I remember once doing a gig in Ireland, and there was a woman jumping around and screaming, 'I don't know what this is but I love it!' I thought that was a nice compliment.

I never miss a vote; I think that's the power of the people. A lot of people fought and died for us to have votes, for women to have votes in particular - your vote is your one weapon.

I'm sorry, but Juicy Couture tracksuits and Ugg boots don't move me in any way, shape or form. I refuse to wear them. Modern fashion doesn't appeal to me; the 1950s were better in every way, don't you think?

I don't see why women have to get naked to sell an album. It's crazy.

My music, you know I'm not lying about anything, and the way you can tell is how in-depth I can get about everything I'm talking about.

I think, a lot of times, the mistake in music - even rappers that are trying to be big time - if you're broke, rap about being broke. If you're sensitive, rap about being sensitive, 'cause there are other sensitive people. If you're sensitive, but you talk about being a tough person that doesn't care about anything, people will call your bluff.

For singers, I believe we can sing in a lot of keys. I know I have this big range, but the point is to find a key that emotionally connects people.

Who am I, if I'm not this singer with big high notes? I identify with my voice. But I'm more than just the acrobatics.

I definitely use my music to kind of alleviate my stress and get me through specific moments in time where I'm just being really tough on myself.

That's what I love about songwriting - that you can write something about your own experiences and think it's completely specific to you, and then people can take away a completely different meaning for themselves. I really love that. I think you've been successful at writing a song when it has a larger life than yourself.

I feel very fortunate to have been able to do what I do for a living.

I've tried to avoid the rock & roll highway and have taken the scenic route. I think all the guys have been more concerned with the music and the band's legacy than with the commercial aspects of life.

When you're young, you're immortal, or so you think, and you never think there will be problems ahead.

There's very little you can do these days about having any impact at a launch for a record unless you keep it very secret, because communications are so immediate, and YouTube and everything else kind of spoils the party.

Life's not so rocky now. It was very volatile when you're young: you've got no experience. Your sense of disappointment is far greater; your sense of success is overwhelming. And then you've got the emotional conflict within any group that you're not mature enough to deal with until you get older. It levels out.

The thing about a band is, it's not so much how good the musicians are - it's the blend of personalities and characters. It's the human chemistry that makes up a good team.

If you start adapting to audiences, you're really second-guessing the situation, and it becomes a bit more like cabaret.

When I was a kid, every street had a band, and we'd steal members from each other.

When I was in my formative years, I rejected Frank Sinatra, Bing Crosby, Andy Williams, and Dean Martin. I now realise they were all great artists, but at the time, as a young man, you have to clear the decks.

Infinity is almost impossible for an eight-year-old to grasp. It's an inquiring age, and you're beginning to shape your thoughts and questions about life in general at that stage.

I don't think we were anti-commercial. But we were anti-contrivance, and like Zeppelin, we found dignity through the music we were playing.

I realised that if I wanted to carry on with my musical dreams, I had to change, so I started meditating, and I changed my life entirely.

I've consciously avoided actually reading anything about Wikipedia.

I have to think that 'Nessa Dorma' is the greatest rock ballad that's never been recorded as such.