In the early eighties I visited New York several times. It was the beginning of the whole Hip Hop movement: – \u201cThe Message\u201d was spread by Grandmaster Flash through ghettoblasters everywhere, young kids doing break
\ndance was the most exciting street entertainment, and graffiti was producing its first great artists. Inspired by the emergence of this great new folk art form I returned to Sweden convinced that elements from Hip Hop could successfully be combined with the music I was mostly into at the time, which was African, Afro-Cuban and Brazilian music, and Jazz orientated improvisational stuff. The rap artist seemed to me a modern extension of the West African \u201cGriot\u201d (storyteller, social commentator, history teacher). And the beats were slamming!<\/p>\n
A friend told me about this guy from Brooklyn who was doing a little breakdancing and rapping in a Stockholm club. Michael (his last name a constant subject to change) called himself Grandmaster Funk, later shortened to GM Funk, and we got along well right away: a few days later we had recorded rap overdubs for two tracks on my upcoming album, which was great since I had recorded the tracks without a clue as how to find a rapper in Sweden at the time.<\/p>\n
The single \u201cDon\u2019t Stop!\u201d was the first Swedish rap record, released before the album in 7\u201d and 12\u201d versions (and a video as well, which was not yet the standard procedure in Sweden). It was a substantial \u201chit\u201d, and for months you could hear it in any of the \u201cimportant\u201d night hangouts in Stockholm. When released in the states it was listed as \u201crecommended\u201d in the Dance\/Disco column in Billboard, it was in \u201ckey rotation\u201d at WBLS, and a favourite of NY Ritz DJ Justin Strauss. I was especially flattered when Africa Bambaata, whom I considered the high priest of Hip Hop, asked me if I had any spare copies of the 12\u201d since he had worn his out when DJ-ing.<\/p>\n
The tune was based on a simple bass riff, and the lyrics were simple too, to say the least, since they were improvised on the spot by GM Funk. It was released all over, on more or less obscure labels from Virgin Greece to NY label Black Market (no joke) who reported sales of over 15 000 sold copies (just before going out of business, of course). Swedish newspaper Kv\u00e4llsposten went on to report the humorous figure of 160 000 sold copies \u2013 me and Silence must have made more money than we\u2019ve never seen!<\/p>\n
The backing tracks was recorded in a few days, using a method I have favoured ever since \u2013 that is to have a bunch of expert musicians set up a groove and grind on forever, with little other choice than to \u201ctrust that I know what I\u2019m doing\u201d. Then, through overdubs and editing, I try to make it into something that makes sense as a musical piece, still keeping the live feeling of the music originally recorded. In effect, one could easily extract several very different sounding tracks from all the stuff crammed into the 24-track tape of what became the tune \u201cDon\u2019t Stop!\u201d, for example. Most of the time, though, I had the final structures more mapped out than, I suspect, anyone involved dared to hope for. Anyway, all the basic tracks were cut in no more than one take, as I recall it.<\/p>\n
It\u2019s interesting to note how a heavily edited track like \u201cMiles Over Pygmyland\u201d became the composition, as played live structured almost identically to the album version. The band performing this \u2013 and lots of other music \u2013 in non stop marathon concerts were dubbed Per Cussion All Stars, since all the guys were hot-shots in their own right. The live act was quite a bit more spectacular than was yet common in Sweden, and for one concert we had Youssou N\u2019Dour as our opening act \u2013 for three hours!<\/p>\n
The original issue of \u201cDon\u2019t Stop!\u201d was released by \u201cPer Cussion\u201d being the artist, a simple commercial decision due to the fact that I was know by that name in the band Dag Vag, one of Sweden\u2019s most popular at the time, in which all the members had \u201cfunny names\u201d. The band has just broke up, and solo material was \u201cin demand\u201d. The problem was that critics and audiences outside Sweden did not see the joke, not knowing that Per is a common Swedish name, and in the end, neither did I, returning to recording using my real name after two more Per Cussion albums.<\/p>\n
So, here we go folks \u2013 as they say: Don\u2019t Stop \u2013 the album.<\/p>\n
Performing on all \u201cDon\u2019t Stop!\u201d album tracks are:
\nAmadeo Nicoletti: Guitar
\nChristian Falk: Bass
\n\u00c5ke Eriksson: Drums<\/p>\n
The Warning 4:17
\n(lyrics: GM Funk, music: Amadeo Nicoletti)
\nGM Funk: Rap
\nUlf Ad\u00e5ker: Trumpets
\nBo Gustavsson AKA Kopp Te: Tenor Saxophone
\nHarald Svensson: Synthesizer, Moog Bass
\nPer Tjernberg: Linn Drum Machine, Bell Tree<\/p>\n
After several desperate stabs at the guitar solo, it was jokingly suggested that Amadeo should try doing it backwards. Figuring he had nothing to loose he did, and so: one take, everybody happy. The Linn Drum Machine was the state-of-the-art toy at the time, destined to make drummers and percussionists unemployed for years to come. Not knowing how to program the damn thing (and not being able to synchronize it to tape anyway) I played all the extra drum and percussion parts by simply pushing the buttons, a stone age method also used on the title track.<\/p>\n
Miles Over Pygmyland 4:05
\n(Per Tjernberg\/ Per Cussion All Stars)<\/p>\n
Ulf Ad\u00e5ker: Trumpet
\nJohan Zachrisson AKA Zilver Zurf: Frenetic Guitar Solo
\nHarald Svensson: Clavinet
\nPer Tjernberg: Hindewhu, Cuica, Congas, Bongos, Misc. Percussion, Mouth Percussion
\nStig Vig: \u201cAllright, Zacke.\u201d<\/p>\n
\u201cHindewhu\u201d is not an instrument, but a description used by the Pygmy peoples of the Central African Republic of a special way of alternating notes sung while inhaling and blowing a one-note panpipe when exhaling. This, together with the peculiar voice-like sound of the Brazilian friction drum Cuica, and my voice imitation of a Cabassa, is heard in the opening section. The Miles reference should be obvious.<\/p>\n
Lucumi Suite 8:12
\n(Lyrics: Trad.arr.Wilfredo Stephenson, music: Per Tjernberg)<\/p>\n
Wilfredo Stephenson: Lead and Chorus Vocals, Bat\u00e1
\nTorbj\u00f6rn Langborn: Chorus Vocals, Bat\u00e1
\nUlf Ad\u00e5ker: Electric Trumpet
\nHarald Svensson: Clavinet, Fender Rhodes
\nPer Tjernberg: Chorus Vocals, African Thumb Piano, Synthesizer, Bat\u00e1, Atumpan Drum, Vibra Slap
\nShango: Thunder<\/p>\n
Santeria \u2013 a mixture of catholic beliefs and those of the West African Yoruba people \u2013 has always fascinated me and Santeria music is something I constantly turn to for spiritual healing. The songs sung in this piece all belong to the Santeria liturgy. Ulf ran his electrified trumpet through a device called a Pitch Follower which fed into an ancient Arp Synthesizer telephone switchboard module, creating the multi-harmonic effect in his beautiful solo. The Bat\u00e1 drums are sacred to the Santeria religion, Shango is its God of thunder and sexuality and protector of drums.<\/p>\n
Don\u2019t Stop (Extended version) 9:22
\n(Lyrics: GM Funk, Music: Per Cussion All Stars)<\/p>\n
GM Funk: Rap
\nHarald Svensson: Clavinet, Synthesizer
\nUlf Ad\u00e5ker: Synthesizer Effects
\nPer Tjernberg: African Thumb Piano (Kalimba), Timbales, Cuica, Log Drum, Frying Pans, Linn Drum Machine<\/p>\n
Extended by way of the 7\u201d single b-side dub version. The Timbales solo might be more minimalistic than I had planned, but, believe me, it was the only thing that worked with the odd start-and-stop rhythm. Again the Linn parts were played manually.<\/p>\n
42nd Street Heartbeat 4:20
\n(Ulf Ad\u00e5ker)<\/p>\n
Ulf Ad\u00e5ker: Trumpet, Sequencer and Ancient Beat Box Programming
\nHarald Svensson: Synthesizers
\nPer Tjernberg: Bass Marimba, Temple Blocks, Cowbells, A-G\u00f3-G\u00f3 Bells, Tambourine, Sleigh Bells, Vibra Slap<\/p>\n
The live version of this tune incorporated a cheerful little rap by Mr Funk about \u201c42nd Street, a motherfucking heartbeat, a place where you can buy anything you desire, if you want girls you can get girls and you can buy any kind of drug known to mankind.\u201d Etc
\nDuring its first live performance Mr Funk surprised the entire band by climaxing his rap by pulling out a (luckily fake) gun, in order to act out a grim NY street scenario: \u201c\u2019Cause I don\u2019t give a fuck about you \u2013 BANG \u2013 or you \u2013 BANG \u2013 or you \u2013 BANG!\u201d After the gig it was promptly decided that this part of the show was a bit too realistic in its portrayal of NY street life (though in these days of chainsaw-waving rappers it might seem quite innocent\u2026).<\/p>\n
I Walk On Guilded Splinters (8:10)
\n(Malcolm Rebbenack)
\nPublished by Marzique\/Joharv BMI<\/p>\n
Dr John: Lead Vocal
\nPy B\u00e4ckman, Emily Gray, Lena Andersson: Backing Vocals
\nUlf Ad\u00e5ker: Electric trumpet, Synthesizer Effects
\nHarald Svensson: Clavinet, Synthesizer
\nPer Tjernberg: Congas, Log Drums, Talking Drum, Bell Tree, Chimes, Bamboo, Finger Snaps, Cabassa, Misc. Percussion, Bird Whistles<\/p>\n
As a teenager I used to roam every record shop in town in order to decide on which \u201cpsychedelic\u201d-looking album I should spend my saved allowance money. Seeing Dr John\u2019s first album \u201cGris-Gris\u201d I decided that this guy who labelled himself \u201cThe Night Tripper\u201d must be the most far-out guy on earth, and bought the LP without hesitation. Unlike a lot of \u201cmind expanding\u201d records from this period \u201cGris-Gris\u201d remains a brilliant, influential classic. I played it until the grooves threatened to spiral off the turntable like spaghetti and its many weird percussive sounds sure sent me off in pursuit of those instruments. Needless to say, it was a dream come true when later in my life I found myself playing in his touring band, and he agreed to revive this \u201cGris-Gris\u201d classic for my album. We went on to collaborate on songs for my next album in New York and remain good friends to this day. (And for Swedish listeners – yes, it is that Lena Andersson).<\/p>\n
2 Am Berimbau 1: 34
\n(Per Tjernberg)<\/p>\n
Per Tjernberg: Berimbau
\nAd\u00e5ker, Svensson, Nicoletti, Eriksson, Falk: Handclaps<\/p>\n
After finishing the basic tracks for the album we spent a late night celebrating, during which this jam with me playing the Brazilian music-bow evidently was recorded\u2026<\/p>\n
Bonus Tracks<\/p>\n
Paying The Price 4:58
\n(Lyrics: GM Funk – music: Tjernberg, Cerha, Blomqvist)<\/p>\n
GM Funk: Rap
\nKathy Hazzard, Camilla Henemark: Backing Vocals
\nUlf Ad\u00e5ker: Trumpet
\nStefan Blomqvist: Synthesizer
\nJohan Zachrisson: Guitar, Guitar Synthesizer
\nMartin Cerha: Chapman Stick
\n\u00c5ke Eriksson: Hi-Hat, Snare
\nBill \u00d6hrstr\u00f6m: Congas, Cowbell
\nPer Tjernberg: Synthesizer, Timbales, Bat\u00e1, Roto Toms, Electric Berimbau, A-G\u00f3-G\u00f3 Bells, Linn Drum Programming, Turntable<\/p>\n
My next album, called \u201cBeatwave\u201d, was assembled in New York from bits and pieces recorded in Sweden. We have included three tunes here that are related to the \u201cDon\u2019t Stop!\u201d touring band. The melodic patterns of the Berimbau was achieved by feeding the recorded signal through a vocoder, playing the notes on the vocoder\u2019s keyboard. I also for the first and only time tried my hands on scratching (using an ABBA album) \u2013 to my knowledge the first time scratching was used on a Swedish record. Of the two female voices heard Kathy was a veteran of Stevie Wonders \u201cWonderlove\u201d band, while Camilla went on to become famous as part of the pop combo Army of Lovers.When \u201cBeatwave\u201d was released a criticism that was frequently voiced in the Swedish press went \u201cyeah, yeah, this kind of thing might have seemed fresh last year, but seriously, who will listen to Rap music in a couple of years\u201d \u2013 some prophecy\u2026<\/p>\n
Manhattan Jungle 5:05
\n(Per Tjernberg \u2013 Horn Arrangement: Ulf Ad\u00e5ker)<\/p>\n
Ulf Ad\u00e5ker: Trumpet
\nLars Olofsson: Trombone
\nKrister Andersson: Tenor Saxophone
\nJohan Zachrisson: Guitar Synthesizer
\nMartin Cerha: Bass
\n\u00c5ke Eriksson: Drums
\nBill \u00d6hrstr\u00f6m: Congas
\nPer Tjernberg: African Thumb Piano, Keyboards, Syndrums, Cowbells<\/p>\n
Mondays At The Gate 2:00
\n(Per Tjernberg)<\/p>\n
Per Tjernberg: Congas, Bongos, Hi-Hat, Cowbell, Clav\u00e9, Vibra slap, Mouth Percussion
\nBill \u00d6hrstr\u00f6m: Congas, Quinto<\/p>\n
Up For The Downstroke ??
\n(George Clinton, William \u201cBootsy\u201d Collins, Calvin \u201cFuzzy\u201d Haskins, Bernie Worrell)
\nPublished by Malbiz\/Ricks Music BMI<\/p>\n
GM Funk: Rap
\nBill \u00d6hrstr\u00f6m, Camilla Henemark: Vocals
\nUlf Ad\u00e5ker: Trumpet, Whistle, Vocal
\nStefan Blomqvist: Clavinet, Vocoder
\nJohan Zachrisson: Guitar, Guitar synthesizer, Vocal
\nMartin Cerha: Bass, Vocal
\n\u00c5ke Eriksson: Drums, Vocal
\nPer Tjernberg: Moog Bass, Vibra Slap, Whistle, Vocal<\/p>\n
Recorded during the \u201cBeatwave\u201d sessions, this was released as the B-side to the \u201cPaying the Price\u201d 12\u201d.<\/p>\n
Snowblind 6:41
\n(Lyrics: GM Funk \u2013 Music: Cerha, Blomqvist)<\/p>\n
GM Funk: Rap
\nStefan Blomqvist: Synthesizer
\nJohan Zachrisson: Guitar Synthesizer
\nMartin Cerha: Bass
\n\u00c5ke Eriksson: Hi-Hat, Snare
\nUlf Ad\u00e5ker: Linn Drum Programming
\nCamilla Henemark: Vocoder Voice
\nPer Tjernberg: Cuica, Bongos, Wood Blocks, Vibra Slap, Voice<\/p>\n
Recorded during the \u201cBeatwave\u201d sessions, this was released as a solo 12\u201d by Grandmaster Funk. This CD re-release might be welcome to unfortunate buyers of the original 12\u201d which was mastered so loud that many grammophones would skip grooves resulting in some very awkward rhythms (still can\u2019t play my copy).<\/p>\n
Hardcore ??
\n(Lyrics: GM Funk \u2013 Music: Blomqvist, Tjernberg, Cerha)<\/p>\n
GM Funk: Rap
\nStefan Blomqvist: Synthesizer
\nJohan Zachrisson: Guitar Synthesizer
\nMartin Cerha: Bass
\n\u00c5ke Eriksson: Simmons Drums, Hi-Hat
\nPer Tjernberg: Simmons Drums, Hi-Hat, Syndrums, Synthesizer
\nUlf Ad\u00e5ker: Linn Drum Programming
\nMartin Luther King: \u201dI have a dream\u201d<\/p>\n
This is the rarest track here (so rare we had to transfer it from a vinyl 12\u201d), the last recording of The Per Cussion All Stars and a personal favourite of mine. This 12\u201d was released on an obscure Swedish label, that we have desperately tried to locate for this release, and credited only as \u201cwritten and produced by Mickey Slick\u201d.
\nNo info on musicians or any \u201cGrandmaster\u201d. Soon after the recording of this track I was called up by Michael\u2019s (or what-ever-his-name-was) girlfriend who, in tears, informed me that he had been thrown out of Sweden since, to my knowledge, he had been staying here illegally without a work permit . I have had no contact with him what-so-ever since \u2013 Hey, man \u2013 if you\u2019re out there somewhere, get in touch, I\u2019ll send you this CD! And by the way, this track features one of my favourite lines of yours: \u201cThe rich get richer and that\u2019s no joke, \u2018cause I can\u2019t even pay attention \u2018cause I\u2019m so damn broke\u201d. Still, we had some fun, didn\u2019t we?<\/p>\n
– Per Tjernberg, Stockholm, December 2002<\/p>\n
Produced by Per Tjernberg
\n\u201cSnowblind\u201d and \u201cHardcore\u201d produced by Grandmaster Funk
\nEngineered by Anders Lind, G\u00f6ran Andersson, Robert Wellerfors, Lillemor Engholm, \u201cParis\u201d, Tomas Gertz, Brynn Settels, Tom Hofwander, Ulf Henriksson (Sweden), G\u00f6ran Andersson, Jorge Esteban, Matt The Deadhead (New York)<\/p>\n
Mixed by Per Tjernberg, Anders Lind, G\u00f6ran Andersson, Henrik Cederberg, GM Funk (Sweden), Per Tjernberg, G\u00f6ran Andersson (New York)<\/p>\n
Recorded at Silence Studio, Studio Decibel, Rub-A-Dub, Studio Polyvox, Studio Bastun, Polar Studio (Sweden)
\nand Intergalactic Studio (New York)<\/p>\n
Original cover photo collage by Per Tjernberg
\nBlack-and-white photos by K\u00e4rsti Stiege, Daniel Atterbom, G\u00f6ran Andersson
\nColour photo by Julia Murphy
\nCD release designed by Lars Ermalm<\/p>\n
Special thanks to Lars \u201cAmba\u201d Esselius<\/p>\n
In memory of Martin Cerha<\/p>\n","protected":false},"excerpt":{"rendered":"
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