"I listen to this record all the way through - even 'Moby Dick'. To me it encapsulates the Led Zeppelin sound, because the engineering on it is so magnificent. The fact that a four-piece band can sound so vast. Obviously there are great tracks on III and IV. But I feel that II is the most complete album. It's amazing to find out they recorded it mostly on tour. Extraordinary. It sounds like it was recorded in one room. I think it's accounted for by the fact they just sound like that. They just sound that magnificent. I was not a huge fan of the first album. I remember reading the story about how, I think it was Glyn Johns again, the story about him playing it to George Harrison, and George Harrison didn't really get it. I wonder if he had played him Zeppelin II he'd have got it. I is not my favourite. On II it felt fully realised. They'd pulled away from that influence of blues; it was still there, but they'd merged it into their own thing. Which again I think is something that people don't associate with Simply Red – we've been enormously influenced by African American music, but we've been influenced by it from a different era. The marriage between black and white started with Bing Crosby and Frank Sinatra and George Gershwin and all these people that ran through music, right through to Elvis, to Jagger, to Robert Plant – we've all in our own ways been enormously influenced by African American music. But the real thing to celebrate is that we made something different out of it. We didn't just copy it. The British especially turned it into something else. It became what we now know as rock music. The Beatles and the Stones are the people who can justifiably claim to have invented what we know as rock music. Not rock & roll, not R&B, not blues, but rock. And that is something to celebrate."

"The last one I think might be the most unusual one and this is footage shot by Zora Neale Hurston, who we know as a writer, a novelist, the author of Their Eyes were Watching God (the basis for the eponymous film), which is her best-known work. [She] was also a playwright, short story writer, and screenwriter for a while in her career. Really a Renaissance woman. When she was a student, she was studying anthropology with France Boulez at Columbia, and she was doing her fieldwork as an anthropologist on the kinds of communities that she grew up in, in Florida. In the late 1920s, she had a car and a 16-millimeter camera and she drove down to Alabama and Florida and she shot footage, ethnographic footage, as a part of her research. We featured some of this material on the Pioneers of African-American Cinema box set that I co-curated that was released by Kino. The footage is not narrative and it’s not exactly documentary either, in the sense that she never put together a work that then she was sharing with other people — it was for her research purposes. But she shows men who are logging, for example. My favorite passage of the footage was when she shows children playing games. The can game, and games when they’re in a circle or square and trading off movement and those kinds of things. We can see she’s capturing information that she’s going to use to talk about these cultural practices in her academic writing. It’s also really clear in the attention she pays the children and the attention that she pays to the movements of women, the way that she captures, even in the silent films, the rhythm and the musicality of church service. We can see visually the style that she’s developing that then she folds into her writing practice. We can say, because we know about this work that Zora Neale Hurston seems to be one of the first African-American women filmmakers, and so it gives us a deeper sense of her creative practice and her intellectual practice as well."