The first recordings which were to make up the GO sessions happened in Dumbo studios in NewYork with Dan Myers behind the desk. We were running through some ideas for songs and from a riff and a couple of dogdgy lyrics, Don't Think About It was born. It was July of 2005. when I got back to Wales in the Autumn I approached Lawson Dando, who I knew was a great engineer, instrumentalist and facilitator of  musical ideas. I put down some basic tracks in his studio, just guitars and vocals mainly, in a week or so. Ideas began to form and by the time I was heading off to the Spanish Canary Islands for the winter, I had  a pretty good idea of what instruments I wanted to make up the core of the album.

So for the winter 2006/06 I worked my ass off on the island of Feurteventura, and I am still endebted to those friends and bar-owners who employed me, and made the recording of GO possible.

Febuary back in Wales and a lot of work had to be done.

I got Iolo Whelan in to do the drum tracks, all of which were recordred in two days, all the while I was adding guitar tracks here and vocal tracks there, and lawson was sorting out keyboard and piano parts.

Tracks were sent over to my brother, who put his expert guitar playing to use Damage Control and Don't Think About it, engineered by Art O Llaoire. Iolo's brother Donal came to Lawson's studio and put his sax down. The bass, unusually, was one of the last tracks to be laid, and Jason Rogers was the man for the job. Jamie Smith and Bethan Frieze lent their talents as did Kerry Sanson for backing vocals. One night, a good friend of mine David Wyatt was in town doing a gig. He stayed with me and the next day I got him into the studio on the pretext of hearing what how album was turning out, and managed to get him into the live room to put some amazing vocals on Dont Think About It. All in all it was quite a disparate kind of project, which formed over quite a period of time, but I had developed a really solid idea of how it would sound while I was playing and lounging and barflying in the Cananries, and I stuck to it.

The mixes I sent to Adrian Zolotuhin were as good as I could get them, and I knew that at that stage of the process I needed a fresh and preferably expert pair of ears to coax these songs over the finish line.

the mixes he sent back to me were just what I had hoped for.....it was summer 2006, and things were ready to move....