"This song polarises opinions. I suppose when people think of Don Henley, or the Eagles, they just think of Dads. It is Dad music, I guess, but there’s something special about this song. It’s hard to describe and hard to pin down. It’s so evocative – it makes you feel nostalgic for something you haven’t even experienced. There’s this word in Japanese, ‘Setsunai’. There isn’t really an English equivalent, but ‘bittersweet’ is close. Setsunai describes a feeling between bittersweet, painful and wistful, and ever since I heard the word I have loved looking for this feeling in songs. When I heard that Japanese word it lit up a lot of things for me. My favourite records have that feeling – that bittersweet longing that you’ve not necessarily experienced first-hand. This song has Setsunai. It feels like Don Henley didn’t necessarily mean to transmit that feeling and it’s a weird accident that he did. It’s got a quality to it that sums up everything I love about music. Some people will hear it and won’t get it, but I think it’s one of the best songs of all time. Some people might say it’s just an overplayed song, but it’s more than that. There’s the dream, the ideal on top, then underneath is the sadness or the end. It reminds me of America. It a strange thing, but I often feel more at home in America than anywhere in England. Places in America feel way more like a hometown to me than England does. And these lyrics are about the American summer, the loop that goes on consistently underneath – the insistence of that loop to me is linked to driving through America. It morphed from a song I would hear everywhere when I was a kid, on car radios or café radios or whatever, to a song I heard objectively and realised how great it was"

"I was half tempted to put in all of The Beatles' albums. It's really hard for me to pick one because I fucking love all of them. They mean so much to me. I think Revolver, because it pointed the way forward. It's interesting that 'Tomorrow Never Knows', which still sounds like something that's coming from the future, was the first song that they started work on. They started that in early 1966 or whatever. Pretty far out when you think about it. That song always sounds contemporary to me. That thing with the bass and drums where it's just one groove, like a loop. And all the tape sounds that are coming in and out. It's very advanced for its time. The sound was so different that you knew there was something else going on, that something was changing culturally and musically for people, which of course it did the following year. The Indian influence is there as well. Obviously it's in 'Love You To', the George track, but also the way the guitars are played. You've got a slight drone going on with the guitars."