The story
of this band started in the spring of 1972. This was a year
before I was going into the compulsory military basic
training that we had back then in Sweden. During the two-day
mustering process, I met Olof Hellberg. We had been in the
same schools since we were seven years old, but had never
been in the same class. I knew that he played the drums, he
knew that I played the piano. We started to talk about
playing together. He had been playing with a couple of
friends that he had known since kindergarten.
The two friends were Erik Samuelsson who played guitar and
banjo and was a good singer, and Magnus Jäderberg who played
bass. Both double bass and electric. Magnus lived with his
parents just a few hundred meters from my parents’ house.
And they had a Bechstein grand piano in their living room!
A note on our parents: Both Magnus’s and my parents had the
patience of angels. They let us invade their homes with
rather loud instruments, which is very much a reason that we
could start this band!
During the spring of 1972, Magnus and another guy who had
been in one of Olof’s former bands, were involved in rather
critical accidents with mopeds. Both of them were taken to
hospital and by chance, ended up in the same ER room.
Bandaged up to their ears. They started to talk and realized
that they knew each other. The odds for that is like… well,
buy a lottery ticket… anyway, when Magnus was discharged
from the hospital, we met in his living room, where we
rigged our equipment.
Back then, I was very much into Keith Jarrett and by ear,
had managed to get the melodies and chords to a few songs
from the fantastic album ‘Gary Burton and Keith Jarrett’.
Among them ‘Fortune Smiles’ and ‘The Raven Speaks’. We went
into them like tight-rope walkers without security nets.
Sometimes I think we sounded quite good. Unfortunately, this
was so long ago that we had no equipment to make any
recordings. Or maybe i should say fortunately… yeah, fortune
smiles... :-)
And yeah, we played jazz in different styles. Keith Jarrett
and some original music. Both Erik and myself had started to
write music quite early. My first ‘real song’ was ‘Bosse’s
Samba’ which we recorded much later. You can listen to that
version here:
Bosse's samba
Written in the
early 70's and recorded in 1977
Music by Bosse
I said
jazz in different styles. We also played Trad Jazz and
frequently visited the music pub Bullerbyn. This was the
center of the music scene in Stockholm in the beginning of
the ‘70:s. A basement under the old market hall at
Kungsgatan in Stockholm. Every Tuesday, they had a Trad Jazz
jam. You went on stage and played a few songs and were
rewarded with a pint. Different constellations all the time,
different musicians playing different styles. As a piano
player, I tried to make myself heard playing an un-amplified
upright piano. This ruined my chops. Or rather made me a
piano karate player. I had to hit the keys so hard that when
I later started to play electric pianos, I ruined the tone
bars.
The most
odd instrument that turned up on that stage, was a
Sousaphone. Basically a Tuba that you wrap around your body.
Every time the owner got on stage, people shouted, 'Flight
of the Bumblebee'. Very funny! Probably impossible to play
on that instrument.
During
this period, Mange met a couple of horn players at a High
School graduation party. Their nicknames were Kassen, who
played the trombone, and Detleff, who played the trumpet.
With this band, we rehearsed in Kassen’s basement. We played
at a garden party in his neighborhood and also at Magnus’s
party when he graduated from High School. I remember us as a
New Orleans-style marching band, Erik playing the banjo and
myself having a 26-inch bass drum strapped to my chest. This
was in the spring of 1973.
We also had a Trad gig at a student pub close to Stockholm
University. The pub was located at Lappkärrsberget and was
called Lappsus. Which is a pun. ‘Lapsus’ means mistake. I
remember yet another of those upright pianos, this one with
the top totally covered with beer glasses and bottles. And
when I started my karate session at the keys, the entire
piano started to wobble back and forth. The miracle is, I
didn’t get drowned in beer.
In 1973, I started to play with another band, Freja. The
personnel was Cary Sharaf el-Din on guitar, Björn Netz on
sax, Göran Svensson on bass and Björn Wetterborg on drums.
We landed a gig at the legendary pub Stampen in the Old Town
of Stockholm. This went so well that we were invited to come
back for another gig a few weeks later. In the meantime,
Björn ‘Nalle’ Wetterborg quit the band and was replaced by
the legendary Åke ‘Dr Åke’ Eriksson on drums. To be
diplomatic, Åke hit the drums a bit harder than Nalle…
between two songs, a guy patted my shoulders. He said, ‘Hey,
could you turn the volume down a bit? We’re playing in the
basement club and to be frank, we can’t hear what we are
playing.’ Needless to say, we weren’t asked to come back
again…
At this point in time, we were moving from our parents’
homes into proper rehearsing facilities. First, a wing at
the Ulvsunda Castle, later at the top floor of an industrial
building, also in Ulvsunda, west of Stockholm.
At first, our ‘electric band’ was named ‘Tensor Tympani’.
Olof, our drummer, was studying medicine, and came up with
the name. Supposedly, Tensor Tympani is a muscle in the
middle ear of a human being. A creative translation is
‘Hitting the Eardrum’. Funny but not a name anyone
remembered or could pronounce. As soon as Freja was
discontinued and transformed into the legendary fusion band
‘Wasa Express’, I recycled the Freja band name and made it
ours. I mean, I came up with it in the first place. By the
way, Freja is the name of the Viking fertility goddess.
The runes circling around the edge of the stone, say 'Olof
Hellberg percussion Magnus Jaderberg bass Bosse Norgren
keyboards'.
Freja was
the house band when Erik had his house-warming party at his
parents’ house when he graduated from High School. That
party, for me, is lost in the mists of time and beer…
When our band became electric, we moved down from Magnus’s
living room to their basement and a large, cozy room named
‘The Stable’. I remember Erik having a small tube amp which
had to be leaning back against the wall, at an angle, due to
some kind of a loose contact problem. And again, fortunately
no recordings are available from this period. The reason? I
became, not a sax player but rather a Tenor sax owner. One
time, we started to play the theme of ‘The Pink Panther’.
The rest of the guys played the theme over and over, while I
opened the sax case and assembled the instrument. And well…
I never really became a sax player. I tried to remedy this
by buying a Soprano sax. And for you who have never tried to
play the sax, a Soprano is even harder to play than a Tenor…
again, I was inspired by Mr Jarrett, who is very good at the
Soprano...
1976-2002
The dark years began in 1976.
Erik went abroad and studied to become a hotel manager at a
school in Switzerland. He worked abroad for 14 years and
returned sometime in 1990. During his time in Switzerland,
he inherited some money from his Grandmother. He used all
the money to record four songs in a real studio. This was in
1978. Below, we have four songs that are well performed and
produced, but sadly enough, the cassette tape has not aged
beautifully. There are cracks and short pauses here and
there, but you just have to live with that.
Erik's Musical
Quest between 1972 and 1976
Erik tells us what happened...
"When I
graduated from High School in the spring of 1972, I had my mind set on two things. The
first was to apply to one of the world’s best Hotel Management
colleges. The second to compose and perform music of my own.
It took until 1976 before I was admitted to Ecole Hôtelière de
Lausanne in Switzerland. In the meantime I spent all my time
to succeed in the entertainment business i Stockholm. My plan
was to make enough money to finance my studies.
The greatly
renowned keyboardist, composer and producer Anders Eljas
helped me write all the music annotations and notes of some of
my songs and have them registered with STIM.
I started off
with ‘Back me up’, inspired by the feat of establishing myself
as a performer and songwriter.
I dedicated ‘Daddy
cares’ to the Hippies living in ancient caves in Crete, bumming
food from the neighboring, poor fishing villages and
contributing to no one except themselves. I thought the problem
was that these spoiled kids just called home to their rich dads
and the money flowed in. I saw them as parasites and wrote
‘Daddy cares’.
‘Eva’ was
written in Stockholm and tells about lost and unanswered love.
However, I got together with her room-mate Inger instead and
ended up writing ‘Toilet paper poetry at Utö’ on the island of
Utö in the Stockholm Archipelago. I couldn’t find any writing
paper so I wrote it down on a piece of toilet paper before
leaving for Switzerland.
I realized I
missed her so much that I also wrote ‘How can I live with you
gone?’.
Two years
later, in 1978, I ended up using the entire inheritance from
my Grandmother for a professional studio recording in
Lausanne. My goal was to make the 4 songs heard abroad. I
first went to Media Sound in New York, where I didn’t have
much luck except they recommended me to visit RCA records in
London on my way back to Switzerland. I followed their advice,
only to hear them say, “Too much middle of the road, Sir!”
Well, at least I tried my best and have never felt ANY regrets
whatsoever!"
Back me up
Written like in
the early 70's and recorded in 1978
Music and lyrics by
Erik
Daddy cares
Written like
in the early 70's and recorded in 1978
Music and lyrics
by Erik
Eva
Written
like in the early 70's and recorded in 1978
Music and lyrics
by Erik
How can
I live with you gone
Written
like in the early 70's and recorded in 1978
Music and
lyrics by Erik
Finding a new
guitar player...
With Erik
gone, we continued playing with Freja. Erik was replaced by
Ken Carlson, a guitarist who, just like me, was very much
into music by Chick Corea, Billy Cobham and the like. According
to Magnus, we found Ken when Olof played with a big band
where Ken was playing guitar. We made a
recording in a studio in Uppsala in May 1977 and I recently
realized I had written a song called ‘The dance of clowns’.
I had no idea that I wrote it and that it had been recorded.
Typical ‘70:s song in the not so middle-of-the-road time
signature of 7/8. I kind of love it…
The dance of
clowns
Written like in
the mid '70s and recorded in 1977
Music by Bosse
The picture was taken when we tried to make a
studio recording in San Francisco in 1978. Here, I was
playing on and ARP 2600, Josef Zawinul's signature synth and
a fantastic instrument.
During
these years, we also played with a friend of Ken’s. Tony
played the sax and we jammed a few times in an old summer
house that he rented from the Swedish Church in the Ekerö
municipality.
Olof had moved to Uppsala, some 70 kilometers north of
Stockholm. He became a fixture in the Uppsala music scene
and landed quite a few gigs in student pubs up there. For a
period of time, a British flute player joined the band. His
name was Hillary Ashroy and he was a good flute player, but
he had this thing with sheet music. He simply couldn’t play
without having the music written down on paper in front of
him. One time, at a pub in Uppsala, we went on stage and
Olof counted ‘one, two, three, four’ and we started to play.
Hillary drew a deep breath and was going into the theme of
the song. At that same second, the bartender felt that he
should enhance the air quality in the pub and switched on a
very large ceiling fan. Hillary’s sheets of music flew all
over the place. We had to stop the song and get some clothes
pins for Hillary and his papers.
Olof had another friend who played congas. His name was
Bosse (just like me) and he was blind from birth. And hence
went under the name ‘Blind Bosse’. Nowadays not very
politically correct. Anyway, once I went to his home to pick
him up before the gig. After driving a couple of kilometers,
he said, like, ‘No, go right at this intersection. It’s a
shortcut.’ Quite scary. I had a totally blind co-driver… and
yes, he was right.
San Francisco
1978
In 1978,
myself, Magnus and Olof went to San Francisco. Ken had moved
there to work for a year at a subsidiary of Alfa Laval where
he was an engineer, working with lipids. Later, he has told
me he is probably best in the world at getting oil out of
different kinds of seeds. We played some music there and
actually went into a studio, but nothing really came out of
it. At least, we bought some very nice instruments. Magnus
laid his hands on a burgundy P bass which he named 'Rosa'. I
called my mother and asked if I could borrow some 4,500 SEK
which was what 1,000 USD amounted to. And then bought a
Rhodes Suitcase which I actually smuggled into Sweden in the
container where Ken sent his Pontiac TransAm and some other
stuff. Here's a pic from when we rehearsed for the studio
session.
Ken fixed the room at
an industrial facility where they were producing some kind of
oil products. I don't know if you've ever felt the smell of
rotten eggs? That's what the place smelled like. And not like a
faint whiff of it. To be frank, we stank of esthers, and drove
our cars with the windows rolled down all the way back to Ken's
apartment. As you can see, we didn't exactly suffer from cold
weather...
2002 wedding
gig
After
that, long years passed without us playing together.
Actually until 2002, when Magnus married his second wife.
Myself, Erik, Olof and Ken went to London and we played at
the wedding party. You don't see this too often. All of us
dressed up in fancy clothes...
2003-2010
By now, Ken, who had double
citizenships (Swedish and American), had moved permanently
to the USA. But he regularly came to Sweden every year. And
the rest of us started to plan a party. All of us (except
Ken) were reaching the honorable age of fifty in 2004. We
decided to have a 4X50=200 party! And if four musicians
celebrate their 50th birthdays, they play music! So we
started to meet in Uppsala to rehearse. And this time, we
met in the old studio to record a few songs. Magnus’s wife
Laine dubbed the recording ‘Roll later’, another pun. In
Swedish, a ‘walker’ that old people push in front of them to
be able to walk, is called a ‘rollator’. Hence, ‘Roll
later’. Thanks a lot for that one, Laine… :-) For the party,
Ken came over from the US and played with us.
This is our invitation
for the party. Shot in a graffiti-ized basement where we
rehearsed once.
Thanks for
little E
Written in 1989
and recorded in 2003
Music by Bosse
I wrote
this one as a tribute to my first-born child.
30 years later
Written and
recorded in 2003
Music by Erik
While we
were recording 'Roll later', we were staying at Olof's
place in Uppsala. After dinner, Erik brought out his
guitar and started to play these riffs. I sat down at the
upright and we started to jam. The next day, we recorded
the song, featuring solos by myself, Magnus and Olof.
Another typical example of Erik's ability to create a song
(sometimes together with lyrics) just by starting to play.
Afrodisiac
Written and
recorded in 2003
Music and lyrics
by Erik
A
lovely song in some undefined Caribbean style, where
Erik starts to ad-lib some lyrics in some unknown
language. Again, typical for Erik.
In the spring of 2004, I bought an allotment cottage west of
Stockholm. And to make a long story short, I ended up in a
soap opera about the Allotment Iris. In a short sequence,
you can see me and Erik jamming in my cottage. So by this
time, we sort of were up and running again.
2011-2020
In 2011, I moved to Ekerö and was
lucky enough to have a large room in the basement that I
could use as a studio and rehearsing place. Erik came there
in July 2012 and him and me recorded one of his old songs,
‘Toilet paper poetry at Utö’. The story behind this is that
he and a girl ended up all by themselves at the island of
Utö in the Stockholm Archipelago. In the morning, he came up
with this song but didn’t have any paper to write it down.
So he used toilet paper. In my life, I’ve come to love a few
songs more than others. Purple Rain by Prince is one of
them. Little Willie John by Peter LeMarc is another. And
Erik’s Toilet Paper Poetry certainly holds its place in the
top ten list.
Toalettpapperspoesi
på Utö (Toilet paper poetry at Utö)
Written in the
mid 70's and recorded in 2012
Music and lyrics by
Erik
A song
that gets me in the mood that you get when sitting in a
small rowing boat, moving with the lazy waves.
One and a half years later, Erik returned. We recorded his
song ‘4X50 makes 200’.
4X50 makes 200
Written in 2003
and recorded in 2014
Music and lyrics by
Erik
This one, he made up when
we were rehearsing for our 50:s birthday party. Erik
found an acoustic guitar and I sat down at the
upright. Nowadays without the karate chops… Erik has
a fantastic ability to start playing a riff and then
come up with the lyrics as he sings them. That
happened there and then. It's
about how we started out some 50 years ago. Jamming it all
in Magnus's and my parents' houses in Ålsten.
2021
Since
then, we have met and jammed in my basement a few times. No
serious stuff, just having fun. But then I separated from my
wife in the end of 2020 and moved to a one-story villa a few
miles from the house with the basement studio. My new home
has no basement, but a former bedroom converted into a
dedicated music room. And this is where I have my
studio/rehearsing facility. Since then, we really have got
things rolling. Kind of, ‘Roll Even Later’…
When we recorded before our 2004 birthday party, we called
ourselves ‘30 years later’. This name is derived from the
old band ‘Ten years after’. But the years pass and now we
are ‘50 years later’. Yeah, folks. In 2022, it’s fifty years
since Olof and I met at the Military Muster proceedings. And
that, I can tell you, is mind-boggling…
In 2021, we became very creative. It started off with Erik
bringing up a really old song that he wrote in 1968 together
with his brother. It’s called ‘Time is precious’. Which, of
course is what we’re feeling now when time is getting short
on us. Use whatever you’ve got while you still have it…
In the spring of 2021, Erik came to my new studio and we
recorded the first version of his old song. It was very much
improvised and a bit un-structured.
Time is
precious
Written in 1968
and recorded in 2021
Music by Erik and
his brother Bertil and lyrics by Dr E M Fraser
In 1968, Erik, his
brothers and their parents were living in Bellapais in
Northern Cyprus. The picture was taken on the roof terrace and
shows Erik and his brother Bertil composing 'Time is
precious'. Dr Fraser, who wrote the lyrics, was a friend of
Erik's parents. He was also a personal friend of Joan Baez,
the famous singer/songwriter. She is supposed to have recorded
the song sometime around 1970. Erik and Bertil still feel very
honored that Fraser gave them his text.
This is
the soft, camp-fire-with-an-acoustic-guitar version,
featuring only myself and Erik. Erik sings and plays the
guitar. I play the bass and some organ and actually sing
harmony.
Then, a
couple of months later, Magnus joined us and we made
another version which we called ‘Time is precious – funk
ballad’. More worked-through.
Time is
precious – funk ballad
Written in
1968 and recorded in 2021, video produced in January 2022
Music by Erik and
his brother Bertil and lyrics by Dr E M Fraser
On this one, Erik
also sings and plays the guitar. Magnus plays the bass and I
play the Viscount Legend '70s piano and the Legend organ.
And no, I haven't started to play sax. The solo was played
with a Tenor sax sound on my ROLI Seaboard. There's also
some percussion egg shaking that I think I could be
responsible of.
Munk
Written and
recorded in 2021
Music by Magnus
and lyrics by Erik
In the long, hot summer of
2021, Magnus and Erik joined me in my home studio again.
It was a very long time ago that Magnus presented any
original music, but here he arrives with no less than
two new songs. The first one, ‘Munk’, is a funk number
that I thought would be instrumental. But he arrived
before Erik and when he did, he told me that, ‘Erik is
in for a surprise. He will rap on Munk’. And true to his
reputation, Erik came up with fantastic lyrics. ‘Munk’
in Swedish is ‘Monk’ in English. So his lyrics is about,
well, Catholic monks committing sexual abuse against
choir boys. To put it not so diplomatically… a fantastic
endeavor according to me.
Here's Erik's
ad-lib lyrics:
"Monk the funk,
Funky Monk, stop
misbehavin'.
Choir boys, are
not for you.
Nor in heaven.
Stop chasing
them in Eden's garden'
Rinse your soul,
from Devil's temptation.
Shame on you!
You ought to go
to the persecation! (Here, Erik invented a new word: A mix
between 'persecution' and 'accusation')
Heaven can wait.
Stay put on
Earth!
Cool down Monk!
Cool down!
Where you
belong!
Monk the Funk!"
Mellow
Written and
recorded in 2021
Music by Magnus
Magnus’s second song is a
down-tempo ballad called ‘Mellow’. This is the
instrumental version. Here, Magnus actually plays both
the piano and the guitar (something he's never done on
any of our recordings) and I can be heard on my
fretless P-bass. Plus a 'vibraphone' solo and a bass
solo. So, the bass player plays piano and guitar and
the piano player plays the bass. Quite funny!
Mellow –
Natalia
Written and
recorded in 2021
Music by Magnus and
lyrics by Erik
Erik had listened to Magnus's
sketches of the song and came up with lyrics, dedicated to
a loved one. The same solos can be heard on this version.
2022
Daddy cares
Written in
the early '70s and recorded in January 2022
Music and lyrics
by Erik
Well, considering the
poor sound quality of the old recordings that Erik did in
Lausanne, Switzerland, in 1978, we thought we'd make a
new, fresh version. Said and done! Erik arrived at two
thirty in the afternoon and immediately started to prepare
dinner. Slow-cooked lamb with a lot of vegetables and
Moroccan seasoning. He kept it simmering in a clay pot for
2,5 hours. While that was cooking, we were cooking in the
studio!
Erik
played an acoustic six-string through his Roland Acoustic
Chorus amp, which we miked. Old-school! He also plays
electric guitar during my 'Shakuhachi flute' solo. He's
singing on two channels, one of which is a little on the
Leonard Cohen-ish side...
Keyboard-wise,
I played only Logic plug-ins. One Rhodes piano and the
Japanese flute. Plus a Hammond clone and of course the
Drummer plug-in. And the bass is my red SX P-bass with the
fretless Fender neck.
I've
heard the song a lot of times but have never really
listened actively to the lyrics. While Erik recorded, I
read the text and it's incredibly sad. About rich kids
whose fathers 'invest in them' but they don't get the love
that they really crave for. He wrote it some 50 years ago
but unfortunately, it's probably still very much
up-to-date. Maybe even more so...
And
yes, dinner was incredible. Erik had one serving, while I
had two. I normally don't eat that much but it was so good
that I couldn't help myself...
What are
friends all about
Written and
recorded on November 9th, 2022
Music and lyrics
by Erik, Magnus and Bosse
We started out
by deciding what chords we would use and then the
arrangement. While I set up the Drummer track and
recorded the Rhodes chords and Magnus recorded the bass,
Erik started to write the lyrics. He then recorded the
guitars and the singing. Last, I did the Rhodes and
MiniMoog solos. The latter is combined with 'scat
singing' at the end.
The fantastic
thing is that most of the stuff was first takes: Erik's
singing, both my solos and Magnus's bass were done in
one take. And the bass... I told Magnus that I'd never
heard anything like that by him, ever. Erik's lyrics are
about the friendship that the three of us have enjoyed
for fifty years, and the entire song breathes a pure and
raw funk groove!
You can see
the chords and the lyrics in the image above. But as
usual, Erik improvised some of the lyrics as he sang
them.
Instruments,
then: Erik used his Applause acoustic guitar and his
trusty old Yamaha electric. Both straight into the mixer
and Logic. Magnus played on his Burgundy Fender
Precision that he bought in San Francisco in 1978. Apart
from programming the Drummer plugin, I used the Rhodes
plugin, also in Logic. And of course, the MiniMoog.
2023
Iris
oriental jam
Original
idea/jam in the summer of 2005 and recorded in February
2023
Music by Erik
and Bosse
Well, it took 18
years from the first jam version until we finally
recorded it properly. In 2004, I bought a small
allotment garden with a cottage. The house was in such a
bad shape that I built an entirely new one. In the
summer of 2005, the allotment community had a party out
in the middle of the road. We brought tables, chairs,
food and drink. And after we had eaten, Erik and I went
inside and played some music. He on the guitar and me on
the bass. One of the songs was the first embryo of this
one.
In February 2023, Erik came to my home one Saturday
afternoon. We started recording the song which now
sounds a lot different from what we played in 2005.
Erik's idea originally was to call it 'Iris jam', but
the we started to experiment with a few oriental sounds
and this is the result, 'Iris oriental jam'. As usual,
we arranged the music as we went along.
Erik plays his Yamaha guitar, which I colored with a
jazz guitar plugin. He also introduced some 'Asian monk
chanting' stuff. And I added an Indian sitar and a
Japanese Shakuhachi flute, plus a gong-sounding tubular
bell at the very end.
Apart from that, I played Rhodes and Hammond plugins,
the Drummer and my fretless P-bass.
Magens
samba
Written
in September and recorded in October 2023
Music by
Magnus
The title?
Well, in the Seventies when we started playing
together, Magnus had the nickname Mage, which means
stomach.
As it says in Mage's slightly doctor-ish handwriting
in the image above, it's his first samba. Definitely
better late than never. It's a very soft samba that
starts off with Magnus strumming on his acoustic
guitar. Then I join him on the bass and a few bars
later, the whole 'band' joins in. Which is Magnus on
the Rhodes sounding piano, me on the marimba and the
Drummer programming. For the last solo, we 'hired'
Peter from Gotland.
The instruments are my Fender Cabronita bass, the
Viscount Legend '70s piano, the Logic Drummer and a
marimba plugin. Which of all his guitars Peter used, I
have no idea.
Praise
Written
in September and recorded in October 2023
Music by
Magnus, lyrics by Erik
This band
has members from several parts of the world. Myself
and Erik live outside Stockholm, Magnus in London
and Ken in Minneapolis. This makes it quite hard to
gather all members, but in September 2023, we
actually managed to get together in my house for a
jam. We also 'hired' a drummer that plays in one of
the bands I play with, Danny Bernhardsson. The jam
started in the afternoon and continued well into the
evening and early night.
As usual, Erik more or less made up the lyrics as he
was singing them. Since the song is kind of a
gospel, the lyrics follow that genre. Magnus and I
laid the ground by recording the music and Erik
joined me a couple of weekends later in the studio
to record the vocals. We also added some gospel
choir and handclaps.
The instruments, then: Magnus played his old,
beloved Burgundy P-bass 'Rosa', that he bought in
San Francisco in 1978. I play an acoustic piano
sound on the Viscount Legend '70s piano and a
Hammond B3 from Logic. Amen to that!
