I love the feeling of letting fly, of pushing as far as I could go with my voice. The only way you can really graduate how you do it is by doing it regularly to people who don't have to be super impressed. You can do it in the studio all day long but you don't get the flashback that you get onstage.

When you're singing we all phrase each other in the most remarkable ways. I might hit some sort of thing I've never done before - some vocal pattern. Bonzo will pick it up - he'll phrase with me instantly and then Pagey may join in or start some other phrase - it's like a quadrant.

I hate cliché. And when you're a rock singer in 1966, or whatever it was, psychedelic blues, through to the '70s, which we know all about, and the '80s, which was a scramble to hang on in, and the '90s, which was a great time for experimentation... and I'm really still excited. The huge vast diagonals within the music that I've been involved with.

I think we're in a disposable world and 'Stairway to Heaven' is one of the things that hasn't quite been thrown away yet.

So for a long time I closed my eyes to the possibility of America having a white voice.

I don't want to scream 'Immigrant Song' every night for the rest of my life, and I'm not sure I could.

I met Jason Donovan at RAK studios. He had jodphurs on and small riding boots as he jumped out of the cab. He looked just like me!