“I met Julian in London a few years before we made the album. He was signed to Atlantic in America. Ahmet Ertegun, who was one of the great pioneers in recording, wasn’t happy with what was going on, so I suggested we go down to Muscle Shoals and work down there for a while.

“The idea was to get Julian comfortable and just be ‘Julian Lennon,’ not ‘John Lennon’s son.’ We got the usage of the band and the Muscle Shoals sound. Eventually, we went back to New York, where we did Too Late For Goodbyes.

“Julian suffered a lot. The critics, in a good sense, compared him to John. On his second album, he wanted to sound different, and it became like this animated guy playing him instead of just being Julian. I don’t know what it might be like to have to compete with such a famous father. It’s almost impossible to get through that wall.”