Musician, June 1982: Difference between revisions
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''LOWE:'' At the time Stiff Records started in England, I was the only one who had anything to do with the studio before, so I automatically became the “house producer.” Then there followed a period where I would get out of bed and go to this pokey little studio in London, and the door would open and in would come another crazy that Jake Riviera had sent down. And then it was, “Well, how doe your song go, kid?” Another idiot jumping up and down howling. It was a good experience to try and get it into some arrangement. In fact, I quite enjoyed creating a presentable backing track to be loony over. Then Elvis came along, but I wasn’t crazy about him at first. Jake was. | ''LOWE:'' At the time Stiff Records started in England, I was the only one who had anything to do with the studio before, so I automatically became the “house producer.” Then there followed a period where I would get out of bed and go to this pokey little studio in London, and the door would open and in would come another crazy that Jake Riviera had sent down. And then it was, “Well, how doe your song go, kid?” Another idiot jumping up and down howling. It was a good experience to try and get it into some arrangement. In fact, I quite enjoyed creating a presentable backing track to be loony over. Then Elvis came along, but I wasn’t crazy about him at first. Jake was. | ||
''MUSICIAN:'' What didn’t you like about him? | '''MUSICIAN:''' ''What didn’t you like about him?'' | ||
''LOWE:'' Well, I thought it sounded a bit precious to me. Also, at that point I was very anti-English-people-singing-with-American-accents. | '''LOWE:''' Well, I thought it sounded a bit precious to me. Also, at that point I was very anti-English-people-singing-with-American-accents. | ||
''MUSICIAN:'' What was it about him that finally turned you around? | '''MUSICIAN:''' ''What was it about him that finally turned you around?'' | ||
''LOWE'': His raw bloody talent! The man is the Cole Porter of the 80s, and he’s cool enough to keep changing his act all the time, so it never becomes staid. For instance, that sound on ''This Year’s Model'' was the raw sound of the group, and it was great. But if he’d made another two albums like that he’d be in the dumper now. | '''LOWE''': His raw bloody talent! The man is the Cole Porter of the 80s, and he’s cool enough to keep changing his act all the time, so it never becomes staid. For instance, that sound on ''This Year’s Model'' was the raw sound of the group, and it was great. But if he’d made another two albums like that he’d be in the dumper now. | ||
''MUSICIAN:'' Which session would you say came closest to capturing what you were aiming for with Elvis? | '''MUSICIAN:''' ''Which session would you say came closest to capturing what you were aiming for with Elvis?'' | ||
''LOWE:'' “Watching The Detectives.” It may be the best thing I’ve ever been involved with; it was the last record I made with Elvis where I said exactly how it was going to be. After that Elvis learned more about the studio, and I had to adjust my techniques slightly to accommodate some of his ideas which I thought were wrong, but in retrospect were completely right. I’d bully him – still try to – and shout at him, and there was a period when he’d back off. But slowly I began to listen to his ideas and make them work. | '''LOWE:''' “Watching The Detectives.” It may be the best thing I’ve ever been involved with; it was the last record I made with Elvis where I said exactly how it was going to be. After that Elvis learned more about the studio, and I had to adjust my techniques slightly to accommodate some of his ideas which I thought were wrong, but in retrospect were completely right. I’d bully him – still try to – and shout at him, and there was a period when he’d back off. But slowly I began to listen to his ideas and make them work. | ||
''MUSICIAN:'' I’ve always felt “Pump It Up” was the most powerful thing either of you has put on vinyl… | '''MUSICIAN:''' ''I’ve always felt “Pump It Up” was the most powerful thing either of you has put on vinyl…'' | ||
''LOWE:'' That was a first take, and the problem was to try and get him not to do it again. He broke a string halfway through, and the guitar sounded absolutely … well. Elvis won’t mind me saying this but his guitar playing is generally shocking. He’s such a good musician, with so much actual feel. But his guitar playing? ''Revolting!'' | '''LOWE:''' That was a first take, and the problem was to try and get him not to do it again. He broke a string halfway through, and the guitar sounded absolutely … well. Elvis won’t mind me saying this but his guitar playing is generally shocking. He’s such a good musician, with so much actual feel. But his guitar playing? ''Revolting!'' | ||
''MUSICIAN'': What about that wedding cake of sound on ''Armed Forces'', that layered effect? Didn’t his approach conflict with your philosophy of keeping it fast and simple? | '''MUSICIAN''': ''What about that wedding cake of sound on ''Armed Forces'', that layered effect? Didn’t his approach conflict with your philosophy of keeping it fast and simple? '' | ||
''LOWE:'' No, because we said: “Let’s do something a bit classy there but still try to retain the spirit. “ So we banged it down in less than two weeks. | '''LOWE:''' No, because we said: “Let’s do something a bit classy there but still try to retain the spirit. “ So we banged it down in less than two weeks. | ||
''MUSICIAN:'' What about | '''MUSICIAN:''' ''What about Get Happy? How did you get that soulful early Stax sound? '' | ||
''LOWE:'' We definitely did go for that. We wanted to get it really simple. That’s one thing I really do like doing – getting quirky little drum beats and seeing if you can slot a bass part which is right, like a jigsaw puzzle, so that every bit is needed. Also I think, you can get your records sounding louder the less you put on them. Producers say all the time, “Oh, it’s Back To Mono.” ''But will they do it?'' No one will do it. You still hear all these stacked harmonies. I listened to Bruce Springsteen’s last album the other day, and that ain’t a year’s work in there. It just sounds like he thought, “Well, you’ve got to get spontaneous, so what we’ll do is pitch the songs really high, and I’ll bellow at the top of my voice about The Street and everything, and people will think I’m rock ‘n’ roll.” Now don’t get me wrong, I think that old Springsteen is really good. I think that he’s very clever, and I think he must be a very pressurized man as well; I have a pile of respect for him. But I think it’s a shame when people miss the point of this spontaneity thing, and bang it down and tart it up. They think, “One mike on the drums, man! That’s all you need!” And it comes out sounding awful – and that’s why I was so disappointed with that Springsteen record; it sounds like, “''I can be – I promise you – I can be exciting! and here it comes''.” And then it sounds like it’s recorded in a wooden room. Sounds like it’s recorded in the back of a barn or something. Sometimes you have to work at something, you know. There is that. | '''LOWE:''' We definitely did go for that. We wanted to get it really simple. That’s one thing I really do like doing – getting quirky little drum beats and seeing if you can slot a bass part which is right, like a jigsaw puzzle, so that every bit is needed. Also I think, you can get your records sounding louder the less you put on them. Producers say all the time, “Oh, it’s Back To Mono.” ''But will they do it?'' No one will do it. You still hear all these stacked harmonies. I listened to Bruce Springsteen’s last album the other day, and that ain’t a year’s work in there. It just sounds like he thought, “Well, you’ve got to get spontaneous, so what we’ll do is pitch the songs really high, and I’ll bellow at the top of my voice about The Street and everything, and people will think I’m rock ‘n’ roll.” Now don’t get me wrong, I think that old Springsteen is really good. I think that he’s very clever, and I think he must be a very pressurized man as well; I have a pile of respect for him. But I think it’s a shame when people miss the point of this spontaneity thing, and bang it down and tart it up. They think, “One mike on the drums, man! That’s all you need!” And it comes out sounding awful – and that’s why I was so disappointed with that Springsteen record; it sounds like, “''I can be – I promise you – I can be exciting! and here it comes''.” And then it sounds like it’s recorded in a wooden room. Sounds like it’s recorded in the back of a barn or something. Sometimes you have to work at something, you know. There is that. | ||
''MUSICIAN:'' How did you get involved with Chrissie Hynde and the Pretenders? | '''MUSICIAN:''' ''How did you get involved with Chrissie Hynde and the Pretenders? '' | ||
''LOWE:'' Well, Chrissie and I had a brief affair quite a long time ago. She was writing songs back in ’75-’76 about heroin and stuff and I said, “Please, they’re not going to be interested.” But her other stuff was very soulful, so I kept encouraging her. One day she came over and played me the demo of the Pretenders doing “Stop Your Sobbing” it was quite a different arrangement, and I thought her coice was sensational. | '''LOWE:''' Well, Chrissie and I had a brief affair quite a long time ago. She was writing songs back in ’75-’76 about heroin and stuff and I said, “Please, they’re not going to be interested.” But her other stuff was very soulful, so I kept encouraging her. One day she came over and played me the demo of the Pretenders doing “Stop Your Sobbing” it was quite a different arrangement, and I thought her coice was sensational. | ||
''MUSICIAN:'' What appealed to you about it? | '''MUSICIAN:''' ''What appealed to you about it? '' | ||
''LOWE:'' She sounded like she worked in Sears. | '''LOWE:''' She sounded like she worked in Sears. | ||
''MUSICIAN:'' Sears? | '''MUSICIAN:''' ''Sears?'' | ||
''LOWE:'' You know, the kind of girl who works in Sears or K-Mart instead of a Big-Blues-Mama-Janis-Joplin-Shrieker, or the Precious-Little-Gurly-Wurly-Heart type of thing. No interest in that at all. To me, the ultimate sort of sexy noise is the standard girl who works in a shop and when I heard that demo I thought, “That’s it… that’s The Noise – she’s sexy as hell and she’s not insulting anybody’s intelligence.” So I said, “All right, let’s get in there and DO it. You do that, you do this.” Three hours. Zip. Done. | '''LOWE:''' You know, the kind of girl who works in Sears or K-Mart instead of a Big-Blues-Mama-Janis-Joplin-Shrieker, or the Precious-Little-Gurly-Wurly-Heart type of thing. No interest in that at all. To me, the ultimate sort of sexy noise is the standard girl who works in a shop and when I heard that demo I thought, “That’s it… that’s The Noise – she’s sexy as hell and she’s not insulting anybody’s intelligence.” So I said, “All right, let’s get in there and DO it. You do that, you do this.” Three hours. Zip. Done. | ||
''MUSICIAN:'' Are there certain principles or constraints that you carry into the studio regardless of who you’re producing? | '''MUSICIAN:''' ''Are there certain principles or constraints that you carry into the studio regardless of who you’re producing?'' | ||
''LOWE:'' The most important thing is for me to actually like the person I’m producing. If I like the music, but not the person, I simply won’t do it. Now, having said that, let me say that if it’s a question of playing the bloody rent, all my highfalutin ideas and theories go right out the window. I can be an absolute prostitute, if the rent’s in question. “UH, RIGHT. ''LOVED'' THE SONG, GREAT BLOODY TUNE. JUST STAND OVER THERE BY THE MIKE… “ | '''LOWE:''' The most important thing is for me to actually like the person I’m producing. If I like the music, but not the person, I simply won’t do it. Now, having said that, let me say that if it’s a question of playing the bloody rent, all my highfalutin ideas and theories go right out the window. I can be an absolute prostitute, if the rent’s in question. “UH, RIGHT. ''LOVED'' THE SONG, GREAT BLOODY TUNE. JUST STAND OVER THERE BY THE MIKE… “ | ||
''MUSICIAN:'' What’s your strategy once you get them into the studio? | '''MUSICIAN:''' ''What’s your strategy once you get them into the studio?'' | ||
''LOWE:'' What I have to do is suss out how to get the old performance out of ‘em. Different chaps require different approaches. Some people like to get their egos stroked, to be told how wonderful they are. Some people like you to tell them exactly how to do it. And some people, believe it or not, like to be bullied; they like to be told what absolute ''crap'' they are all the time. Some people I’ve actually paid to get them to do something. “Look there’s ten quid in it for you if you hit that note.” And they do it! | '''LOWE:''' What I have to do is suss out how to get the old performance out of ‘em. Different chaps require different approaches. Some people like to get their egos stroked, to be told how wonderful they are. Some people like you to tell them exactly how to do it. And some people, believe it or not, like to be bullied; they like to be told what absolute ''crap'' they are all the time. Some people I’ve actually paid to get them to do something. “Look there’s ten quid in it for you if you hit that note.” And they do it! | ||
''MUSICIAN:'' What tack do you take with Elvis? | '''MUSICIAN:''' ''What tack do you take with Elvis? '' | ||
''LOWE:'' To make it even more confusing, some people like to have their egos stroked one day and be bullied the next. Elvis and I have got a very peculiar working relationship. He’s not a very gregarious, outward-going person, and he can be quite difficult to get along with. But I’m probably one of his best friends because I understand and respect him, because he is totally committed to his music, which I frankly, am not. I’m far more interested in him as a person and a friend than I am in his music. Because he intrigues me so much. | '''LOWE:''' To make it even more confusing, some people like to have their egos stroked one day and be bullied the next. Elvis and I have got a very peculiar working relationship. He’s not a very gregarious, outward-going person, and he can be quite difficult to get along with. But I’m probably one of his best friends because I understand and respect him, because he is totally committed to his music, which I frankly, am not. I’m far more interested in him as a person and a friend than I am in his music. Because he intrigues me so much. | ||
''MUSICIAN:'' You produced Graham Parker’s first two albums and then said you’d bow out of the third, and yet you wound up producing ''Stick To Me'' after all. Why’d you change your mind? | '''MUSICIAN:''' ''You produced Graham Parker’s first two albums and then said you’d bow out of the third, and yet you wound up producing ''Stick To Me'' after all. Why’d you change your mind?'' | ||
''LOWE:'' I did the first albums because I’d worked with the people in his band back with the Brinsleys, and he figured it’d be a good catalyst to help bring it all together. I thought they should be on their own with ''Stick To Me'', so they recorded it with a chap whose name escapes me now, and when they finished it and mixed it and took it out of the studio it sounded all muffled, like someone had thrown a wet blanket over it. I think the studio was what they call bass-light, you couldn’t hear any bass, so obviously you had to crank on lots of equalization to make it sound like a bass or drum or whatever. They should have seen the old telltale signs: if you have to add on lots of treble or bass or anything, there’s something off. So here they are with this mess, and only a week to redo it before their tour starts. Knowing that I was The Expert, they wheeled me in to do it. | '''LOWE:''' I did the first albums because I’d worked with the people in his band back with the Brinsleys, and he figured it’d be a good catalyst to help bring it all together. I thought they should be on their own with ''Stick To Me'', so they recorded it with a chap whose name escapes me now, and when they finished it and mixed it and took it out of the studio it sounded all muffled, like someone had thrown a wet blanket over it. I think the studio was what they call bass-light, you couldn’t hear any bass, so obviously you had to crank on lots of equalization to make it sound like a bass or drum or whatever. They should have seen the old telltale signs: if you have to add on lots of treble or bass or anything, there’s something off. So here they are with this mess, and only a week to redo it before their tour starts. Knowing that I was The Expert, they wheeled me in to do it. | ||
''MUSICIAN:'' That must have been fun. | '''MUSICIAN:''' ''That must have been fun.'' | ||
''LOWE:'' It wasn’t as hard as all that. The poor devils had worked so hard at the arrangements that I didn’t have to do much there. I changed a few things, but basically it was similar to the original – the original acetate of which by the way, I managed to lose on the tube. | '''LOWE:''' It wasn’t as hard as all that. The poor devils had worked so hard at the arrangements that I didn’t have to do much there. I changed a few things, but basically it was similar to the original – the original acetate of which by the way, I managed to lose on the tube. | ||
''MUSICIAN:'' Speaking of being on tour, it is different being on the road here than in England? | '''MUSICIAN:''' ''Speaking of being on tour, it is different being on the road here than in England?'' | ||
''LOWE:'' It’s harder in England. First off, you can’t get a drink after 11 p.m. unless you bully the night porter, and the TV goes off soon after that. | '''LOWE:''' It’s harder in England. First off, you can’t get a drink after 11 p.m. unless you bully the night porter, and the TV goes off soon after that. | ||
''MUSICIAN:'' Why didn’t any of those pub rock bands ever make it? The Brinsleys, for example, were loved by the critics, their sound was fairly commercial, but they never went anywhere on the charts. | '''MUSICIAN:''' ''Why didn’t any of those pub rock bands ever make it? The Brinsleys, for example, were loved by the critics, their sound was fairly commercial, but they never went anywhere on the charts. '' | ||
''LOWE:'' I think there were two main reasons it didn’t work: (a) because our records were so bad, and (b) because our live show was so bad. Seriously though, none of those bands were really very good. We made an impact more because of the type of things we did, rather than how well we did them. We weren’t all that great,, but we were willing to have a go at a reggae or soul or country tune back then when all that stuff was totally out, so we were considered pretty daring. It was more of a live thing. The only pub band to actually break into the charts was Ace, with that song “How Long Has This Been Going On” which Paul Carrack wrote and sang. I remember all the other pub bands were so proud of them for that. Really. | '''LOWE:''' I think there were two main reasons it didn’t work: (a) because our records were so bad, and (b) because our live show was so bad. Seriously though, none of those bands were really very good. We made an impact more because of the type of things we did, rather than how well we did them. We weren’t all that great,, but we were willing to have a go at a reggae or soul or country tune back then when all that stuff was totally out, so we were considered pretty daring. It was more of a live thing. The only pub band to actually break into the charts was Ace, with that song “How Long Has This Been Going On” which Paul Carrack wrote and sang. I remember all the other pub bands were so proud of them for that. Really. | ||
''MUSICIAN:'' Was there a more real communication between audience and performer in those days? | '''MUSICIAN:''' ''Was there a more real communication between audience and performer in those days? '' | ||
''LOWE:'' We used to play the Marquee a lot in those days, and I remember we opened for Yes, who had just started and were fantastic, on the night of the Stones concert in Hyde Park when Brian Jones died (July, 1969). In those days everyone was using those big Marshall stacks, which looked fabulous… this really has nothing to do with your question, by the way. It’s just a funny story. | '''LOWE:''' We used to play the Marquee a lot in those days, and I remember we opened for Yes, who had just started and were fantastic, on the night of the Stones concert in Hyde Park when Brian Jones died (July, 1969). In those days everyone was using those big Marshall stacks, which looked fabulous… this really has nothing to do with your question, by the way. It’s just a funny story. | ||
''MUSICIAN:'' Keep going. You’re rolling. | '''MUSICIAN:''' ''Keep going. You’re rolling.'' | ||
''LOWE:'' Right. Anyway, the P.A. had been in the shop, and they’d somehow connected up the plugs the wrong way. We finished the first number, “Chest Fever,” and the place went wild. I went up to the mike to say something, and I had one hand on the guitar and one on the mike, and I got this violent electric shock, but it was one of those where you can’t let go. And I was literally flung about eight feet across the stage and went crashing into the back of those amps. I remember lying on the stage, unable to let go, shaking like a doll. It was like I was looking at everything through a glass of water, but my mind was very clear, and it was like this person was talking to me, saying “God you’ve got a nasty electric shock here Basher” – and there was no panic. I was very calm – “I’m afraid you’re going to die any second now. Shame really …” I was going, “Yes, well how long is this going to go on for?” And the voice said, “Oh, it’s okay, in a minute your heart will give out and it’ll be all over (laughs) … but while we’re waiting, it’s funny, isn’t it? I really thought you’d do better than this, and your mom and dad really wanted you to …” “But,” says I, “the Marquee isn’t a bad way to go; at least I’m on the old planks.” It was this incredible calm conversation. Meanwhile, there were people screaming and fainting and leaping up and down. The thing is they couldn’t turn the power off because those huge stacks of Marshalls were blocking the way to the power point. I was lying with the mike across my chest and the bass in my hand, jerking like a puppet, and no one would grab them or touch me because of the current. So Bob Andrews, who later played keyboards with Graham Parker, ran up and tried to kick the thing out of my hand, to break the circuit. But in so doing, he kicked me really hard in the ribs … which the doctors later told me later got my heart going again! He broke the circuit, too, and I was lying there having faced death, I must have looked dead, because Bob suddenly started crying and weeping and saying, “He’s dead, oh God, he’s dead! Somebody do something!” It must have been so dramatic for the punters in the audience. Then old Brins comes and leans over saying “Uh, you all right, Basher?” And I went, “Yeah, Brins, I think I’m here.” So they carried my down the road to Middlesex Hospital. I had these evil burns on my hands, but I was so grooving on being alive that I refused a sedative. Instead I snuck out and walked back up to the Marquee, where Yes were going down real bad. My band was all over at the pub across the road, hideously drunk. I walked in and they freaked ‘cause they really thought I’d died. When they got over that, someone says, “Gee, do you reckon we could do the second set?” and I said, “Yeah, let’s go!” So we did, and we went down an absolute storm, because it was like “HERE HE IS, BACK FROM THE DEAD, NICK LOWE!!” So at the end of the night the promoter comes in and says “Right, here’s your fee,” and gives us nine and a half pounds, which was only half of what we were owed. He said that was all we’d get because we’d only played one set (laughs). There’s a slight postscript to this story. Years later we played the Marquee again, and I ran into the guy who used to manage the club, an outrageous but charming queen called John, and told him the whole story just for laughs. | '''LOWE:''' Right. Anyway, the P.A. had been in the shop, and they’d somehow connected up the plugs the wrong way. We finished the first number, “Chest Fever,” and the place went wild. I went up to the mike to say something, and I had one hand on the guitar and one on the mike, and I got this violent electric shock, but it was one of those where you can’t let go. And I was literally flung about eight feet across the stage and went crashing into the back of those amps. I remember lying on the stage, unable to let go, shaking like a doll. It was like I was looking at everything through a glass of water, but my mind was very clear, and it was like this person was talking to me, saying “God you’ve got a nasty electric shock here Basher” – and there was no panic. I was very calm – “I’m afraid you’re going to die any second now. Shame really …” I was going, “Yes, well how long is this going to go on for?” And the voice said, “Oh, it’s okay, in a minute your heart will give out and it’ll be all over (laughs) … but while we’re waiting, it’s funny, isn’t it? I really thought you’d do better than this, and your mom and dad really wanted you to …” “But,” says I, “the Marquee isn’t a bad way to go; at least I’m on the old planks.” It was this incredible calm conversation. Meanwhile, there were people screaming and fainting and leaping up and down. The thing is they couldn’t turn the power off because those huge stacks of Marshalls were blocking the way to the power point. I was lying with the mike across my chest and the bass in my hand, jerking like a puppet, and no one would grab them or touch me because of the current. So Bob Andrews, who later played keyboards with Graham Parker, ran up and tried to kick the thing out of my hand, to break the circuit. But in so doing, he kicked me really hard in the ribs … which the doctors later told me later got my heart going again! He broke the circuit, too, and I was lying there having faced death, I must have looked dead, because Bob suddenly started crying and weeping and saying, “He’s dead, oh God, he’s dead! Somebody do something!” It must have been so dramatic for the punters in the audience. Then old Brins comes and leans over saying “Uh, you all right, Basher?” And I went, “Yeah, Brins, I think I’m here.” So they carried my down the road to Middlesex Hospital. I had these evil burns on my hands, but I was so grooving on being alive that I refused a sedative. Instead I snuck out and walked back up to the Marquee, where Yes were going down real bad. My band was all over at the pub across the road, hideously drunk. I walked in and they freaked ‘cause they really thought I’d died. When they got over that, someone says, “Gee, do you reckon we could do the second set?” and I said, “Yeah, let’s go!” So we did, and we went down an absolute storm, because it was like “HERE HE IS, BACK FROM THE DEAD, NICK LOWE!!” So at the end of the night the promoter comes in and says “Right, here’s your fee,” and gives us nine and a half pounds, which was only half of what we were owed. He said that was all we’d get because we’d only played one set (laughs). There’s a slight postscript to this story. Years later we played the Marquee again, and I ran into the guy who used to manage the club, an outrageous but charming queen called John, and told him the whole story just for laughs. | ||
''MUSICIAN:'' What did he say? | '''MUSICIAN:''' ''What did he say? '' | ||
''LOWE:'' Nothing. Couldn’t believe it. Just turned pale as a ghost, reached into his pocket, and handed me another nine and a half quid, (laughs) … God, what a stultifyingly boring story. You’re not going to print all that, are you? | '''LOWE:''' Nothing. Couldn’t believe it. Just turned pale as a ghost, reached into his pocket, and handed me another nine and a half quid, (laughs) … God, what a stultifyingly boring story. You’re not going to print all that, are you? | ||
''MUSICIAN:'' Oh, of course not. One last question: what do you want to be when you grow up? | '''MUSICIAN:''' ''Oh, of course not. One last question: what do you want to be when you grow up?'' | ||
''LOWE:'' I’d like to be a jet fighter pilot. Fly Phantoms real fast. Low level. You don’t have to steer ‘em, you know. They’ve got computers, so if you come to a hill it goes up just like that. Marvelous. You’re just sitting there. That’s what I’d like to do, most of all. Fly, (sings) “I’ll fly away…” | '''LOWE:''' I’d like to be a jet fighter pilot. Fly Phantoms real fast. Low level. You don’t have to steer ‘em, you know. They’ve got computers, so if you come to a hill it goes up just like that. Marvelous. You’re just sitting there. That’s what I’d like to do, most of all. Fly, (sings) “I’ll fly away…” | ||
{{cx}} | {{cx}} |
Latest revision as of 21:55, 14 July 2021
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