Place of birth?

Wexford town - Ireland

You seemed to spring out of nowhere with 'It's Only a Long Way Across', but you must have been up to something. What was your musical background before then and what too you to New York?

Boy Soprano/ Clarinet/ Piano/ Beat Groups/Show Band/Folk Rock/ New York, just to escape the restrictions of Ireland and my own self-inflicted restrictions. Came to New York with childhood friend, Larry Kirwan. We had a radio hit with "Turner and Kirwan of Wexford". Then we formed "the Major Thinkers" and signed to Epic/Portrait, we almost cracked it with a song called "Avenue B is the place to be". Got sick of New Wave, started writing instrumentals for Modern Dance. Philip Glass started courting the woman who lived downstairs from me, we became friends. We went to London and got a record deal with Beggars Banquet.

I read somewhere that you cited traditional music and plainsong as two of your greatest influences. Would it be possible for you to be more specific, please? Any traditional musicians in particular?

Plainchant filled my heart and ears during my days at Wexford C.B.S. There used to be a festival where every public space in town was filled with school choirs, it was like living inside a catholic version of "Pet Sounds". Then there were Folk Festivals too, among my favourite performers were "Emmet Spiceland", "The Johnstons", "Tir Na Nog", and "Planxty". I liked vocals more than instrumentals with the exception of O'Carolan and O Riada.

I've rarely seen trombones in any setting (apart from the Carla Bley Big Band or brass bands) - how did you meet up with Fred Parcells and do you still play together? Is there anything special for you about the instrument's sound?

It's more to do with Fred, he also sings through the trombone using effects. During the release of "It's Only A Long Way Across" I toured England, Scotland and Ireland opening for "The Communards". On the tour of Ireland, I had Simon Boswell on Guitar, (remixer of "It's Only..") and for the U.K. Simon was replaced by Fred on trombone. The sound crew couldn't understand the logic, but it seemed logical to me.

'Sunday Night Yap/Here Comes the Night' still strikes me today as one of your most remarkable recordings. How did you connect the two?

I wrote "The Yap" about Dublin on Sunday evening, the last words were "Here Comes the Night," So I sang the song. It was always one of my favourites and I knew the words.

You've lived in New York for more than a decade now. How would you describe your relationship with Ireland?

I care about Ireland, like it's my mother. I worry about it and feel protective towards it. I fiercely want to protect it's innocence and help stave away the horror of American marketing, work ethic and aggression, a.k.a. "The Celtic Tiger," The Ireland I love lives deeply inside the style and philosophy of how I write. My language visualisation.

The last one I ask everyone I interview - can you name, please, three favourite albums?

"Pet Sounds," "Revolver," "Pink Floyd" (early singles), "Blonde on Blonde," I could go on forever.

Whoops - forgot this one. Any plans for a new album?

I am currently working on a new album, probably called "Life in a Day", it's almost thematic. A lot of the songs seem to be about the greed of the wealthy these days and the fact that everyone is overworking. In Corporate America you have "the Professional day", meaning no lunch break and although you are only paid till 6.00pm you're expected to stay late every night, with only nine days vacation for the year! This is headed in a very dangerous direction. There is a song on here that could be a huge hit, so I may need a label. Am I Retro enough?