There's a certain standard in classical music that allows the application of the term "genius," but you're treading on thin ice if you start applying it to rock & rollers.

There's music that can affect people in their lives, and they will always relate to the point that they heard it and experienced it, either if you're playing it or you're receptive, as an audience.

Once I get onstage the tension explodes and I'm fine. I'm in another world - in a trance almost, doing what I love best, expressing myself through guitar.

We were never a band that did 96 takes of the same thing. I had heard of groups that were into that kind of excess around that time. They'd work on the same track for three or four days and then work on it some more, but that's clearly not the way to record an album. If the track isn't happening and it creates some sort of psychological barrier, even after an hour or two, then you should stop and do something else. Go out: go to the pub, or a restaurant or something. Or play another song.

I don't want to get too dippy about all this. If you take the view of the scientist and everything is in a state of vibration, then every note is a vibration, which has a certain frequency, and you know that if you put 40 beats into a frequency it's going to be the same note every time. You take that into infrasound and people can be made to be sick, actually killed. Taking it the other way, not to be too depressing, what about euphoria, etc., and what about consciousness being totally... no, I won't go into that one. Time warps.

I'm pretty optimistic about the future of rock... it will be back to composition as in classical music or jazz.

I don't deal in technique. I deal in emotions.