"Sgt Pepper’s was my childhood Beatles record. Again, it’s moving, but in quite an abstract way, just describing what she’s leaving behind. You don’t ever hear where she’s gone or why, but you get these little hints: she’s leaving home after living alone and yet her Mum and Dad are there. It’s all done with McCartney’s jovial style but it’s got this sadness in it, which I think he’s really good at - he’s done it lots of times, with ‘Eleanor Rigby’ being the absolute epitome of it. “But that whole album made an impact on me as a kid. It’s a kind of dark, sickly-feeling album to me. It’s not very comfortable, it’s trippy and weird. You don’t really know where you are with it, it’s colourful, but in a ghoulish way. It’s a scary record for a child, because it’s just so weird. And ‘She’s Leaving Home’ holds you a bit closer than the other songs I think, even though it’s about someone leaving home. I also like the musical elements - the melody and the structure of it. “The Beatles have been an ongoing influence in my life and I think if you like them as a child you’re always going to like them. But the great thing about The Beatles is the breadth and the evolution of their records, if you’re not feeling ‘I Wanna Hold Your Hand’ anymore, you can dip in at different points and find different sides to them. ""There’s so many things they touched on. ‘Helter Skelter’ is basically the whole of The Who’s output in one song; the post-rock elements of ‘I Want You (She’s So Heavy)’, that’s a fucking genre now! And they just did it for a laugh and never did it again. There’s so many little flashes like that and more than anything it just makes me feel like it would have been so amazing to have been around in a time when nothing’s been done. “The other great thing about the Beatles was that they put stuff on those records specifically for children, tracks like ‘Octopus’s Garden’. I think that’s something that’s been completely lost now, because children are given adult themes in a friend way now, rather than saying, “Here’s something you might actually like, being a child. Don’t worry about the other stuff.” Although funnily enough, with Get To Heaven we got so many people telling us that their children really liked it. We were really pleased about that - maybe it’s the colourful nature of it. It’s definitely something I want to explore more."

"He used to be with a band called The Zincs and that was interesting in terms of being clever and beautiful and having all the right elements, but this album is beyond interesting and beyond clever and beyond beautiful. There is something that is clicking and being aligned, and all the years of work are finally getting you to this plateau that you've been looking for. I feel that he's got there. Sometimes there's nothing you can do but work hard at something for a long time before you get to where you want it to be, and I have that sense that there he is. This is an album that really talks to the listener in a very direct, open way. And it has all the elements. It is interesting; it is surprising; it is beautiful. It's very well-played, of course it is: James is a terrific guitar player. He introduced me some years ago to Davy Graham, and that was my introduction to folk music. That was where folk music started for me. Tim [Gane] hated folk music, or he always claimed he hated folk music, so there was no folk music at home. But James introduced me to Davy Graham and Shirley Collins, and you can't argue with music like that. It's pure; it's direct; it's transcendental. There are no curves or bends; it's just something that's received in its purest form. At least, that's how I feel it. And the songs are incredibly beautiful. I don't know how to explain what makes a good interesting song for me. It also has to do with the fact that it's not a cliché; it's forever whole, it has its own integrity, its own singularity. I feel like James might say he has nothing to do with this folk music stuff, but of course he does, you know, and certainly Davy Graham is in there. But he's lived in Chicago for many years now and he's worked with other people, including myself, who don't particularly come from a folk background, and it's true that, to honour this record, there are other interjections from other influences. It has to be seen as a whole thing that can't be reduced to just folk music. It is a strong root, but there are also some amazing string arrangements and a lot of surprises. There are connections to the past, but coming out of a spaceship, you know? It's really earthy, but connected to the universe."