“When I worked with George on the remastering of the album, I spent time with him in Friar Park, his place in England. We put a tape up, started listening and just burst out laughing.

“There were two reasons: One was because we were sitting in exactly the same positions, listening to exactly the same song, as we were 30 years prior. It was ridiculous. But the other reason was when we went, ‘My God, did we really put that much reverb on there? That’s atrocious!’ We would have loved to have been able to remix it, like what was done on the Let It Be…Naked album, where the Phil Spector sound was taken off.

“I didn’t do the basic tracks on the original album, but I worked with George on the overdubs and the mixing. It was really just me and George for that. Phil Spector had left, and he only came back when it was time to mix – and even then he was only around for brief periods each day.

“It was pretty amazing doing the backing vocals, because on all of the tracks, all of the backing vocals are George. We’d record him doing a part four times, then I’d bounce those tracks to one track with him singing live. Then we’d start on the next harmony, doing it the same way. We just built them all up. It was painstaking, it took a lot of time, but it was great.

“When we were making the album, we didn’t think it was over the top. It was fine, it was exactly what we wanted to do – at that time.”