"The drum sound! The greatest bass sound ever! The rawness of it. ‘Isolation’ I absolutely love, and obviously we covered ‘Working Class Hero’. It’s really tight but there’s something about it that feels like they haven’t rehearsed much either - you see the film and they’re all coming in on the hoof. There’s some kind of bluesy nastiness - and I’m not a fan of the blues either - but there’s something about it, John Lennon’s guitar is really good on it, I think his guitaring was underrated actually. There’s so much savage bitterness there, ‘Mother’, just to start with the fucking bell chiming. I love that savageness. He’s having a go at McCartney, but he does it with so much wit, he can always glide over the top of it. I wish I had that ability, not to always drag it down with pure pettiness. “I don't believe in Elvis. I don't believe in Zimmerman/ I don't believe in Beatles” - I don’t think he could get “The Beatles” in, so it’s just “don’t believe in Beatles”. I love that album. There was a lot of that on [Wire’s solo album] I Killed The Zeitgeist actually, and there’s a lot on this album. I tried to learn that critical self-examination. I think John was a lot more psychoanalytical, he could use what he considered help, where as I was fucking on my own."

"There’s so many Beatles songs that I could have chosen, my entire list could have been made from them and they’ve all meant quite a lot to me. I picked “In My Life” because everyone relates to that one in a way, everyone has experienced that feeling of when they go back to their hometown and the little odd things that spark off a memory. “I think it was John who wrote this one and he was quite young when he wrote it. I grew up in a place called Menlove Gardens and he grew up on Menlove Avenue, so I felt the connection. I was born in Penny Lane in 1958, so it was the ‘60s when I was growing up and a lot of the landmarks were the same. I remember reading a magazine that had a page of the original lyrics, and it was talking about getting the 72 bus at Penny Lane into town. I recognised all of the roads and it was very close to home for me. Even if I hadn’t recognised all of that though, I still think that this song has the power to do that. “It does bring me back, to places that I’ll remember all my life. I go back to Liverpool now and a lot of places have changed. The town is great and always very vibrant, but there’s a park called Calderstones Park and it’s very beautiful and very green and places like Princes Avenue and Menlove, they’re all full of trees and very green and quite lovely really, which people often don’t associate with Liverpool. My memories are mixed with these beautiful parks, greenery and trees, but at the same time the city centre was quite stark, but very vibrant in the ‘60s, it was a bustling city. “I think if you live on planet earth then The Beatles are an influence, even if you don’t know it. Even if you’re Jay Z, The Beatles are an influence. The Beatles, Bob Dylan and a couple of other people changed music into an art form, rather than a commodity. At a certain point in the ‘60s, all of a sudden you had people making artistically fantastic records, breaking the boundaries technologically and emotionally. It turned into something else and although it feels like it’s turning back into what it was right now, I feel like The Beatles and Bob Dylan were responsible for that change"

"When I did ‘Setting Sun’ with The Chemical Brothers it was based loosely on ‘Tomorrow Never Knows’. Do you remember when it went to number one, what song we knocked off the top? ‘Breakfast At Tiffany’s’ by Deep Blue Something. We were like Sir Galahad. 'And she said, 'What about Breakfast At Tiffany's' and I said, ‘I remember the movie.'' And we came in, 'Off with your head you piece of shit.' Revolver was when the sitars really started to come in with The Beatles, and all the backwards stuff on ‘Tomorrow Never Knows’. It’s their first drug album. The drums sound great on it and it’s a masterclass of how to make guitar pop. That’s just it. They took what the Beatles had been, they did Revolver and then the next week they’re making ‘Strawberry Fields Forever’. They’re a completely different band. It’s a cliché to talk about it now because it’s so well-known but this is a mindblowing album. I went to see the premiere of the George Harrison film the other night [Martin Scorsese documentary Living In The Material World] and on the red carpet outside this journalist asked me this question: 'Would you say that The Beatles have been an influence on your music?' I was that amazed I had to take my shades off. I said, 'Is that a serious question?' And he was only young and in all innocence he said, 'Yes. Why?' I was like, 'Are you having me on?' And he was like, 'No.' Now ignoring the fact that it’s me, if you’re in a band and you’re playing guitar, you have been influenced by The Beatles. That really is all you need to know. The psychedelic stuff they did after this was mindblowing and the Fab Four mop top stuff before this was equally as good but on this record it all came together."

"It's just the way that they manage to get so much done in such a short space of time. It's three minutes. Change. Two minutes. Change. But they manage to get all of these beautiful things to happen, and I think you can sense that something amazing is about to happen. With the transition in British pop music at the time, it was losing a lot of the peace and love and starting to get quite moody. It reflected a lot of things that were happening, or at least on the horizon, at the time. The economy, the Vietnam war, the Troubles in Ireland, all of these different things. You could sense that something was happening to The Beatles on Revolver. It was exciting for me as well, because the stuff on this album is a long way off from 'She Loves You'. It was all quite mature and sophisticated. From day one I was a Beatles fan though. Those tunes are infectious and it's impossible not to like them. There's just something about their instant communication that I really love. I still listen to them now, and I find their music very inspiring. They were a direct influence on 'Breaking The Law' and 'Living After Midnight'. Those two songs are straight out of the Beatles songbook as far as simplicity and getting to the point goes. Short, little songs that sail away in a short space of time and are packed with hooks, melody and riffs."

"I find that many albums by The Beatles don't completely hold together for me. While Sgt. Pepper's… holds together stylistically, it isn't one of my favourite albums. However, I have to include The Beatles, because they are clearly the greatest band that ever stalked the earth. I got into the Love album to introduce my son to The Beatles. George Martin lovingly remastered it and I think he has made some improvements. Sonically it is fantastic. It flows. I love being able to go across their entire span of history. I went to the Love Cirque De Soleil show in Las Vegas, which was a bad idea, but this record is a fantastic introduction and became my son's understanding of The Beatles. The other records are well worth investigating, of course, and they made truly great records, but there aren't any that could go in my Baker's Dozen. The album contains 'A Day In The Life', which is in my top five greatest songs. I love the fact it was created through such a mad, collaborative technique. One part is John, one part is Paul and they left a minute-and-a-half to fill with something. What fucking amazing, arrogant craziness could do that? And, to then produce one of the greatest songs. That song is akin to how James write to a degree. We write through improvisation. No one takes anything into a room. We start improvising and the improvisation may take ten minutes or it may take 90 minutes. We record it all and then whoever wants to can take a track, chop it up in whatever way they want to, and then present it back to the band. Someone else can then input and add a keyboard line or whatever. Therefore, we have this collaborative process that you can hear on the new album that is a little insane, as we might have had a part, which worked in the first ten minutes, and then we might try and weld it to something that worked hours later. They don't necessarily join and we have to find a way of joining them. That acceptance of chance can lead to the best moments. Most bands have one or two songwriters (we now have four) and they are at the mercy of their conscious ability. With us, a chaotic reaction to each other is creating the song, which is probably why we have been around for 33 years and we never get bored. We never know what the fuck we are going to do next. The Beatles had that on their greatest collaborative songs, where they couldn't be sure quite where a song was going. They allowed themselves the possibility of fucking songs up in a great way. The Beatles are the Shakespeare of our time. They will still be played in 100 years' time and people will still wonder how the fuck they made such amazing music."