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.

Led Zeppelin isn't done yet, quite clearly, because every year since 1968 there's been new fans.

I don't think drums had ever sounded so big until Led Zeppelin's first album.

I don't really know anything about sales figures, to be honest with you.

I wanted to emulate music from America - young punks playing rock n' roll is what it was. I read part of Keith Richards' autobiography, and it was totally parallel with me, learning from American records.

In the Led Zeppelin shows of the Sixties and Seventies, it was the same numbers every night, but they were constantly in a state of flux. If I played something good, really substantial, I'd stick it in again.

I prefer to hear an artist's work and what they can do, so as far as I'm concerned, I'd get a lot more out of a collection of songs to be able to understand what the musician is doing.

Listening to John Bonham is just a sheer celebration of his playing - it can't help but fill you with so much joy.

If I'm going to put my image into something, I'll put my image into something that I actually feel like I'd like to do.

I seem to have tireless energy when I get involved in things, on an almost OCD basis, which is a good way to do things because if you're gonna do something, you'd better make sure you do it well.

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.

I really don't listen to Led Zeppelin that much.

Almost the moment he died, they put him in Playboy as one of the greatest drummers, which he was - there's no doubt about it. There's never been anybody since. He's one of the greatest drummers that ever lived.

But to put out a greatest hits on one CD was totally impossible, I just couldn't do it. The best compromise was to put out two CDs - Early Days - which is what it is - and Latter Days.

I think it was that we were really seasoned musicians. We had serious roots that spanned different cultures, obviously the blues.

I really love playing live - it's such a gas.

I would say New York, Chicago, Memphis, and Los Angeles were my favorites.

You get a chance like that maybe once in your lifetime, and you are lucky to sustain it over that period of time. It doesn't mean to say that whatever I do in the future has no substance to it - I may present some new material I've got, and there are definitely new angles of doing it - but I'm not looking to recreate another Led Zeppelin.

I can understand why we got bad reviews. We went right over people's heads. One album would follow another and would have nothing to do with what we'd done before. People didn't know what was going on.

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.

When I was still in the Yardbirds, our producer, Mickie Most, would always try to get us to record all these horrible songs. During one session, we recorded 'Ten Little Indians,' an extremely silly song that featured a truly awful brass arrangement.

I do not recall ever seeing Spirit perform live.

I consider descending chromatic lines and arpeggiated chords basic skills learned by any student of the guitar.

I'm involved in all things musical. It's all consuming, even if it doesn't necessarily manifest as a record or a concert.