Gary Husband: Difference between revisions
From Allan Holdsworth Information Center
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Gary Husband is a British drummer and keyboardist. He has appeared on several of Allan's albums: IOU, Metal Fatigue, Atavachron, Sand, Secrets, Wardenclyffe Tower, and Hard Hat Area, as well as the live album Then!. Allan appeared on Gary's "Dirty And Beautiful" albums. Additionally, Gary has recorded the solo album, "The Things I See - Interpretations of the Music of Allan Holdsworth", featuring himself on piano. | Gary Husband is a British drummer and keyboardist. He has appeared on several of Allan's albums: IOU, Metal Fatigue, Atavachron, Sand, Secrets, Wardenclyffe Tower, and Hard Hat Area, as well as the live album Then!. Allan appeared on Gary's "Dirty And Beautiful" albums. Additionally, Gary has recorded the solo album, "[[The Things I See - Interpretations of the Music of Allan Holdsworth]]", featuring himself on piano. | ||
"Sounding Off" Interview: https://www.youtube.com/watch?v=L6UoYEuPxqQ | |||
See also [[Gary Husband on Allan Holdsworth]] | |||
=Quotes by Allan on Gary= | |||
==[[Holdsworth & Co. A New Side Of Allan’s Music. (Guitar 1980)]]== | ==[[Holdsworth & Co. A New Side Of Allan’s Music. (Guitar 1980)]]== | ||
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ALAN: '''Gary''' '''Husband''' is the drummer, I found him in Leeds, he plays piano too. The bass player is Paul Carmichael, and vocals for the band are handled by Paul White (sic). | ALAN: '''Gary''' '''Husband''' is the drummer, I found him in Leeds, he plays piano too. The bass player is Paul Carmichael, and vocals for the band are handled by Paul White (sic). | ||
==[[The Reluctant Virtuoso (Guitar World 1981)]]== | |||
The transatlantic telephone conversation is punctuated with temporary pauses for some deep, basso-profundo coughing as Holdsworth relates the grinding frustration of his current situation. "Yeah, it’s still called False Alarm, that’s the name we’re using in the U.K. It’s my band but I don’t like using my own name. Same band members, Paul Carmichael on bass and '''Gary''' '''Husband''' on drums. We’re looking for management and a record label. It’s hard [getting signed] everywhere, but it’s really dreadful here. We can’t get anybody interested." | |||
==[[The Innocent Abroad (Musician 1984)]]== | ==[[The Innocent Abroad (Musician 1984)]]== | ||
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"The guys all played incredibly. I was really moved by what they did. Among some of the highlights noted by Holdsworth are drummer '''Gary'''’ '''Husband'''’s City Nights (Very nice," says Holdsworth; "with good chord progressions."); Steve Hunt’s Maid Marian [sic] ("When he first presented it to us it reminded me of something from Old England, like Robin Hood, but it was quite soft so we renamed it Maid Marian."); Endomorph, a solo piece in which Holdsworth dubs guitar over Synth-Axe; Spokes ("I really liked bicycling riding when I was a kid, and this piece reminded me of it - of wheelies, actually."); 54 Duncan Terrace (This was the address of a really great piano player friend of mine who died a few years ago. He had this wonderful room in his house.. A white room with blue clouds painted on it or maybe it was vice versa And he had this old Bluthner piano in there. The music he used to write was soft and gentle, with colorful harmonics. And I wrote the piece for him. The chord sequen ce sort of reminds me of something he would have done."). | "The guys all played incredibly. I was really moved by what they did. Among some of the highlights noted by Holdsworth are drummer '''Gary'''’ '''Husband'''’s City Nights (Very nice," says Holdsworth; "with good chord progressions."); Steve Hunt’s Maid Marian [sic] ("When he first presented it to us it reminded me of something from Old England, like Robin Hood, but it was quite soft so we renamed it Maid Marian."); Endomorph, a solo piece in which Holdsworth dubs guitar over Synth-Axe; Spokes ("I really liked bicycling riding when I was a kid, and this piece reminded me of it - of wheelies, actually."); 54 Duncan Terrace (This was the address of a really great piano player friend of mine who died a few years ago. He had this wonderful room in his house.. A white room with blue clouds painted on it or maybe it was vice versa And he had this old Bluthner piano in there. The music he used to write was soft and gentle, with colorful harmonics. And I wrote the piece for him. The chord sequen ce sort of reminds me of something he would have done."). | ||
==[[The Unreachable Star (Guitar World 1989)]]== | |||
GW: When Jimmy Johnson remarked that he was listening to Believe It on the way down to yesterday’s session, you winced. That album is really something of a landmark, and your playing is a great part of what distinguishes it. | |||
HOLDSWORTH:: Well, it was a great period for me in terms of being introduced to some really unbelievable musicians; that’s when I met Tony [Williams] and Alan Pasqua and Tony Newton, and hanging out and just being given a chance to play with them was really amazing. Alan is a truly astounding musician and I’ve always loved the way he plays. It’s also only in the last five years that I realized what kind of a genius the guy is. Same with '''Gary''' '''Husband'''. But getting back to that particular period, I hated what I did on that record. I can’t listen to it, but I thought everybody else sounded great. But I did the best I could at the time, so, that’s all you can do, unfortunately I wish I could go back and do ‘em all again [laughs]. | |||
GW: Did that record do anything for you? | |||
HOLDSWORTH:: Well, it’s the same prob1em. I have great difficulty listening to it now because I sound so bad on it. But it was obviously representative of what we were doing, and that’s the way I played then, because I didn’t know any better. But it’s a good record in terms of having captured something; it captured the essence of what we were doing. And '''Gary''' I thought, played just great on it. Paul Williams sang great, too. | |||
GW: Do you think the vocal concept prevented you from getting over with the jazz constituency? | |||
HOLDSWORTH:: It was just something that I grew out of, or that I thought I should change. The original vocal concept stemmed from the trio concept; I wanted to be able to play things as a trio with a melody and chords, set up in a situation where I could perform them with just a guitar. So I used the voice like an instrument, and Paul was the perfect person for that. But I just wanted to do something different. I mean, I never know what I’m going to feel like or what I’m going to want to do, because it changes, and I can’t help it. When I got the SynthAxe, a whole other thing suddenly opened up to me and I didn’t see what I was doing as a musician, or the band itself, in the same way anymore. And I also saw the vocal thing sitting me on the fence really hard, and that people who like instrumental or "jazz" music were kind of perturbed by the vocal aspect of my music. I never was, but I thought that they were, and I also felt that there were people who liked the vocal aspect of t he songs but didn’t like the rest of it. It was like stretching both sides, and, like I said, when I got the SynthAxe I decided that that was what I wanted to do, so I just continued to sit on the fence in a different way. | |||
There is one English guy I admire who never gets any mention - Steve Topping. There’s a guy who’s amazing. And it’s typical of England that he can’t get out or get a deal or anything, because, like '''Gary''' '''Husband''', he suffers too much opposition to what he’s doing. Steve plays really; really interesting harmonic lines - and definitely absolutely, not bop. His lines are so unusual that the bop guys would have a hard time figuring them out [laughs]. And he plays chords that I’ve never heard people play before. He’s got ridiculous chops - I’ve seen him demonstrate both left- and right-hand facility; but he’s got just outrageous right-hand chops. He’s got it all covered. We had a band back in England called Handlebars: just him, '''Gary''' myself, and anybody we could get on bass. It was a really free thing where we’d just go, and some very interesting things happened, mostly because of him. He has this unbelievable control of space. | |||
==[[Allan Holdsworth’s Untold Secrets + Worthy Quotes (Guitar Player 1990)]]== | ==[[Allan Holdsworth’s Untold Secrets + Worthy Quotes (Guitar Player 1990)]]== | ||
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The following conversation took place in his London hotel room in the middle of his two week residency at the Hammersmith Odeon with Level 42 and I began asking him how he became involved with them. ‘They asked me to play on their new album, which I did and I really enjoyed it. Of course after Alan Murphy died I knew they were looking for a guy to be a permanent member so I said to '''Gary''', ‘if you guys get stuck and you can’t find the right guy just call me up’. So they did. | The following conversation took place in his London hotel room in the middle of his two week residency at the Hammersmith Odeon with Level 42 and I began asking him how he became involved with them. ‘They asked me to play on their new album, which I did and I really enjoyed it. Of course after Alan Murphy died I knew they were looking for a guy to be a permanent member so I said to '''Gary''', ‘if you guys get stuck and you can’t find the right guy just call me up’. So they did. | ||
==[[The Reluctant Guitarist (Jazz Journal 1992)]]== | |||
‘That’s the way I’ve always felt about the guys in the band, or the guys I’ve played with, like '''Gary''' ('''Husband''') and Jimmy (Johnson) and Steve Hunt. They’re all such great musicians, and as far as I’m concerned they’re right up there with the best guys in the world. The music is mostly improvised, and we play over reasonably complicated chord sequences. And I still think that in essence it’s kinda jazz, even though we came up from different things. | |||
==[[Creating Imaginary Backdrops (Innerviews 1993)]]== | ==[[Creating Imaginary Backdrops (Innerviews 1993)]]== | ||
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- I could never work as a studio musician. Such side projects have come about because I know these guys, and sometimes I have played on records as a thank you for helping me out. This is how it was with Gorky Park, they lent me the equipment to mix None Too Soon. As for Level 42, I filled a temporary vacuum. (Drummer) '''Gary''' '''Husband''' played with them, and when their guitarist died, I participated in a tour and a recording. I was definitely not the right man in the right place, but I cannot say I regret anything. Generally, it would have been more fun if one could have influenced the music to a greater extent, but I do that with my own compositions. | - I could never work as a studio musician. Such side projects have come about because I know these guys, and sometimes I have played on records as a thank you for helping me out. This is how it was with Gorky Park, they lent me the equipment to mix None Too Soon. As for Level 42, I filled a temporary vacuum. (Drummer) '''Gary''' '''Husband''' played with them, and when their guitarist died, I participated in a tour and a recording. I was definitely not the right man in the right place, but I cannot say I regret anything. Generally, it would have been more fun if one could have influenced the music to a greater extent, but I do that with my own compositions. | ||
==[[A Different View (Modern Drummer 1996)]]== | |||
RF: Through your solo years you've used a variety of different drummers for their individual nuances. Can you expound on some of the choices you've made? | |||
AH: I've always felt that the drummer makes the band—and I like to play with people who I feel will enjoy working with me. Obviously I look for people who are gifted musicians. When I started my own band, I started working with Gary Husband. I'd heard about him when I first moved to London. People were saying, "There's this nineteen-year-old guy who is monstrous." Gary's a phenomenal drummer-and a great keyboard player, too. We really hit it off and I've always liked working with him. | |||
RF: What does he bring to your music? | |||
AH: He plays different from anybody else I've ever played with. Actually, most of the guys I've played with have something that makes them unique, which is what I like. I don't like to play with drummers who play like somebody else. A lot of guys make that mistake. They'll think, "He plays with Gary Husband, so when Gary is not around he'll look for someone like that." But I don't. I just look for some other drummer with a musical personality that is distinctly theirs. | |||
If I had stayed in England, I would most likely have ended up playing with Gary all the time. When you have a musical partner—someone who is able to hear what you hear and understand things with out having to speak about them—why look for someone else? Everything I tried to do on guitar, Gary instinctively understood. It was very organic to work with him. I only started working with other drummers in my own band after I made a decision to move to the States, which was around 1981. | |||
RF: Do tracks come to mind that might have been particularly influenced by a drummer? | |||
AH: Everything those guys do influences me. Seventy-five percent of what I play is a response to what someone else is playing. And because of the way the music is presented in the first place, it's not that different with each guy. Of course what comes out is somewhat different with each person, but the result is usually ninety-nine percent what I expected it to be. But sometimes the track turns out so good I go, "Whoa." Gary was particularly good at that. For certain songs he would come up with unique drum patterns that I didn't dictate to him—like when I wrote the tune "Non Brewed Condiment" for Atavachron. The beat Gary came up with on that one is really a great thing. He did the same thing with the title track of that album. He always used to say to me, "Man, I'm afraid of the day when you get me to play on something where I won't be able to think of a new thing." So far he hasn't had that problem. | |||
RF: What comes to mind when I say Gary Husband? | |||
AH: A lot of fun. The guy is like a natural-born comedian, and his playing is absolutely beautiful. As far as the closeness to the way things are heard in my head, he is the closest. Sometimes it's like we're one guy. When I play with him, I get lost in it. This is a difficult thing to talk about because I'm not really comparing anybody. You could never do that; all these guys are absolutely unbelievable. | |||
RF: Do you have a preference in sizes of drums? | |||
AH: I tend to like real small kits, but it's different for different drummers because of the way they play. You can't really give everybody the kit of your dreams. Gary Husband has been my longest-standing relationship with a musician, and he's always played the music the closest to the way I hear it in my head. Ironically, when I first met Gary, he had a really small kit. Then I said, "Hey, man, you'd sound really great if you got lots of drums." So he did—and then he found it hard to put them away. So it was my fault! However, we did a tour in England a little while ago where he played a real small kit, and I loved it. I thought he sounded absolutely spectacular on it because he's not the kind of guy who needs a lot of drums: He's a very creative musician, and small drums seem to articulate such creativity. You can hear everything; nothing gets in the way of anything else. Also, usually when there's a smaller kit involved, the cymbals tend to be reduced from bicycle wheels to a reasonable size. I tease Gary about that. We had a cab driver in England one time who got out to put the cymbals in the back, and even he said, "Geez, look at the size of those." | |||
==[[The Outter Limits: Allan Holdsworth's Out of Bounds Existence (guitar.com 1999)]]== | |||
Guitar.com: Are you still playing with the trio that’s on the record? | |||
Allan Holdsworth: Since that recording, Gary Novak started working with Alanis Morrisette, so he’s gone doing that. I’m playing with Dave Carpenter still but we’ve got Joel Taylor on drums. Joel’s a really great musician. And it changes it again. Each guys brings something different. I’m also doing a tour of Europe with a different band -- '''Gary''' '''Husband''' and Jimmy Johnson. So that’s going to be pretty different, too. | |||
Guitar.com: How has your recording studio evolved? | |||
Holdsworth: Where I used to live, I just converted the garage. I didn’t have a place that I could really record, it was just somewhere that I could mix. I could record guitar there because I made these special isolation boxes with a speaker and a microphone. I didn’t make a lot of noise, so I could get the sound I wanted at pretty low level. That was how I did it then. But when I moved to where I am now in San Diego, a good friend of mine who’s also a carpenter helped me convert the big garage into a studio. With this one, there was actually enough room that I could record drums too. It’s still small and it wouldn’t work with someone who plays perhaps at different levels volume-wise. With someone like '''Gary''' '''Husband''', you really need to put him a nice big room to get the drums to sound the way they should. And because Gary Novak can also play very loud but typically plays a lot softer, I was able to do it there. | |||
==[[Allan Holdsworth in exclusive LMS interview (tlms.co.uk 2000)]]== | ==[[Allan Holdsworth in exclusive LMS interview (tlms.co.uk 2000)]]== | ||
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"It wasn’t a conscious effort, it was just a nice accident. Because what I wanted to try and do after the last album that I did with Gordon (Beck)"None Too Soon" we played old tunes, so in a way it was my album but I didn’t think of it like it was my album. The last band album I think of was "Hard Hat Area" which was with '''Gary''', Skuli (Sverrisson) and Steve Hunt and right after that album I was thinking I wanted to write some original music, but just put in a different setting, a slightly different setting. And in a way this also happened by accident because I was playing with Dave Carpenter, who introduced me to Gary Novak and we played a lot and we did two tours of Europe with that group and I also knew he played acoustic bass. | "It wasn’t a conscious effort, it was just a nice accident. Because what I wanted to try and do after the last album that I did with Gordon (Beck)"None Too Soon" we played old tunes, so in a way it was my album but I didn’t think of it like it was my album. The last band album I think of was "Hard Hat Area" which was with '''Gary''', Skuli (Sverrisson) and Steve Hunt and right after that album I was thinking I wanted to write some original music, but just put in a different setting, a slightly different setting. And in a way this also happened by accident because I was playing with Dave Carpenter, who introduced me to Gary Novak and we played a lot and we did two tours of Europe with that group and I also knew he played acoustic bass. | ||
==[[ | ==[[The Sixteen Men Of Tain (musired.com 2000, Spanish language)]]== | ||
And also you have a long solo career. Have you had any facilities to record your projects? | |||
It is very difficult to keep record contracts with the type of music that I like. Record companies want to sell millions and, well, with this music it is not probable they will do it. | |||
However, you have always tried to play what you want without letting yourself be influenced by the demands of the record companies ... | |||
Yes, I’ve played in many groups where people told me what to do and I decided I wanted to do this. Economically, it was a disastrous decision. When I formed my first group with '''Gary''' '''Husband''' I almost left the music [business] because I did not make enough money and then I met Matt Valy [Mike Varney? Ed.] , who had a column in Guitar Magazine, he found me and showed me all these magazines in which my name appeared and which I had no idea of. So I got a few gigs in California. It was amazing to play in front of ten people in a pub in England, to clubs in California with six or seven hundred people and always full. So I thought it was time to move. That’s why I went to the US, for work ... and it’s better to avoid rain. It’s not that I’m very fond of the beach or any of this, but I like to see the blue sky and the sun from time to time. | |||
==[[Allan Holdsworth (Guitarist 100 Guitar Heroes 2000)]]== | ==[[Allan Holdsworth (Guitarist 100 Guitar Heroes 2000)]]== | ||
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"There’s lots of musicians who it would be nice to play with, but I’m quite happy just doing what I do. I just feel privileged to have worked with some of the musicians who I have worked with. '''Gary''' '''Husband''' (drummer), for example, is just unbelievable, although not too many people know who the hell he is." | "There’s lots of musicians who it would be nice to play with, but I’m quite happy just doing what I do. I just feel privileged to have worked with some of the musicians who I have worked with. '''Gary''' '''Husband''' (drummer), for example, is just unbelievable, although not too many people know who the hell he is." | ||
==Allan Holdsworth (NPS Radio transcript)== | |||
PH: You have a desire to play, and you want to meet people and kind of interchange your ideas, that’s basically being a musician…you want to feel other people out and feel their ideas out, yeah? | |||
AH: Yeah, that’s why it’s been very important for me to work with – I’ve been very lucky cause I’ve worked with some of the greatest musicians, period, and also, since I stopped working more or less with other peoples’ bands and working in my own band, I still was lucky enough to find some of the greatest guys around. I mean when I met '''Gary''' '''Husband''' that was an unbelievable thing for me because he’s another guy from Leeds - it’s like right around the corner - and he’s – the guy is insane, an amazing musician. He’s really incredible and very instrumental to me, in bringing to light my kinds of musical ideas, because when I present pieces of music to them, he would play them in a way that would be almost as if I was playing the drums, if I could play them – at times it’s almost like one thing, which is very difficult to find, that kind of closeness in people. It seems to happen in a lot of the other groups I’ve heard, where there’s been some sort of major stuff going on, where there’s a distinct definite combination of people that are contributing to this thing. So finding the right people to play with is very important to me, and he, Gary is definitely one of those people. | |||
==[[Don’t you know? The Lost Words (Oneiric Moor 2003)]]== | ==[[Don’t you know? The Lost Words (Oneiric Moor 2003)]]== | ||
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AH: I absolutely loved it! I was so incredibly flattered. I was very moved by it. It meant al lot to me. The fact that it was interpretations of my music was something I really liked. There are people out there who make these clone records, and try to do everything verbatim just like it was, and what he did was much more deep. He came at it from a totally different perspective and I really liked that. He knew I would have wanted it that way and I like that he chose to do that. | AH: I absolutely loved it! I was so incredibly flattered. I was very moved by it. It meant al lot to me. The fact that it was interpretations of my music was something I really liked. There are people out there who make these clone records, and try to do everything verbatim just like it was, and what he did was much more deep. He came at it from a totally different perspective and I really liked that. He knew I would have wanted it that way and I like that he chose to do that. | ||
==[[A Conversation With Allan Holdsworth (Abstract Logix 2005)]]== | |||
Bill: These recent Bruford sound great. Have you heard that stuff? | |||
Allan: I have a good friend who’s also a big fan...because I don’t really have any of my own recordings,I usually end up giving them away and then I try to get them a little later on. But he played me some of One Of A Kind, which I hadn’t heard it in 25 years. It was pretty good, I thought...for the time and everything. | |||
Bill: That must’ve been an interesting band to tour in. | |||
Allan: Yeah, it was. I think if it hadn’t been for the U.K. experience I might’ve stayed with Bill a little bit longer because I really enjoyed playing with him. But with U.K. it was kind of uncomfortable because we had such different tastes in music. All of the guys were great guys, it wasn’t like a personal issue at all. We got along really well. It’s just that (bassist) John (Wetton) and (keyboardist) Eddy (Jobson) were of one mind musically and Bill and I were of another. And then when I started working with '''Gary''' '''Husband'''...I had just been introduced to him and played with a couple of times and I thought, ‘Oh man! I wanna play with THIS guy.’ So I decided to form my own band and that’s what cut short the Bill thing. | |||
==[[The Allan Holdsworth Interview! (Jazz Houston 2006)]]== | ==[[The Allan Holdsworth Interview! (Jazz Houston 2006)]]== | ||
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It was as amazing as it was unbelievable. I learned so much from Tony. He is the reason I never give musicians who play with me any direction on how to approach anything. Tony never did that with me. He would let me dig myself a hole. I’d stand there and say “What am I supposed to do?” He made me find my own way. When '''Gary''' '''Husband''' first played with me, I realized he had been listening to some of my albums and was trying to do something like what he heard on them. I told him right away “No. That was something that happened as an improvisation and it was only meant to happen that one time. Forget the record and do your own thing.” | It was as amazing as it was unbelievable. I learned so much from Tony. He is the reason I never give musicians who play with me any direction on how to approach anything. Tony never did that with me. He would let me dig myself a hole. I’d stand there and say “What am I supposed to do?” He made me find my own way. When '''Gary''' '''Husband''' first played with me, I realized he had been listening to some of my albums and was trying to do something like what he heard on them. I told him right away “No. That was something that happened as an improvisation and it was only meant to happen that one time. Forget the record and do your own thing.” | ||
==[[The Man Who Changed Guitar Forever (Guitar Player 2008)]]== | |||
Tell us about your two upcoming recordings. | |||
I’d started a project with '''Gary''' '''Husband''' and Jimmy Johnson about five years ago that was supposed to be released on Gnarly Geezer before the label folded. I’ve got all the recordings from that session, along with additional tracks recorded with drummer Joel Taylor and bassist Ernest Tibbs a couple of years later, and the first album will feature a mixture of those four musicians. One interesting thing about the project is that one of the songs was recorded by both groups, and the versions turned out so differently that I want to include them both just to show how the musicians can radically change the music. I don’t tell anyone what to play specifically. I just show them the compositions, and their interpretations are completely up to them. I think that’s why some of the guys like to play with me. The second album will mostly be with Jimmy Johnson and Chad Wackerman, and I’ll release it myself, possibly also this year. | |||
==[[Allan Holdsworth (Sound Waves 2012)]]== | ==[[Allan Holdsworth (Sound Waves 2012)]]== | ||
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A.H. - I loved working with Jean Luc and I loved working with Tony Williams. I got to a point where I just wanted to play my own music. It was a logical step to form a group of my own with '''Gary''' '''Husband''' and Paul Carmichael. We did that for a while and then I left the UK. I worked with Bill Bruford, which was great. | A.H. - I loved working with Jean Luc and I loved working with Tony Williams. I got to a point where I just wanted to play my own music. It was a logical step to form a group of my own with '''Gary''' '''Husband''' and Paul Carmichael. We did that for a while and then I left the UK. I worked with Bill Bruford, which was great. | ||
"The interpretation of my original music can be played in so many different ways, almost like different kinds of styles," he remarks. "And as I began playing with Gary Novak and Dave Carpenter a couple of years ago, I could hear that the interpretation of it was pushing into a different direction. And it sounded really kind of natural. So I basically wrote the material that was on this record with that in mind, because I knew that Gary Novak’s interpretation is a different kind of thing from the way that '''Gary''' '''Husband'''’s interpretation of it would be. He plays with a lot of energy but he can also play pretty soft, and I was enjoying that. [Novak] has a pretty amazing way of just making it feel good. It feels better than it does with other guys even though you can’t really put your finger on it." | "The interpretation of my original music can be played in so many different ways, almost like different kinds of styles," he remarks. "And as I began playing with Gary Novak and Dave Carpenter a couple of years ago, I could hear that the interpretation of it was pushing into a different direction. And it sounded really kind of natural. So I basically wrote the material that was on this record with that in mind, because I knew that Gary Novak’s interpretation is a different kind of thing from the way that '''Gary''' '''Husband'''’s interpretation of it would be. He plays with a lot of energy but he can also play pretty soft, and I was enjoying that. [Novak] has a pretty amazing way of just making it feel good. It feels better than it does with other guys even though you can’t really put your finger on it." | ||
[[Category:Musicians]] | [[Category:Musicians]] | ||
