Classical music's ability to translate emotional themes is fantastic.

We had a missionary zeal about blues music, and I felt, particularly, that Mickie Most was attempting to homogenize, sweeten, and make it accessible for the mass market. Which is understandable if you're the producer, but aggravating if you're the artist.

I quite like childlike songs, which sometimes cross over.

The one phrase you can use is that success has a thousand fathers, and failure is an orphan.

Classical music's ability to translate emotional themes is fantastic.

I think it's like everything else; one shouldn't dig too deeply. It's silly to say that with a journalist, but sometimes there is not a truth to be found.

The only time it dominates is during a solo, or when we play a low blues and I put figures in behind Eric's vocals. There's never any real problem fitting guitar and organ together.