not to get caught up in the singles' market, but to make albums where you could really flex your muscles - your musical intellect, if you like - and challenge yourself.
Because we spent so much time in the States in the beginning, we weren't able to do so much in England. It was slower catching up. And we didn't have radio here like what was called underground radio over there. So we got these little slots on the BBC.
