"My dad used to work on the buses, and the bits of the vinyl from the triple set turned up on the back of the bus. It went into lost property and never got claimed and he got to keep it, which was pretty fortunate for me. You know how there are certain mainstays in your life that you keep coming back to? It works several ways for me now. I was five-years-old when I became aware of that record and the atmosphere struck me really. It's a Phil Spector production and it's kind of cinematic in its sonic aurora. The use of the acoustics of the room – typical Phil Spector tricks – and coupled to those songs… it had a haunting effect on me as a young lad. I've come to realise that some of the sounds on there have become signature sounds for me. I've been informed by that, you know, how a band's supposed to sound together. It's created a bit of a problem between me and recording engineers for most of my life. Thankfully I can do everything myself now. To me, that's how things are supposed to sound. They should sound like the room they're recorded in. The gentle wisdom of the album really has got me through bad times. I dunno if it's because it reminds me of home, but there's a lot of wisdom contained in those lines. I think George Harrison in general is quietly inspirational for a lot of people. He conducted himself with grace, for people in the dynamics of a band with rather large egos – he sets a good precedent. I can't claim to have always followed that to the letter but it's something to aspire to at least."