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Performing my father's songs at the Led Zeppelin O2 reunion concert in 2007 was an honor that I will forever remember as one of the most bittersweet, yet greatest nights of my life.
I hope fans will go back and listen to the Beatles and the Beach Boys or Led Zeppelin, or put on 'Tommy' and let them experience like I did that moment when 'Pinball Wizard' comes on.
I'm playing my father's music and I'm a fan of Led Zeppelin. The response has been beyond what I ever imagined it would be. Unreal. Everyone seems to understand the story I'm telling.
I never listen to Led Zeppelin. But, I mean, I don't think Robert Plant or Jimmy Page listen to Led Zeppelin, either. We all probably obsessed over the same old blues records growing up.
Led Zeppelin is part of my life, a huge part, that I enjoy immensely. But I don't want people to think this is all that I do. There is a creative side to my brain that needs to be fed, too.
There's so much music from Led Zeppelin that I think I overlooked when I was a kid because I didn't understand it, so now to revisit it at an older age, I have a deeper appreciation for it.
There were a lot of different styles in the house - Motown, Led Zeppelin, Rolling Stones, jazz - and my dad played flamenco guitar. Soon I realized that bass was what was really grooving me.
My favorite bands are Hank Williams Jr. and Led Zeppelin. When it's rock, it's '70s rock, and when it's country, it's '70s country. For me, it's the grit and dirt of music that I love so much.
For a long time, when I was very young, I went to go see arena rock bands. I was 16, and it was all I could get in to see, legally. And I saw Led Zeppelin and Ted Nugent and Van Halen and all that.
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.
I love Aerosmith. I love Guns N' Roses, AC/DC, anything from that era, Led Zeppelin. So my guitar style is very much like Slash or Jimmy Page. I love playing that kind of music. It's where my heart's at.
I am notoriously hard on myself in terms of working on new material and while I am critical of my performance on the Led Zeppelin material, I am way more critical of my own stuff. I'm pretty hard on myself.
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.
When I was little and I was introduced to Led Zeppelin, I didn't know what a zeppelin was or who Zeppelin was or what the machine was. The real meaning is whatever feelings and memories you attach to the music.
I read one article that called me the 'latest pretender to the Led Zeppelin throne.'… If I saw the guy I'd knock him out. Because that's not true - I'm not pretending anything. If my records sell, it's because of me.
From the first album, Led Zeppelin was always going to be a totally new approach from what had gone before - whether it was approaching the blues or folk music like 'Babe I'm Gonna Leave You': nothing existed like that.
My daughter wasn't into that type of rock music and kind of played it off. But then these teenage boys started coming around, and Led Zeppelin, I don't know, it became reinvented. Now she's very proud of her grandfather.
My favorite type of music to sing to would be rock and roll, Tenacious D, Led Zeppelin, some Queen - I love all of them. I love singing to them because they're all just great voices. I love listening to very obscure jazz.
We're trying to have the band create something beautiful that hopefully one day, 20 years from now, can be picked up by a kid and hopefully have the same effect that Neil Young had on me, or Led Zeppelin or Black Sabbath.
I did not want to go onstage and play Led Zeppelin songs; there has to be more than that. I wanted to create a complete experience of what Led Zeppelin means to me, growing up around them and being part of it all my life.
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 realized what Led Zeppelin was about around the end of our first U.S. tour. We started off not even on the bill in Denver, and by the time we got to New York we were second to Iron Butterfly, and they didn't want to go on!
My style of singing has always been referred to 'soul' singing when it fact it's more influenced by English R&B Blues Shouting. I'm closer to Led Zeppelin as a vocalist than to Ella Fitzgerald. It was torture dealing with major labels.
Nothing that Robert Plant does will ever equal Led Zeppelin, but that doesn't mean he's going to stop being creative. Jimmy Page has so many incredibly cool projects, but it's not Led Zeppelin; there will only ever be one Led Zeppelin.
You're always frustrated, you don't have the chance to do a song on the album, like the Beatles did with Ringo and George, or like Led Zeppelin, where everybody was given a chance to contribute. There never is a chance with the Stones.
Wings was one of the first bands in the 1970s to do stadium tours, as well as Led Zeppelin. We had all the most up-to-date equipment from monitor systems to a laser light show and that was like the biggest, most awesome experience for me.
In between 15 and 20 - probably at around 17 - my interests switched from hard rock to punk rock. And then by 20 they were circling out of punk rock back into Black Sabbath, Led Zeppelin, the stuff that I didn't get to when I was younger.
Like any family, like any group - the Beatles, Led Zeppelin, EPMD, Public Enemy - they've had bumps in the road. I just think that because A Tribe Called Quest is so precious to fans, they were concerned about unveiling some of those things.
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.
So much of the time people focus on the awesome power of Led Zeppelin, the whole 'Hammer of the Gods' thing, but John Paul Jones, probably because he was a session player, he put a lot of thought into his playing. He didn't just lumber through.
The only advice I can give is to absorb as much as you can from as wide a spectrum as you can. If you're in a rock band and only soak up Black Sabbath, Led Zeppelin, and Deep Purple kind of beginnings, then you're not going to have much leeway.
So many things for me are unfortunate in the commercialization of something that is special. It's like when Led Zeppelin appears in Cadillac commercials. There's something that is taken away from your love of this thing and your connection to it.
GN'R was five guys who were all into different things. I liked pop and disco, Izzy was into New York rock, Slash loved Aerosmith and Led Zeppelin, Axl was into Genesis and Elton John, and Duff was a punk rocker. We all blended that stuff together.
Am I the man who killed Deep Purple? I don't think so. I think every band from that era, even if you look at Led Zeppelin, if you look at their first four albums, they're extremely different from one another, and I've never made the same album twice.
I played guitar all my life, all the way through the Yardbirds, but I knew that for me, this was going to be a guitar vehicle, because that's what I wanted it to be. There is no way I would play guitar like a tour de force like I did in Led Zeppelin.
I wasn't personally that familiar with the Classic Rock bands. That is where Jorn Viggo came in: he played me tons of that stuff - Deep Purple, Led Zeppelin, plus a lot of bands with cool songs, riffs, vocals, etc. We really listened to tons of music.
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.
Everyone knows who Bonzo is - you can just go pick up those books and read these fisherman's-tale stories. But at home he was a regular dad who would ground me and embarrass me in front of my friends. He was in Led Zeppelin and he would still embarrass me!
I've built an 8-track studio in my house that's virtually identical to what they used at Abbey Road, and I also own the 16-track set-up that Led Zeppelin used to record 'Houses of the Holy.' I'm interested in producing, but I'm mostly recording my own stuff.
Imagine a music business where all the music press talked about, all day long, was cover bands of old rock and pop groups. Beatles cover bands, Rolling Stones cover bands, The Who cover bands, Led Zeppelin cover bands. Cover bands, cover bands, everywhere you go.
Growing up, as much as country was a big influence in my life, the Rolling Stones and the Beatles and Led Zeppelin were such a close second. My first concert ever was the Rolling Stones in Denver. I snuck a camera backstage and filmed Mick Jagger during sound-check.
When the blues came out, it was something pure and undefined, but when all these white groups got hold of it, it became something else that didn't sound anything like the original. So you had Led Zeppelin doing their thing, which had come all the way from the blues.
I saw Deep Purple live once and I paid money for it and I thought, 'Geez, this is ridiculous.' You just see through all that sort of stuff. I never liked those Deep Purples or those sort of things. I always hated it. I always thought it was a poor man's Led Zeppelin.
I grew up listening to The Beatles, Led Zeppelin, and every record those bands put out was very unique in its own right. I have that mentality. too: if a song sounds like something I've already done, then I'll throw it out, because I want each record to be a progression.
I don't feel a real need to specify the meaning of something. When I was little and I was introduced to Led Zeppelin, I didn't know what a zeppelin was or who Zeppelin was or what the machine was. The real meaning is whatever feelings and memories you attach to the music.
Growing up, I was listening to a ton of Motown music, Otis Redding, Aretha, and then there was the Beatles and Led Zeppelin and Janis Joplin. These were all people that I felt as though they truly felt every single lyric they said, and they weren't afraid of imperfection.
I dabbled in things like Howlin' Wolf, Cream and Led Zeppelin, but when I heard Son House and Robert Johnson, it blew my mind. It was something I'd been missing my whole life. That music made me discard everything else and just get down to the soul and honesty of the blues.
Because Led Zeppelin weren't having to worry about doing singles, each time we went in to record, it was a body of work for an album. So you could get the shift and the movement forwards as opposed to having to be rooted back to a single that might have been done a year ago.
I've been working on some original songs with the band that does the Led Zeppelin experience. We're going to start writing as an original band and see what comes out of it. It'll be kind of Zeppelin-esque because of the way the guys play - but there's nothing wrong with that.
Music was so important to the culture when I was growing up in the Sixties and Seventies. We just expected that Bob Dylan was going to make a great record, and it was normal. It was like, 'Okay, here's another great record by Bob Dylan; here's another great record by Led Zeppelin.'