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Original music


First, this page only was supposed to contain music written by myself. But with his permission, I''ve also posted music written by Peter Genstrand, my old friend who lives on Gotland. We sit in our basements and record music that we share via DropBox. A method that we highly recommend!

You'll find the latest update at the top of the page. I you scroll down, you'll find the older stuff.

A big improvement!

Before, you had to click on the image to listen to the song. My friend Peter pointed out that this was a little irritating, since you were re-directed to another page where only the media player was visible. He thought it would be nice if you could listen while reading my comments.

For your convenience, I've implemented a small media player below each image. Just click on the player to hear the track!


Madmen (Vettvillingar)



Music by Bosse

A re-recording of a tune that is featured below on the 'Schlagers' album! I wrote it some 40 years ago. And haven't played it since then. Which inevitably meant that I basically had to figure out what the f**k the composer did four decades ago. And that was no easy thing to do. Even though I wrote the bloody thing myself!

Again, there are no alternatives to using the Rhodes and the MiniMoog. The entire production consists of Logic Drummer, my six-string bass, the Rhodes and the Mini. Two channels for the two melody harmonies and one for the solo. The latter features a whole lot of effects and I used the native ones in Logic: The 'Hot Rodded' amp, an overdrive pedal cranked to max, a compressor, the Chroma Reverb and an analog echo. I also used the wonderful built-in 'overdrive' in the MiniMoog: In the old versions of the synth, you could run the output from the headphones and route it back into the synth, using the 'External Input Volume' pot. In the new version, this function is hard-wired. If you crank it up just below the level where the 'Overload' lamp starts to flicker, you get an even fatter sound. As if that was needed in a Mini...

As Jan Hammer used to say on his album sleeves: 'There's no guitar on this album'...


The harmonica player's nightmare



Music by Bosse

I wrote this sometime during the mid 70's. The title alludes to the fact that a harmonica player, using ordinary blues harps, would have to change harmonica every other bar. The tune changes key quite often during the melody parts. The solo parts are limited to 'only' two keys, G and C#.

When I started to record, I had a brief chat conversation with my guitarist friend Peter and wrote that, 'on this one, I think there's no room for any guitar. But my guess is that you're just as happy anyway?' His reply was a laconical, 'thank you!'.

Since the tune is a 70's composition, there were really no alternatives to the instruments I chose: Rhodes Suitcase and MiniMoog! They say that whoever has the most instruments when he dies, wins. I'd say that having the ability to choose those two analog instruments from my collection while I'm still alive, makes me a humble winner!

Adhering to the rule 'keep it simple, stupid', apart from the Logic 'Drummer' plugin, I only used three instruments for the recording: Rhodes piano, MiniMoog and my six-string Ibanez bass.


Killing the innocence



Music and lyrics by Bosse

This is an absolute first for me! I recently finished writing my eight novel. I won't spoil too much by revealing the plot, but I can say that it starts with the murder of the Swedish Prime Minister Olof Palme on February 28th 1986. The protagonist is a musician who suddenly happens to find himself in the middle of the investigation. The plot continues through the decades and things happen that makes him feel very bad. To unburden himself, he writes a song called 'Killing the innocence'. So this song is an example of meta references on a very high level. :-)

As so many times before, I invited my friend Peter to play the guitar parts. He first recorded chords on an acoustic which is very discreet. He then wrote, 'Tell me where you want a solo', and about an hour later he said that, 'What the hell, I got so inspired and recorded both an intro and a solo'. That's Peter for you!

The organ is my Viscount KeyB Legend which I ran straight into Logic. The only effects are the on-board ones in the organ. A combination of Leslie simulator, overdrive, reverb, crosstalk and keyklick. As close as you can probably get to the sound of a real tonewheel console Hammond organ...

For the third solo, I dusted off my cheap Harley Benton Slider Lapsteel guitar. I hadn't touched it for a couple of years so it took a while before I got it right but that's a current project: Practice on the lapsteel!

Apart from those instruments, there's a very discreet Rhodes piano (from Logic), my six-string Ibanez bass and the fantastic Logic plug-in Drummer!


Absolutely nothing



Music and lyrics by Bosse

I recently sold my Crumar Mojo and replaced it with a Viscount KeyB Legend. When I bought the Mojo two and a half years ago, the Legend didn't exist. If I had know that this instrument was 'in the pipe', I would have waited for it. It is that good!

Okay, it's not a real Tonewheel Hammond. But when I had downloaded the latest version of the operating system and tweaked some parameters with the help of the eminent editor, i started to behave a little like 'the real thing', an electro-mechanic organ. The only way I can describe it is like this: When I turn the controls for 'Keyklick' and 'Crosstalk' way up, the organ starts to produce sounds that I haven't really registered. The organ simply turns alive!

The first few days, I started to try playing left-hand bass. A riff turned up and after another couple of days, it had turned into this song. The lyrics are about us humans stressing ourselves to death, just to become happy. What is known as 'contradiction in terms'. My remedy for this is actually sitting down, doing 'Absolutely nothing' and being content with just that. Listen to the waves and the wind, enjoying the simple things.

Since then, I went all the way and purchased an eighteen-key set of bass pedals with a swell pedal. The pedal also has a side-switch with which you can change the speed of the built in Leslie simulator, which by the way is really good!

On this recording though, I ran the Legend through a Genz-Benz Shuttle 6.0 600W bass amp with a tube preamp and my modified Leslie 142N. The bass is my six-string Ibanez and the guitar, as usual, was played by Peter. On his rather dry guitar sound, I used the 'Pedal board' plugin in Logic and use three virtual effects, a vintage overdrive, an octave pedal and a rotary speaker simulator. The third and last solo, I played on my MiniMoog.


For the better discovering and bringing to justice



An original composition, words and music © V. Baines [Pendlecheek]. Chords added by Bosse.

I first met Vic Baines in November 2013, through my work. At that time, I had no idea she was into music (and the other way around). Several years later, we learned we had a common interest. But while I'm mostly into blues, rock and fusion jazz, Vic is a folk singer, specializing in old British folk music. She often sings a capella and this song was an example of that (before I sank my teeth in it...). I asked her if she has perfect pitch, but she denied that and replied that she's had a lot of experience singing unaccompanied and staying in tune.

Vic sent me the song as it was and I tried to find chords that both matched her singing and the mood of the song. This is what Vic wrote about it on her YouTube page:

"Sometimes folk songs don’t already exist, so we have to write them ourselves. This one is based on a true story of a skirmish between smugglers and revenue men that took place two hundred and odd years ago. It’s called “For the Better Discovering and Bringing to Justice”, because this was the stated purpose of the arrest warrants issued for twenty-one local men. It features a number of field recordings from the site of the battle. Thanks to Harrison Perks at HP Music for recording and mixing the vocals."

You can listen to more music by Vic Baines, both on YouTube and SoundCloud. Just search for 'Pendlecheek'.


Svensk sås 2018 beatbox mix



Music by Bosse

This version is the one I first sent to the advertising agency in Argentina. They found it a little 'too beat-box-ish', but after confiding in my dear colleagues in the UN Band, I decided to post it here. We all think it's more fun to listen to. That, of course, is a matter of opinion but still, you now can choose between the two versions!


Svensk sås 2018



Music by Bosse

No matter how thankful I am that Todd Terje recorded 'Svensk sås' in 2014, he has proved to be quite reluctant to allow for his version of the song to be used by anyone else. Two examples:

Niykee Heaton wrote a song called 'Villa' (read more about it under the link 'about bosse norgren') and her producer found Todd Terje's version of my song and wanted to use it. He said no so the producer had to hire some musicians to record that part of 'Villa' to make it sound like Todd.

During the summer of 2018, I was contacted by an advertising agency in Argentina. They were making a TV commercial for the largest brewery in Chile and wanted to use Todd Terje's version of 'Svensk sås'. I said yes and they said no. I told the agency I could make a recording of the song in the same tempo and somewhat in the same style as Todd's version. But when I was finished, the brewery had chosen another song.

Conclusion: If I'd been prepared and had already had a faster version of 'Svensk sås', I might have landed the contract with the Chilean brewery. And without mentioning any figures, they offered a lot more than a crate of Becker's Bier...

Well, next time when someone reaches out and wants to use 'Svensk sås' in a context that I can accept, now I'm prepared!

This version is recorded almost in its entirety, using instrument plugings from Logic Pro X. The exception is my vocal parts in the beginning and end of the song. This forced me to learn how to alter the tempo of analog sounds without altering the pitch.

Disclaimer: Just to be clear, I don't have any issues with Todd Terje regarding his reluctance to let anyone else use his recordings. I'll just have to live with that like he has to live with the fact that I've recorded my song in a much faster tempo. That's just two examples of artistical freedom for you...


Guinness and Irish songs



Music and lyrics by Bosse

This song may come as a surprise to you, but there's an old (... just invented it) saying: Inspiration is blind...

It so happened that myself and my old musician friend Urban went to Gran Canaria early in 2003. At that point in time, there was this girl... I won't go into any details, but one evening Urban and I found ourselves in an Irish Pub in Playa del Inglés. There was a lot of Guinness and Irish songs that night and the combination inspired me to write an 'Irish folk song'.

The picture, by the way, was actually taken in Southwest Ireland. And it's true what they say: Guinness tastes better in Ireland than anywhere else...


Schlagers featuring Norgren, Ekholm & Johansson

Recorded in November and December 1980



In 1980, Monica Törnell's New Band was granted some kind of scholarship. In good democratic order, we parted the sum in five equal parts. Myself, the guitarist Lasse 'Ekis' Ekholm and the drummer Jörgen Johansson decided we would take our three (small) piles of money and make a record with original music.

Said and done: We had the studio time for free, so we spent the money on re-mastering, pressing vinyl records and getting sleeves made. If I remember correctly, we made around 3.000 records. Even though we had a very good review in the magazine 'Hi-Fi och Musik', we sold maybe half of them. I still have like 30-40 unplayed records in my studio (if any of you want to lay hands on one, hint, hint...)

I said we had the studio for free. Well, the studio in this case was our reharsing place deep in a mountain on Skeppsholmen. The studio equipment was quite modest: A TEAC A-3340S 4-track tape recorder, a small, six-channel BOSS mixer and four Shure SM57 microphones, plus a Roland spring reverb unit. That was it, plus our instruments.

Recording on a 4-track has its limits. We used the so called 'ping-pong' method: You record three tracks, then mix it down to the fourth. Then you can record two new tracks and mix them with the first three to the remaining free track. Now you have five tracks and the quality of the first generation is beginning to deteriorate. So one more go, which means you can get away with eight tracks, maximum. And there's a lot of 'punch-in' recording to save space.

As I said, we had a very good review in 'Hi-Fi och Musik': They were above all impressed with the sound quality, given what equipment we had. You judge yourself, we had a lot of fun doing this!


Yeah, I still have it in my possession...


Bosse's samba



Music by Bosse

This was one of my first 'real' songs and I think I wrote it in the early Seventies. On this one, I play acoustic piano, so in order to record it, I had to move the tape recorder to my parents' home where the piano was. My parents had the patience of two angels, bless them for enduring all re-takes of solos and live playing in their living-room...


Medium grilled tomato ballad



Music by Bosse

Written around the mid Seventies. The title demands an explanation: I played for a while with a guitarist/singer who always, and I mean always, ordered a medium grilled pepper steak with a tomato salad when we went to have dinner with the band. Thus, 'Medium grilled tomato ballad'! On this one, I actually play slide guitar during the melody parts.

A note on the 'backwards' piano at the end of the song: Back then, you had to lift the reels off the tape recorder and put them on 'back-to-front' and record that way. Which was a bit nervous – you had to be sure you recorded on the right tracks...


Africajun



Music by Bosse

On the sleeve, it says that I play 'jungle, electric bass, accordeon, xylophone and amadinda'. Well, on the jungle part, I had good help from my parakeet, Art (named after jazz accordeonist Art van Damme). The sound of running water was recorded in my mother's laundry room. A special note on the 'backwards' piano at the end of the song. You actually had to turn the reels of the tape recorder around and record the piano that way. Of course it played backwards when you turned the reels back again.

One of the more funny remarks I've ever heard about my playing came from Lasse's father, who was an old jazz accordeon player. When Lasse played the song for his dad, he listened intently and said with surprise, 'What the hell... the kid plays the accordeon like a drunk indian..." Yeah, he had a point there...

In the only drum solo on the album, Jörgen lives up to his nickname 'Jungle Jim'.


Sonny



Music by Bosse

My humble tribute to sax player Sonny Rollins. And don't ask me how I did it, but I play the melody on xylophone...


Vettvillingar



Music by Bosse

In Swedish, 'vettvillingar' means 'madmen'. And the word 'tvillingar' means 'twins'. Lasse played his Gibson ES335 through a Fender Twin Reverb amp and I borrowed it to get a guitar-ish sound for my MiniMoog. I seem to rembember the volume in the studio was deafening when we recorded the solos...


Ondas de noche



Music by Bosse

'Ondas de noche' is Spanish for 'Waves in the night'. The entire beginning and end of the song: The wind, the waves and the eerie, chiming buoy, were made on my MiniMoog and yes, it took its time. Again great guitar playing by Lasse!

By the way, this track is the last on the A side and it continues into the grooves in the center of the record. Our idea was that you should never be able to fall asleep when the last song is finished...


W.Y.S.I.W.Y.G.

Written and recorded around 2005 and some
'fixes' made in 2018


Music and lyrics by Bosse

Originally recorded in GarageBand but imported into Logic Pro X, where I implemented the fantastic Drummer plugin and recorded some real bass instead of the software bass I recorded some years ago.


Another kind of birth

Written in the Seventies and recorded in January 2018


Music by Bosse

Since it's forty years since I wrote this, I can't recall exactly where the title comes from, but I read a lot of SciFi literature back then and it was inspired by one of those novels. This one, we used to play quite often as an instrumental with Monica Törnell's New Band. As usual, you can hear myself on keyboards and bass and Peter on guitars.


Flooded

Written and recorded in January 2018


Music by Peter

This song is proof the fact that if you play a lot, you also get inspired. This song landed in Peter's head recently and features himself on guitars, bass, drum programming and myself on Rhodes and MiniMoog. I asked him about the title and he replied laconically that, "well, it rained a lot on Gotland last fall..."


To Keith

Written in the Seventies and recorded in 2010


Music by Bosse

I found this in my computer and had completely forgotten that Peter and I recorded it a few years ago. It's an old tribute to a great piano player, Keith Jarrett.


Back to '75 part 1

Written and recorded in January 2018


Music by Bosse

As I wrote in the text below Sueños de Varadero, I'm nowadays the very happy owner of both a MiniMoog and a Rhodes Mark II Stage Piano. I don't know how people treat their Rhodes pianos? In my case, all the usual stuff was missing: The big cover lid, the leg assembly and the pedal. But the piano itself was in quite good condition and after a few hours (to be honest, days) of tuning, adjusting tonebars and microphones, it's easily one of the best playing and sounding Rhodes pianos I've ever played. But as a musician friend said, you CAN'T have a Rhodes on an X stand. Sometimes, they just give in. And having a 50-kilo piano suddenly land on your knees and feet is baaad...

Two roads to follow, basically: 1. Buying a new leg assembly plus pedal. 2. Building my own Suitcase cabinet.

Well, as I once owned a 1978 Mark I Suitcase piano, I chose #2. It features a Behringer Class D power amp which gives around 2X800W at 4 Ohms and four 12" Beyma 12GA50 broadband loudspeakers (two at the front, two at the back). Instead of the built-in preamp that comes with the Suitcase pianos, I managed to buy a fantastic preamp from a manufacturer called Speakeasy (you can see it to the left of the Mini in the pic). Again, Jonas Öijvall was the seller! It features the same control paramters as the original: Gain, bass treble, tremolo on/off and tremolo speed and intensity.

When I recorded, I put two Shure SM57 mikes at the front speakers, so this is really how my homemade Suitcase Piano sounds! And of course it's the MiniMooog and the six-string Ibanez bass. Plus as usual, Peter from Gotland on guitars.

A special note about the drums: At the end of the track, there's a bass solo. You can make the Logic Drummer plug-in follow any channel you choose. Normally, I let it follow the bass, but here I let it follow the bass solo. And as you can hear, the drummer goes a bit 'Animal', as I believe was the name of the drummer in the Muppet Show...

Last, an explanation of the title of the song: Peter, the guitarist, was born in 1965. He once wrote a song called 'Back to '65 Part 2' (see and listen below). We've discussed this many times and wondered what happened to 'Part 1', which doesn't seem to exist. To make a long story short, I decided to paraphrase the name of Peter's song. It's a view through the looking-glass at the jazz-rock era. Everybody plays solo...


Sueños de Varadero

Written and recorded in January 2018


Music by Bosse

Above, one of all Salsa bands/artists I saw and heard. This one at the patio of our hotel in La Habana one evening when we returned from dinner...

Around New Year's weekend 2017/2018, me and my family went to Cuba for a vacation. Apart from all other influences, Salsa music was everywhere and I couldn't help but being inspired. One afternoon at the hotel on Varadero Beach, this song just landed in my head. I suppose some of you have experienced this many times: That suddenly you have a song or riff in your head and when you wake up the next morning, it's gone. My experience is I have to play it on some kind of instrument before I forget it. This one stayed with me, though...

As soon as I got home in mid January, I sat down in my studio and recorded the track, which I named Sueños de Varadero, Dreams of Varadero. And as many times before, the guitars are played by my dear friend Peter, in his basement on the island of Gotland.

For me, this is also a fantastic return to my Seventies setup. Last April, I bought one of the re-issue MiniMoogs and in the beginning of December, I laid my hands on a Rhodes Mark II Stage Piano from early 1980. Both those incredible vintage analogue instruments are featured on the track. You can also hear my new five-string fretless Ibanez bass and the Logic drum plug-in aptly named Drummer...


Morning sun 2018



Music by Peter, lyrics by Bosse

Early on a Saturday morning, Peter sent me an MP3 with this song. Which then contained only the guitars. I went totally crazy! 90 minutes later, I had written lyrics and recorded voice, keyboards, a drum track and a Yamaha Motif 'guitar' solo.

Now, like 8 years later, Peter has recorded a new version where he is singing lead! He's also renewed the acoustic guitar track and fixed the reverb and EQ. He asked me what I thought and I can only say, 'absolutely beautiful'!


Angel in my heart



Music and lyrics by Bosse

Another one of those love songs...

Here, I believe the Rhodes sound is one of the on-board ones in the Yamaha P150. The 'guitar' solo is played with one of the best samples I've ever heard: It's called 'Crunchoid' and I found it in my Yamaha Motif rack synth. The harder you hit the key and the longer you hold the note, the more overtones you get. But as my biggest synth influence, Jan Hammer, said: "You can use any synth sound with good attack. To make it sound like a guitar, it's all in the phrasing..." That's what I've been trying since I bought my first MiniMoog in 1975...


Joel Miraculix



Music by Bosse

Life sometimes proves to turn out very differently from what you planned. I someone had told me I would have a son when I was 56 years old, I would have told them, 'you're crazy!' But in the last days of August 2010, this little miracle arrived in our lives.

The Rhodes piano (a Logic plugin) solo is actually a first take! And Peter does his usual, tasteful thing! When Joel was christened in January 2011, he cried and screamed during the entire ceremony. Until I started to play this song on the excellent Yamaha digital pianon standing in the church. He went totally silent as if you had flipped a switch. That's what music can do to a child!


Madrid



Music by Peter

The picture was not taken in Madrid, but on Peter's back porch on Gotland. Nevertheless, as you can see, we drank red wine while we played.

The song features a lot of heavy guitar playing and of course, I couldn't keep from doing some guitar mimicking myself...


T.Z.N



Music by Bosse

My next kid was born in 1992 and this is my tribute to Therese, who during a period was called Tessan or TZN as a nickname. I've been thinking of a re-recording of this one but every time I listen to it, the song grows on me. So I'll let it be...

This is the only recording on this page that I believe still remains from the dark period when I used a PC and Cubase.


Tack för lilla E



Music by Bosse

I wrote this one in 1989 when my first child was born. I've tried a couple of times to write lyrics for it, but have failed, so I guess it will always remain instrumental. The piano is my Yamaha P150. Peter played his solo without using a pick, which gives it a Jeff Beck-ish touch. Quite lovely!


71-2010



Music by Peter

In 2010, Peter's father celebrated his 71st birthday. Peter wrote this as a celebration. It reminds me a little of the Jimi Hendrix song 'Little wing'. My synth solo is in the Jan Hammer 'there's no guitar on this album' category. I believe this one is played on an old Yamaha CS1X synth, which was actually quite good for modifying sounds. I used a clean electric guitar sound and dirtied it a lot.


Walking on water



Music by Peter

Peter sent me this song and I immediately thought it sounded a lot like it could have been written by the late Ted Gärdestad, one of Sweden's best singer-songwriters (together with his brother Kenneth). I simply love the sitar-ish guitar sound on Peter's first solo...


Return 2 '65 (Back to '65 part 2)



Music by Peter

In 1986, I spent six months in the UN mission in Cyprus. When I went there in mid-March, I brought my home-built 4-string bass, which you can almost see in the image above. It had a short-scale neck from a Fender Musicmaster, an oak body and a DiMarzio P-bass microphone. I started to play with some guys working at the Swedish Camp Victoria in Larnaca. We did some party gigs during that summer and had a lot of fun. One of the guys was the youngest solider in the Swedish contingent. He played the guitar and his name was Peter. He's the guy at the right and although I don't know, we could be playing what was then known as 'Back to '65 part 2'.

We had very bad amps that time, so when I played solo, the sound was heavily distorted whether I liked it or not. But it kind of suited the song, so when we recorded it in 2010, I tried to re-create the bad-amp sound of 1986.


Stolen goods



Music by Bosse

This is an old sin, written in the Seventies. It features myself and Peter. This was before I bought any organ, so what you hear is a Logic plugin. The basis of the song, the piano riff, is played on my old workhorse, a Yamaha P150 and I guess the bass is my old Schecter 5-string which I had before upgrading to the Ibanez six-string.

The title: When I wrote it, I wasn't quite sure that it was my own. I actually thought I'd stolen at least part of it. After many years, someone assured me I was innocent of breaking anyone else's immaterial rights. But the name stuck.


Jag visste att du fanns



Music and lyrics by Bosse

In 2004, I bought a small allotment garden and built this cottage. Apart from having shorter relationships, I was single and enjoying it. Actually, I thought I'd never live with anyone again. But as James Bond said, 'never say never again'...

Around Midsummer 2008, I met the most wonderful woman in the world! One evening when we had just started dating, I had treated her to dinner in the cottage. She took a cab home and left me with a box of red wine, my MacBook and a small, white USB keyboard. Inspired by the woman and the wine, I fired up the computer and started GarageBand and Word. And began writing lyrics and music simultaneously. When I was finished, I recorded the song. So in this case, all instruments are GarageBand plugins and my singing was recorded through the built-in microphone in the MacBook. This text continues below the next track, 'Got the greens'...


Got the greens



Music and lyrics by Bosse

When the first song was finished, my inspiration wasn't. I continued composing and writing lyrics. It was getting very late, or rather early in the morning and I was feeling the Blues. But since that woman has the greenest eyes you can imagine, I named the song 'Got the greens'. It's an ordinary 12-bar blues and again, all instruments are standard GarageBand plugins.

When both songs were finished, it was eight in the morning. I was deadly tired, a bit drunk but quite pleased with myself!


Svensk sås 2014



Music by Bosse

Thanks to Todd Terje for the inspiration! I haven't spent this much time in my studio for a long time and this new version of the old song is only the beginning. Also available on YouTube: https://www.youtube.com/watch?v=eqn278TDyro.


Svensk sås 1978



Music by Bosse

Well, this is the original version with myself, Monica Törnell - voices, Jörgen Johansson - drums and percussion, Per Johansson - bass (including a rather wild solo with tapping on the strings with a bow...) and btw, they're not related. Then there's the late, great Björn J:son Lindh on flutes and the equally late, great Lasse Ekholm on guitar.

I wrote this in 1977 and we used to play it as one of the two or three instrumental numbers before Monica entered the stage. After a while, she started to join in with wordless singing. When we came to the point of recording, I was rather flattered when she wanted the song on the album. So this is what we recorded. Live, of course. One curiosity: We recorded in the Metronome Studio in Stockholm. I found an ARP 2600, the same 'phone switchboard' synt that Josef Zawinul used. I fiddled a little with it and used it on the recording. J:son commented: "What the f***? I spent hours with that one and didn't get a decent sound out of it. And you just did it..."

Even more fun is that Todd Terje, who made a cover of the song in 2014, uses a 2600. The circle has turned a full 360...


Are you Sirius 2014



Music by Bosse

In the mid Seventies, I went to the Åhus Jazz Festival a couple of times. Totally overwhelmed by a concert by Hammond Organ player Webster Lewis, I made this tribute. Originally, I named it just 'Sirius', after the Åhus hotel we stayed in. The year before, we stayed at a hostel called 'Kastanjelunden' and I made a song with that name, so I thought the hotel reference would be a good idea.
After re-recording 'Svensk Sås', I thought I'd tackle some other old sins. 'Sirius' was elected first, and on it, my old friend Peter plays the guitars. I used the Hammond emulator built into Logic Pro X, which is fantastic. But it's not the real thing. Since the recording, I bought my first real Hammond organ. An L100/102, built in the spring of 1963. I bought it from a Pentecostal church in the village of Viksjöfors, some 300 kilometers north of Stockholm. Two days later, I went to ELFA and bought a Zener diode, a capacitor, an on/off switch and a potentiometer. This to implement built-in overdrive (thanks to Kris, http://l100.gietek.me.uk, who provided charts and tips). Now, the organ has transformed from being a church organ to being a beast (to quote the late, great Jon Lord...). My wife asked me, a little sarcastically, "So, this organ can produce sounds your other gear can't?"

Last night, after having played on the L102 for a couple of hours, I told her, "Yes, it can!" Using around 80% of the overdrive, the instrument feels alive. Some keys produced overtones never possible in a digital environment.

The Hammond is easily one of the best buys I've ever made and I'll certainly use it the next time I record.


Just before one



Music by Bosse

And here she is, my new friend, Ms Hammond L102. Apart from overdrive, I've fixed shorter percussion decay time and also brighter percussion sound, that I can switch on or off. Thanks again, Kris. I ran the organ straight into my USB audio interface and used the 'Rotating speaker' amp in Logic Pro X. Haven't figured out how to switch between slow and fast speed while playing, since it's an analog instrument using a digital amp. So I had to record the speed changes afterwards.

The song is also an 'old sin' from the Seventies. The title, of course, alludes to the piano left-hand riff, which always lands 'just before one', the first beat of the bar.


Free from you



Music and lyrics by Bosse

I wrote this back in 1985 after a particularily cumbersome encounter with a young lady. No details about that... but at that time I was making a lot of music with my old pal Urban Ohlsson (see the facebook.com/trubaduon website...). Way back when, we always called each other, saying, "I have a new song..." and the reply was always, "Yeah, what's her name?" A lot of love lost, but music gained!

I made this version recently, like 30 years later. The most tight version yet...



Som du



Music and lyrics by Bosse

This was written a long time ago. I was sitting on the grass in front of a small cottage on the island of Öland. No instruments, just the text. But somehow, I wrote the music in my head. Guess that's what being in love does to you... again, me and Peter doing the thing...


Use only Hammond Oil



Music by Bosse

Well, they say 'when in Rome, do as the Romans do'. If you listen to Hammond organ experts like MAFY, they say 'when doing maintenance on a Hammond, use only Hammond Oil'. And you use it in the Tonewheel Generator, which is the long, silver thing slightly above the middle of the picture. Above the loudspeakers. It probably won't come as a surprise to you, but that's where the tones are generated. Wheels with different amount of 'spokes' rotate in a magnetic field, the amount of spokes give the tone's frequency. Am I too technical? Okay, okay...

This was in no way an attempt to make the best song in the world. It just happened and I decided to record it, keeping it simple: The EZ Drummer plugin from Toontracks in North Sweden (believe it's Morgan Ågren doing the grooves...), my six-string Ibanez bass, the Rhodes emulator and analog synth emulators in Logic Pro X and of course, my L102. I ran it through the rotary speaker plugin in Logic. Only one setback: There's no way I can change the Leslie speed while recording, since I have to use the mouse. So I have to do that while mixing. Well, well. One day I'll have a real Leslie in my studio...


F.U.N.K.



Music by Bosse

Another trifle... recorded during a couple of evenings in January 2015. The first solo was played on my beloved L102, trhu the 142N Leslie. BTW, miking a Leslie is no trifle. I've used three Shure SM57 on the outside, one at the bass rotor, two at the treble rotor, 90° apart. And I'm also running a straight signal from the organ to a 15W VOX amp, using it for reverb. Many fellow Hammond nerds recommend not running a reverberated organ trhu the Leslie, but via another amp. The reason is the combination of reverb and doppler muddles the sound. I kind of agree. Plus the internal reverb in an L100 is a bit too much... a bonus effect is it's looking pretty cool with a VOX amp on top of the Leslie!

The 'guitar' parts were done with another favorite, my Yamaha Motif rack module. I used two different sounds, 'Texas Boogie' and 'Crunchoid'. And indeed, crunchy it is... a phantastic sampling of an overdriven guitar that cracks up in overtones after a few seconds or if you hit the keys a little harder.

The drums are played by Morgan Ågren (I think). Well, the samples at least. I use the phantastic plugin EZ Drummer from ToonTracks.

Bass? 6-string Ibanez, straight into my sound card and into Logic Pro X, where I'm running it through something that looks like an Ampeg tube amp.