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In conversation with Andy Jackson ...
73 DAYS AT SEA (2016)
At the mention of âPink Floydâ, people often, perhaps immediately, identify with a certain sound - you could argue that thereâs nothing throughout the annals of modern music that quite matches it. Over the past 35 years, of most things pertaining to âPink Floydâ, that sound has been shaped and polished to perfection with the help of Andy Jackson. Â As senior engineer at David Gilmourâs studios, he has also worked on all of Gilmour's solo recordings / multimedia projects ( as an engineer and/or co-producer) since 1984.Â
Andy Jacksonâs talents, however, do not rest solely with âPink Floydâ - he has also worked with artists such as âHeatwaveâ, âThe Strawbsâ, âThe Boomtown Ratsâ (most notably mixing their hit "I Don't Like Mondays"), âIncredible Kidda Bandâand goth rock group âFields of the Nephilimââ he was also guitar player in the live band version of âThe Eden Houseâ. Originally trained in the sound engineering profession by producer/engineer James Guthrie, at Utopia Studios,  Andy served  as his assistant for several years, and began work as an engineer for Pink Floyd in 1980 - assisting in the recording of the performances of âThe Wallâ at Earls Court ; He was also the Front of House engineer on the band's 1994 world tour. Jackson also engineered Roger Waters' first solo album âThe Pros and Cons of Hitchhikingâ, and worked Front of House on the subsequent tour in 1984.  As Guthrie's assistant, Andy worked on the film soundtrack recordings for âThe Wallâ and the studio album âThe Final Cutâ. When Guthrie relocated to Los Angeles, Andy became the band's primary engineer beginning with âA Momentary Lapse of Reasonâ, and then âThe Division Bellâ;  receiving three Grammy Award nominations for Best Engineered Album - for âA Momentary Lapse of Reasonâ - and Best Engineered / Best Surround Sound album - for âThe Division Bellâ.
In collaboration with engineer Damon Iddings, Andy remastered the majority of the bonus features material on the Immersion editions of âThe Dark Side of the Moonâ and âWish You Were Hereâ for the "Why Pink Floyd...?" reissue campaign ; plus the material recorded for the soundtrack to the band's 1992 auto racing documentary film âLa Carrera Panamericanaâ, as well as engineering, producing, AND playing bass on two of the tracks on their last album âEndless Riverâ, in 2014. Inbetween times, Andy continues to work on his own solo albums - his debut âSignal To Noiseâ received nothing but rave reviews, and his latest release â73 Days At Seaâ looks to be achieving more of the same. We caught up with Andy, on one of his rare hours off ...
HR : When we spoke in 2014, about your debut album âSignal To Noiseâ, you hinted that one day there may be a second offering of songs - and here it is! â73 Days At Seaâ. Itâs a truly incredible album Andy, are you happy with it? Andy Jackson : Thanks! Iâm sure for anyone involved in any creative process, thereâs always a degree of doubt - could it be better? Having said that, Iâve learnt over the years that there is a point where you have to put it away, accept that you are into microscopic changes that no one but yourself will perceive. I feel pretty comfortable that the album was the best I had in me at that time. Â The next one will be better! HR : What came first this time, the music or the lyrics?
AJ : One of the things that I decided last time, on âSignal To Noiseâ, was that I wouldnât record anything that wasnât finished being written, having seen at first hand (many times) the pitfalls of recording backing tracks with no idea what the song is vocally. Â That is, after all, the single most important element. Â I didnât change my opinion about that this time. Â There again, I canât say necessarily that anything came first. I tend to knock around lyrical ideas & musical ideas independently, and at some point it becomes clear that one particular lyric belongs with a particular piece of music. Then the evolution starts, when the two things become interactive. Â I do allow myself to start on a piece without the lyrics necessarily being totally finished, not least of all, all sorts of minor tweaks are needed once I actually start to sing them, just to make them scan well. HR : Across both albums, some of your song writing is quite personal - although Iâm sure many listeners will connect with your philosophy, and the snapshots of your life experiences that are shared in the songs. Do you listen to them and hear your heart on your sleeve, or do you just hear some really great music? AJ : Iâve tried writing from other perspectives, but it always feels like Iâm being dishonest. Â I donât think that, that is something that canât be done - Plenty of great writers write about things outside themselves, I just donât find that I can do that. Â âThe Gyreâ is a good example - I originally wrote it from a totally different perspective, but in the end it felt contrived, and I needed to write it from the perspective of âmeâ. Â The âmeâ isnât necessarily totally me, but I just like writing in the first person. Â Drownings is a bit of a departure that way, that has bits written as other people, but even then, I needed to totally get under their skin to do it, including a section which I âmethod improvisedâ, ad libâd in character.
Itâs in my nature to listen to the music primarily, but if Iâm going to write lyrics I want them to be worthwhile, I want to be able to read them as if they are someone elseâs and to like them.
HR : Has making the recordings somehow aided your own âjourneyâ? AJ : Absolutely. Â Itâs in the act of making them, of doing things that are difficult, that the value lies. âNothing worth having was ever achieved without effortâ -Theodore Roosevelt. HR : The songs on â73 Days At Seaâ are linked by a theme - primarily the ocean ... Was the inspiration down to a lifelong affinity with being beside the sea - say, a love of eating ice-cream in the salty air - Â are they musings, or is there a deeper connection?
AJ : As I allude to on the album notes, it comes from spending a bit of time working next to the sea at David Gilmourâs studio. I kept feeling a sense of nostalgia when ever I left there, as if it were somewhere that was significant in my past, which it isnât. I wrote about that in a song (Type 1 error) and found that I kept making reference to the sea in lyrics, without necessarily realising I was doing it until afterwards. I thought about a suite of songs linked by the sea, but it kept getting bigger & bigger, until it became the whole album.  I went down onto the beach one day & recorded the waves, which made a lovely link between songs.  There is no huge significance to it really, or maybe there is on an unconscious level, I canât know ... HR : Do you have a favourite track on the album? AJ : Same answer as everyone gives â theyâre all my babies!  I actually have a fondness for the segue of songs that start the album, thatâs the original âsea suiteâ and works well as the Soft Machine Volume 2 inspired idea.  âThe Gyreâ was the last one I wrote & recorded, and is probably the most sophisticated musically, so Iâm proud of that one too.  The best one is always the next one though, so youâll have to wait for that! HR : âDrowningsâ is nothing short of a masterpiece ; some may pick up on a bit of  a âPink Floydâ vibe - would you embrace that comparison? AJ : People are inevitably always going to hear âPink Floydâ in what I do.  I often wonder if chance had meant that my career was most associated with, say, âGenesisâ or âKing Crimsonâ or even âSteve Hillageâ, if people would say I sounded like that.  Frankly I donât worry about it, I just make music I like.
HR : Iâm curious about the significance of the dates, detailed alongside the lyrics in the booklet ...
AJ : The dates in âDrowningsâ really serve to help understand the chronology in the song. Â I thought of Part 1, Part 2 etc (although not in that order), but I like the dates as it makes it like diary entries. I also ended up with having 2 of the sections being the same date, but from different perspectives, which I like, what 2 different people are thinking at the same time. Â The specifics of the dates are arbitrary, although I did look them up to make sure they were all mundane dates, so they all feel like rainy Tuesdays.
HR : âSignal To Noiseâ was a complete solo effort, but you invited some guest artists to perform on â73 Days At Seaâ; namely David Jackson from âVan Der Graaf Generatorâ, and  Anne Marie Helder from âPanic Roomâ, who both feature on âDrowningsâ - did you envisage their involvement from the beginning? AJ : No, it evolved as I was making the song, and for different reasons.  Once âDrowningsâ became written from the different perspectives of the people in it, it became obvious that I needed to have a female voice to sing the female role (there is a version with me singing it, but itâs a bit ridiculous).  Anne-Marie came about just because I knew her work and thought sheâd be good, so I asked her, simple as that.  David Jackson was just because I have always been a huge fan of his playing, and thought itâd be great to have him on the song.  If heâd said no I wouldnât have got a different sax player, it was specific to David.  Again it was just a matter of asking him.  I definitely envisage doing something with David again, on the next album probably ...
HR : Did ALL of your guitars make it onto this album? AJ : No they didnât this time. It was a much more limited palate than I used before, somewhat deliberately.  Pretty much one electric (which was new for me, a PRS with P90s), one for slide, a 12 string electric and one 6 string and one 12 string acoustic.  No real reason, just keeping it simpler this time, thereâs a bit of trying to give it a âbandâ feel to the album, even though itâs 4 incarnations of me. HR : The cover artwork on both âSignal To Noiseâ, and â73 Days At Seaâ are pieces by Michael Bergt, and theyâre an absolutely  perfect fit -  how did you come across his work? What is it about his art that you admire? AJ : It was a chance find when I was doing Signal to noise.  I googled for âSisyphusâ, while writing the lyrics to âOne More Pushâ, and the painting that I used on the cover for that album came up. It immediately struck me as perfect for the album cover, so I emailed Michael and asked him.  He was more than happy for me to use it, and for a very minimal price.  It seemed obvious to go back to him again for 73 days at sea.  If anything, I think that one is even better & more appropriate.  One fluke is the balloon in that painting, I already had the instrumental piece called âBallooningâ (in fact thatâs a very old piece of music & was always called that).  Couldnât be more perfect!  I should mention the âbarbie on the beachâ picture, which I love, was kindly provided by you!!
HR : [laughs] Indeed! I feel very honoured ...
AJ : I had a conversation with Anne-Marie about the fact that, as âcottage industryâ artists, we end up doing our own artwork, with no Storm Thorgerson type bringing in brilliant ideas & craftsmanship. Â Makes the whole thing even more âmineâ though.
HR : Totally - and it is perfect. I think you get a real sense of how much of YOU has gone into the whole album ;  the sound, and the way the physical copies look. Both of them  - you should be incredibly proud! Since we last caught up, youâve worked on David Gilmourâs latest album âRattle That Lockâ -  itâs quite an eclectic album, was it demanding to record?
AJ : It was a slightly odd album to work on. The way David works these days, he does a lot of work of putting the songs together on his own. Weâve set up the Brighton studio so he can come in & tinker and record anything he likes.  I get brought in when we do the âserious bitsâ.  This was doubly unusual inasmuch as we broke off this album to do âEndless Riverâ, so it was a couple of years between my first stint on it, recording drums with Steve, to the final overdubs and mix. In the middle, David had built the album, so I came into half finished songs that I didnât know.  One of the issues that many âbig starsâ have is that no one is prepared to tell them that anything they do is no good.  Thatâs not a problem for me, weâve worked together for 35 years now.  He really needs someone to be able to say yes/ no do it again, letâs drop in this bit and so on, which is a role that I do for him. As ever, with Protools sprawl, the toughest thing was that in the end some of the songs were 120 tracks or so, just because itâs so easy to defer decisions. Took a bit of sorting out!! HR : What projects have you got lined up for the coming year - are you planning  a 3rd solo album? Any live shows?
AJ : Well Iâm halfway through a stint on a project I canât really talk about. Let me just say itâs a whole heap of archive recordings for a well known band who Iâm associated with!
As for my own music, when I get the time Iâll start on my next project. I want to explore a particular dynamic I have in mind. Iâve often thought that in recording or rehearsing situations Iâve been in, either working with others or as part of a band, sometimes someone will play something that I think is great, and that everything else should be built around that thing, to let it be the most important thing. Too often I see that idea lost, buried under other peopleâs opinions or lack of vision. Â As, with my own music, I am in the position of being able to make all the choices, I have the opportunity to absolutely follow my vision. Â Iâm going to try a methodology of working with other people (such as David Jackson) and giving them the chance to be the defining element on something (by being âfirstâ). Â Hopefully this way I can get an album that is made of extraordinary things.
Live shows, I donât know. Â Itâd need to coalesce into a band really for that to be viable. Iâd like to do it one day, but who knows when.
[Andy spotted one of my more bizarre photos one day, and it features within the inlay booklet artwork of 73 Days At Sea]
In conversation with Andy Jackson ...
SIGNAL TO NOISE (2014)
Andy Jackson is a recording engineer best known for his work with the British progressive rock band âPink Floydâ. He is also the owner and operator of Tube Mastering, a private studio specializing in recorded music mastering.
Originally trained in the profession by producer/engineer James Guthrie at Utopia Studios and serving as his assistant for several years, Jackson began work as an engineer for Pink Floyd in 1980, assisting in the recording of the performances of âThe Wallâ at Earls Court. As Guthrie's assistant once more he then worked on the film soundtrack recordings for âThe Wallâ and the studio album âThe Final Cutâ. Once Guthrie relocated to Los Angeles, Jackson became the band's primary engineer beginning with âA Momentary Lapse of Reasonâ and then âThe Division Bellâ; plus the material recorded for the soundtrack to the band's 1992 auto racing documentary film âLa Carrera Panamericanaâ. He was also the Front of House engineer on the band's 1994 world tour. His current primary responsibility is as the Senior Engineer for David Gilmour's studio, âAstoriaâ and has worked on all of Gilmour's recordings/multimedia projects as an engineer and/or co-producer since 1984. He was also the engineer on Roger Waters' first solo album âThe Pros and Cons of Hitchhikingâ and worked Front of House on Waters' 1984 tour.
Jackson (in collaboration with engineer Damon Iddings) has remastered the majority of the bonus features material on the Immersion editions of âThe Dark Side of the Moonâ and âWish You Were Hereâ for the Why Pink Floyd...? reissue campaign.
In addition to his work with Pink Floyd, Jackson has also worked with artists such as âHeatwaveâ,â Strawbsâ, âThe Boomtown Ratsâ (most notably mixed their hit "I Don't Like Mondays"), âIncredible Kidda Bandâ and goth rock group âFields of the Nephilimâ â he was also guitar player in the live band version of âThe Eden Houseâ.
Jackson is a two-time nominee for the Grammy Award for Best Engineered Album for âA Momentary Lapse of Reasonâ and âThe Division Bellâ.
Inbetween engineering, producing, AND playing bass on two of the tracks on Pink Floydâs new album âEndless Riverâ, Andy has also recorded his first truly Solo album. Â Helen Robinson caught up with him recently to talk to him about âSignal To Noiseâ, and of course ... Pink Floyd!
HR : So, this is actually your 4th record, but your first entirely solo album?
AJ : Itâs the 4th one Iâve made yeah, the others sort of leaked out and nobody noticed! So yes this is the first proper one.
How long did it take you to put it together from concept to mastering? Â
When I finished working on the last âEden Houseâ album at the beginning 2013 â I decided Iâd done enough there and it was time to move on.  So I started thinking about the idea of doing my own stuff then, but there were all sorts of brick walls in the way, which all became part of the process; struggling through the barriers of taking on things that I couldnât do. First one being lyrics ; I had never written lyrics on my own before -  Iâd done a little bit in collaboration, but that was the first question I had to ask myself âcan I do this, can I write lyrics?â. I started the process and started to get things that I liked and it became something that I felt confident in doing. I didnât want to do things that were naff, and I certainly wasnât going to write about girls and cars â I wanted to write about things that interest me, or something that I wanted to say.  Having done a lot of stuff through work where people struggle to have lyrics until late on in the process, I really thought that was NOT the way to do it! So it was a very deliberate thing with this to have the lyrics first. And then I either wrote the music from scratch, or maybe if I had an idea knocking around that went with it I would work on it - but lyrics were quite pivotal in the process.  So that was early in 2013 but itâs been quite bitty since because Iâve made a Pink Floyd album in the meantime, but there were long  periods where I wasnât working and could get on with âSignal To Noiseâ
Was it a joyous experience or, because itâs what you do day in day out, did you find it frustrating?
No no! In some ways itâs actually fulfilling what I have always wanted to do. When I first got into recording it was on the basis of wanting to make records of my own. I wasnât really trying to do that, but it was the next best thing. Â I never felt I had the ability or the confidence to do stuff on my own. I played in bands a bit but nothing that really went anywhere. And Iâve been recording for long enough, so that part of its easy. Actually piecing it together and doing a lot of the music was quite quick. It was more the thinking about it stages and where I was tackling stuff that was quite difficult, but that became part of the ethos of the album as I said before. You know, doing stuff that was hard - which sort of became a lyrical thread, that ran through the album, about grabbing hold of life rather than just drifting. There were quite a few challenges but I felt it was good to have the challenges! It pushed me to my limits and it became a real interesting process of learning stuff. Â It has made me listen to music in new ways. Having to sing myself, which was not what I originally intended to do. I was going to get a succession of guest singers to do it, but it became clear pretty quickly that I didnât want to do that. Â It just didnât feel like it was my album with someone else singing it - having written the lyrics and done vocal demos to give an idea; people ended up singing them differently and it wasnât really what I wanted. So that was a big challenge because Iâd never sung myself, before. When I first heard it I didnât like it, but I stopped for about 3 months and just concentrated on improving my vocals - Until I got to a point where I could listen to and think about it as if it was someone else singing . So that was quite tricky.
Which again echoes what you say about reflecting a life process where you take control of things ... Well exactly! Â Itâs a bunch of threads in my life coming together. It coincided with a time of quite big change in my life â personal circumstances. I was at a point in life where it would have been easy to just drift into a state of freewheeling and I became very determined not to do that. And not spend time wishing I was this or that, and just thought âwell I can still do thatâ â it was just a question of putting the work in. And itâs been really rewarding. In some ways doing things that are easy â thereâs not a lot of value in it. If you push yourself to the limit, and do things that are hard, you get tremendous personal value from it. Itâs been a great experience from that point of view.
So are you happy with it then?
Oh of course not! Â [laughs] Â But yes as well! Â Anybody who makes records will always think there are a million details that you could have done better. But Iâm also very aware â having worked with Pink Floyd so much, where everything takes such a long time â Iâm quite keen to get to a point and just move on, Â and if thereâs stuff that can be better then, Â do it next time! Â Which I have already started to process, Iâm already writing again for the next one; and just trying to learn all the time - find out new stuff - and I already think that the next one is going to be better than this one ... which is the way that it should be!
Iâll look forward to that ...
Yeah could be a while yet [laughs] although now Iâve finished the Floyd album Iâm less busy ; and I like to be busy , I like to do stuff, Iâm not good at just sitting around, otherwise I go riot!
Presumably you were a musician before you were a sound engineer?
I was a bad musician, yeah! [laughs] My dad taught me to play guitar when I was about 10. I was always really keen and played in bands at school and things like that ...
Was there a particular piece of music that inspired you to want to be a part of the recording process?
Well because of the age I am, my love through my teens was British Prog â King Crimson, Vandergraf and stuff like that. It was that that got me into music and - I would listen to it and picture in my head the people playing it and want to be recording it. Inevitably when you get into the industry, as a studio engineer, youâll record anything that comes along really â mainly pop music â but then the opportunity came to go and work with Floyd and that really was the ânever look backâ point. Â Which has been fantastic â what a brilliant thing to have done. I just wish weâd been busier!! Actually recently itâs been busier because Davidâs [Gilmour] done a few things, and there have been reissue box sets and things, which have been nice to work on.
Do you have a Favourite piece of gear that you use in the Studio?
Oooh. Iâve got favourite guitars â i have a guitar collecting habit! In terms of recording stuff. No, I mean Iâve got things that I use a lot because I regard it as being really good, but nothing that makes me really excited like a favourite compressor or something!
Favourite Guitar then?
Well it changes all the time. At the moment its one I just bought. Â Itâs a Paul Reed Smith. Iâve had loads of them over the years but this oneâs beautiful, unusual. As far as I know itâs the only sort theyâve ever made that has a Soapbar, tremolo, and not got a maple top. So thatâs why I got it, but it weighs a ton! Ironically itâs not on the album! [Signal to Noise] I bought it more recently but I can actually say that all the guitars I own, have got on the album somewhere â because when youâve got a part you just pick up each guitar until you find one thatâs right for it, and I ended up using them all!
Have you embraced the evolution of technology â do you rate MP3 vs Vinyl / CD
No - they donât sound very good, thatâs for sure! Itâs a real shame that itâs the first time weâve ever gone backwards in sound quality. Â Thereâs been a continual push forwards ; even within CDs â at the margins of the technology it was about how good the players were and how good converter technology was and things like that, and that all keeps going forwards. Â But MP3s are a terrible backwards step! Â Thereâs still clearly an appetite amongst some people for much higher resolution stuff and if you release it, people will buy it - above CD I mean, really high res stuff. Â My album will be available like that. You can buy it just as a CD, or thereâs a double disc version as an alternative which has 2 discs â CD bundled with a DVD which has got Hi-Res and a surround version on it. Itâs been nice to do that. Â I chatted to a few people when the âDivision Bellâ [Pink Floyd] surround came out and a lot of people really liked that, so certainly there is a bunch of people who will buy it because itâs surround - and also because I love it! Every album I do now thereâs a âsurroundâ with it as well.
Favourite album that youâve worked on? Itâs funny with working on albums because it puts it into a completely different mental place, and you can never hear it the way you hear an album you donât work on. In some ways the ones that I enjoy listening to the most now, are the ones which were recorded incredibly quickly. For example â David Torn, whoâs an avant-garde jazz guitarist, did an album called âCloud About Mercuryâ, which I recorded, and it was done in 3 days. Thereâs almost no âpollutionâ by the recording process, and I can just listen to it as if itâs someone elseâs album.
I have to say that the new âPink Floydâ album âEndless Riverâ was really fun to do because it was quite a different project to anything else Iâve done. Â We were taking existing material and manipulating it, and that made it a very different process to the conventional one that weâd normally use, so I have really have enjoyed this album.
I really enjoyed making mine too, but for different reasons. Â Iâm already thinking on the next one, what Iâd like to do â and maybe work in different ways, try to do it in much more of a band kind of way if I can find the right facilities to do it, because I can fit a drummer in my bedroom! [laughs].
Are you going to be able to listen back to âSignal To Noiseâ in years to come without it really paining you that itâs summing up this period in your life now?
No, no, I listen to it all the time actually - I genuinely do listen to it for pleasure â I really like it!
Is there an album, which you havenât worked on, that youâve listened to and though ââAh that would have sounded so much better if Iâd have engineered / produced itââ?
Oh thatâs not fair! I canât answer that!  Yeah LOADS! But Iâm not going to say anything ... [laughs] I would be critical of everything I ever hear to be honest, even if itâs done really really well, subjectively one would make different choices!  Itâs inherently a subjective art form, and everyoneâs work is different.  I canât think of anything  Iâve listened to and thought that itâs perfect, but Iâm sure people listen to my work and say exactly the same. Â
Well if everything was perfect I suppose youâd never strive to create anything new or better ...
Well thatâs right! Itâs interesting, and talking to people I know who say the same thing â theyâre their own worst critic and always feel that they could have done better, and that pushes you on. I really try to get better all the time. Even working on the new Floyd album, I was working with new techniques; because out of necessity I have to invent something, and then it becomes a really interesting area to explore and you can do new stuff that youâve never done before. So I always try to keep learning, and I think I do!
Youâve been Nominated for 2 Grammys â is it important to you to have a recognised achievement like a Grammy, or is it enough to have been responsible for crafting a world recognised sound across Pink Floyds albums in the past 25 years?
Not really. Â Itâs nice, but to be honest, I really only have to answer to myself I think. Of course, other peopleâs opinions count, and inevitably we all have certain vanities, and enjoy it when people like what you do, but really itâs more about whether you can look at yourself in the mirror and know that youâve maximised yourself and put the effort in. Itâs certainly the way that I look at things now, and it really pushes me forwards to achieve things.
Is it testing to work with Pink Floyd? Â Do you have conversations about the recordings before you begin? Do they come to you with a particular sound in mind, or do they let you have control?
It tends to be more talking about other things when weâre stopped really! People, with them, have always imbued it with a great sort of reason, even down to the most bizarre things like linking up âDark Side Of The Moonâ with âThe Wizard Of Ozâ â people give it meaning thatâs over and above what it actually has. Â When it comes down to it itâs much more intuitive - the same as most people making music really. Itâs not fundamentally that different to anyone elseâs recording process I donât think, but yeah, as far as control goes â particularly when it comes to mixing, Iâve worked with them for so long now, since 1981, I have got a pretty good idea what itâs supposed to sound like and that makes it a much easier process.
Whatâs the most fun â Pink Floyd or David Gilmourâs solo recordings?
Itâs not really very different to be honest. There are different people involved, but at the core, youâre working with David. Whether itâs Floyd or his Solo thing â heâs the dominant factor in it. If you group together his 3 solo recordings and include âMomentary Lapse of Reasonâ and âDivision Bellâ, I think âOn an Islandâ was probably his best work.
Any artist who youâd really love to work with?
Theyâre all dead! [Laughs]
So your next project is to invent a time machine!
Yeah exactly! Â It would have been interesting to have been the industry maybe 10 years before I started in 1976. There would have been some really interesting stuff to be involved in but ... I make my own interesting stuff ... I hope!!
With my Israel brothers, supa DJ's: Dennis Y & Andy Jackson đ„ Will miss you, guys đ€đźđ± #fantabulosa #djmazai #israel #telaviv #andyjackson #dennisy #housemusic (at ThessalonĂki, Greece)






