For me, my entry point, when I was old enough, was the skinhead/suedehead thing, sort of like '70/'71. People didn't have much money - they would save up, or whatever - but everyone always dressed up. You'd go to a dance at the football club on a Thursday night and all of us kids - all of us from maybe like 12 to 16 - were all dressed up.

When recording, whatever you first think about, you come out with something totally different at the end of it. Whatever plans you have you throw away, because it's always going to end up sounding pretty different from what you initially thought of. I probably only had about five or six songs when I started, and it just sort of flowed from that.

Our campaigns have always been based on what we consider music icons that transcend generations and they're not of the moment - they continue to evolve.

Pop music was supposed to be a flash in the pan, but here we are 50 years later and it means something to us, and it always will do. It's incredibly important.

When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble.

I'm definitely obsessed about artists and the type of music and the playing and the tone and all that kind of thing - I'm not obsessed about what the best Beatles album is. I just think if The Beatles are great, they're great.

I don't think about what I can't do or what I shouldn't be doing. I just think there are endless possibilities musically, really.