I get a bit quick-tempered sometimes.

It's important to me to be able to hit the notes and just be able to fly when I sing.

I just try to keep an open mind, and that's the way a lot of good things happen.

The Skynyrds and I go back to the '70s and the days and nights at the Hyatt House on Sunset in L.A., aka the Riot House.

If not for music in my life as a young person, who knows where I would have focused my energy.

One of my dreams was always to have a piano - a room with a piano overlooking the ocean or a lake.

When I left Free back in 1972, I didn't play 'All Right Now' until about 1996, when I was touring with Jason Bonham, and we were supporting the tribute record we had done to Muddy Waters.

I've always been a Jeff Beck fan. Who isn't? He is in a league of his own.

With Free, we had phased out all of the blues material and wanted to phase in all original material, and the only song that stayed from our blues past was 'The Hunter' by Albert King. People just loved that. And I said, 'We have to write a song that will top that - otherwise, what are we doing here?' That was the birth of 'All Right Now.'

There are just so many people making music out there. I've always promoted the idea that everybody needs to make music. I think the more music there is in the world, the better, but it does make it highly competitive.

'That's How Strong My Love Is' carries a message that resonates with the broken-hearted, and most of us have been there.

I look at John Lee Hooker and Muddy Waters, guys who had a fantastic longevity, and I learned something from them. They didn't try to sell records. They weren't saying, 'Ok, what can I write, what can I do in the studio that will sell?' They were just doing their thing, and people picked up on it. I like the idea of that.

The first record I bought was actually Booker T and the MG's 'Red Beans and Rice.'

You go through periods of times where bands are calling the shots, and then sometimes, you've got the record companies calling the shots. I think it has to be a bit of both to make the thing work.

I enjoyed playing with the guys in Free Spirit so much because they really dug into Free material, and I really liked how they expressed it. They have a lot of dynamics.

I have a lot of analog. I think a lot of people do. There are a lot of people that are re-discovering it. I still have a lot of my old records from back in the day. It's a joy to play things like Junior Wells' 'Hoodoo Man Blues,' and John Mayall & The Blues Breakers with Eric Clapton. There's a warmth that you can still feel.

I got the idea of meditation from The Beatles. It was a fad, but I've found it beneficial in my crazy life.

When we formed Bad Company, I looked around and asked, 'Who is the biggest rock band in the world?' The answer was undoubtedly Led Zeppelin. Peter Grant was their manager, so we got him to work with us. That made the difference for Bad Company.

I carry my own tea, food, and Tabasco on the plane with me.

I loved the 'Free Spirit' tour and the guys who helped create the magic: Pete Bullick, Rich Newman, Ian Rowley and Gerard 'G' Louis.

As a performer, the thing that I love is to see people come together.

I got the idea of what a band should be from listening to Booker T and Otis Redding.

I saw The Jeff Beck Group at the Marquee Club in 1967, when he was with Rod Stewart, and holy smokes, they were amazing.

I had a band when I was 14, and we would play around in my hometown of Middlesbrough, and we'd go to the club afterwards, which was the Purple Onion then. There would be live bands playing, and in between that, the DJ would be playing records.