C'mon is sung in falsetto. 60's are there. It reminds us of the Beatles and sticks to our mind inmetiately. It will be playback showed in this year’s edition of “Fotbollsgalan” on November 14.
Jo-Anna says has an extremely catchy chorus. It's not an English version of Gyllene Tider’s “Jo-Anna Farväl”.
Christoffer Lundquist was interviewed by the Swedish journalist Lars Thulin in an article published today in Trelleborgsallehanda.se.
Let's read Per and Chris words to the Swedish media.
I’ve worked with Clarence Öfwerman since 1986. We know each other very well. One of the things that Clarence always has thought was negative is that I’m always too prepared before starting a record. I make very advanced demos. Demos that sometimes sound exactly like the end results. Now we decided the ultimate change in my world. I made no demos at all for the “Son of a Plumber” album. The only thing I had before the recordings commenced were three instrumentals. The rest is stuff that were made during our work. I played ideas for Clarence and Christoffer who now got a much bigger chance to influence them. I wanted to avoid spearheads on the album. Our idea was to make an album where the whole was the principal, a double-album with a few songs too many. Music doesn’t have to be effective.
I have an older brother so I spent a lot of time on my own, listening to pop. I had 100 LPs when I was ten, all the money I earned selling newspapers and such, everything was for records, records, records. Then as a teenager I started to write songs, but couldn't play anything, I had the melodies in my head, then I started to play guitar, and started my first band.
It all started when I transfered my album collection to my iPod, it took about six months, and I found many songs I had forgotten about, songs I grew up with, it brought me back to my childhood '60s, '70s… and I decided to make a tribute to that era.
It was almost impossible to find a first single, because there isn’t really a song that represents the album. But we took this glamrock song, C'mon, as one of two A-sides because you can’t tell it’s me. So people can get a feel for it, regardless of their relationship to me. I sing in falsetto for the first time. It happened that way when I wrote it… and it was fun to sing it that way.
Jo-Anna says, the other A-side of the single, is on it because… well, if you vomit when you hear “C’mon” maybe you can like this instead. Ha ha! It’s a sort of a McCartney-song. We’ve had long discussions about what to really think about him. I’m more of a Lennon man myself, but like his early solo stuff.
"Aerosol Grey Machine studio" remembers Van der Gaaf Generators' Pawn Hearts, from 1971. A time when music could be great and important without being ironic or selfish. The Beatles' fault. Beatles went in that direction and 70s symphonic rock became my musical education. We loved it not because it is difficult to play, but because of the melodies and moods. I have Toto's music in my playlist and it's strange according to Swedish musicians' standards, because the more one sells, the more it must be rejected. Commercial success is a sort of 'kiss of death'. This idea of "right" and "wrong" music is something kids do. If adults do it, it is stupid. Stop! The timeless values of pop music? Good songs and melodies, of course, but also the "presence". You have to hear that someone is at home. Otherwise it is musically just empty posturing.