We also had Tony Philips (who died recently) on drums on a couple of songs.

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Im intending a monthly series of Bandcamp reissues of all of the albums, over the course of the next year) I had kind of torn apart my life and was starting to remake it by the time I gathered my lyric sheets and chord parts and went back in to Clives studio to record the songs that made up A Sky for Every Day.

Six years had passed since the Eventually album, and in that time I had changed jobs leaving journalism after seventeen years and moving into arts management had completed a Masters Degree in Irish Literature.

I was a single man again by this stage - a decision that was mine, nothing more to be said about it.

By day I worked at Flowerfield Arts Centre, and in the evenings I just walked until the sun went down, and then I went back to a house loaned to me by a dear friend and was mostly only used during the summer, and went to sleep that autumn was wonderful, and I tramped the streets of Portstewart - the Cliff Walk, the Promenade, Harbour Hill - my head whirling with guilt, shame, anxiety (years later, when my fathers Alzheimers put him out on the road walking and walking, I could understand some of what was going on there the act of putting one foot in front of the other sometimes feels like the only reliable response to the terrible uncertainty and instability between your ears).

Looking back I think I was living mainly on coffee and bananas.

In the process, I changed from being a songwriter throwing the shapes of an experienced life, and became a person experiencing the life.

I set my plastic bag of clothes down in the living room of my friends home and looked at a cluster of Russian literature left behind from the summer visit Turgenev, Chekhov, Gogol.

All the books on your shelf, I sang to myself, tell you nothing.

And the Robert Frost Penguin collection with the pattern used for the artwork.

Within a couple of years of this upheaval, I had regained some equilibrium.

My relationship with Andrea had begun, and I had moved into her house in Millburn, Coleraine.

Lots of long conversations at the dinner table, lots of beach walks.

Lots of thinking about the process of making art, of what it means to be an artist.

I remember reading Julia Camerons The Artists Way, finding ways out of writers block, all kinds of new processes.

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It was a voice that became extremely important to me: a wise uncle, full of mercy and gentleness and humour.

And the songs began to come Electricity was inspired by a line in one of the Vonnegut novels, God Bless You Mr.

The Stars Wish on You and Marion, Thats All Right were written for my daughter, who had been a solid rock during my wandering months, me suddenly discovering her filled with wisdom and restraint and compassion All of which had, of course, been there the whole time.

Last Go Round was a song inspired by the old uncles on my mothers side of the family, many of them members of the Orange Lodges around Coleraines rural outskirts.

I remember having a flash, an image of an old Orangeman on his deathbed, thinking back on his life in Coleraine.

It was so strong I could point to the little house on Brook Street where I imagined him lying.

This time round we were working with Rod McVey on piano and Hammond organ, a wonderfully empathetic and huge hearted player.

Clive had discovered a young drummer from Coleraine called Roger Patterson who was incredibly gifted sensitive and powerful and deeply soulful in his approach, and his drums and cymbals sounded amazing.

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