“The problems we had trying to record You Really Got Me! It was like they just didn’t know how to record it. They didn’t know how to record the bass or bass drum.
"They certainly didn’t have a clue how to record my guitar sound. We had to record it twice; the first one sounded crap – all echo.
“We said, ‘We’re not going to put it out, because it’s horrible’. Our manager at the time, Robert Wace, paid £200 for us to go and re-make it in a smaller studio. We knew there was something special about that guitar sound; we couldn’t wait to get the record out.
"We got rid of all the effects and echo and s**t; we wanted it to sound like it sounded in the room. I think we got pretty close. It’s quite a dry record. It’s really natural, and it’s really energised. Also, we only had 200 quid, and very little time to make it, so there was the tension of, ‘We’ve got to get it right, or that’s it’. It’s full of that anxiety, of like, ‘S**t, if we don’t do this, we’re f***ed’.
“That’s the difference between You Really Got Me and All Day And All Of The Night: if you play the two tracks back to back, All Day is more confident; it’s more open. It’s like people thought we actually did know what we were doing. Whereas the first one, there was a lot of fear and panic, and ‘Oh s**t, what are these mad kids doing?’ It was like a coded message in a way, that tone and that grit and that reality, really.
“You Really Got Me is a love song, but you wouldn’t think so; those kids, you didn’t have money or the sophistication to wine and dine some young lady. That’s what happened later in middle-class Britain. In those days, if you saw somebody you liked, you’d grab hold of her, you know what I mean?
"It has that sort of primal instinct; this primal energy in it as well. I was not a particularly articulate kid, although I had a lot of great ideas, but I didn’t know how to put them into words. The guitar was a great means of self-expression for me. There’s a lot of that frustration and anger and rage in the music.”