Bands have had the greatest meaning. They have been, and are, the social and spiritual collective creative relations, adventures where we share a wonderful nourishment and trasformation, and eternity is dancing in the very moment. And of course beloved women and children.
This page in English is shorter than the Swedish counterpart.
Träd, Gräs och Stenar (Trees, Grass and
Stones), once upon the time also Pärson
The Bo Anders Persson band Pärson
Sound (1967-68) created a kind of minimalistic rock music circulating
around small melody cells repeated over and over again, very long tunes,
faster late parts, like some kind of rock ragas. Bo Anders played the
guitar, Torbjörn Abelli bass, Thomas Tidholm flute
and soprano saxophone and was reciting words in a reverb unit. Arne
Ericsson played a strange home made electric cello with resonance
strings (and later with TG&S on electric clavinett). Urban
electric violin. All electric instruments and mikes went through the
same valve amplifier of a home made PA consisting of four round
speakers, which created a tremendous dispersion and power to the sound.
At that time this was a very loud group. I (Mera) played the
Bengt Beche Berger also did, and sometimes we did it together.
International Harvester (1968-69). New name
for the group. Involved in the new counter culture movement that were
growing these years. Often free music, for the sake of the cause, and
out door. Radio, television. Music for the film Misshandlingen
(The Manhandle). Support act to The Doors at Stockholm
Harvester Sov gott Rose-Marie
Love Records LRLP
1005 1969 & Silence SRS 4690 1984.
Harvester Hemåt Decibel Records DRS
1969-1972. Träd, Gräs och Stenar.
New name for the remains of International Harvester. Thomas Tidholm
and Urban Yman both quit. During 1971 Jakob Sjöholm joined
on guitar, later Arne Ericsson quit and Sten Bergman took over
the elec. piano function. Long tours in Scandinavia, mostly outside
the established channels.
1969 Music for the film Du gamla du fria by Öyvind Fahlström.
Together with others we created the first big free outdoor music festivals in Sweden known as Gärdesfesterna 1970.
Outlaws who searched for their
audience by fans creating gigs in their own small cities and villages.
We were trying to create a free and co-creating situation though the
music, dance, light show of slides and film, serving food and letting
people play on instruments we brought with us. We were participating
in actions people did to change their common situation. We lived like
our audience. More — you are the music, we are just the band,
the Spela Själv (Play it your self) movement.
Also meaning Folkets musik (Music of The People) (organize your selves - people power).
We tried to encourage fans to
create their own music meetings, music places. Free situations not ruled by some outer power than the collective situation itself, the people and circumstances envoved at the moment. Create your own culture for the good sake of all beings. Free your selves, grow up, make your art, realize your selves, together.
We were also talking about and practicing ideas on "nature resources", another way of growing food and way of food household based on Chinese-Japanese "zen-like" Yin-Yang "macrobiotics", but based on the notion of "protein-imperialism", on how the Industrial Societies exploited the Third World — and to practice the theory on the local level, "how many people can get green food from the same acre as a cow need to give a piece of meat", etc. We also tried to create a collective around a former Marxist-agitator, vegetable grower, green knower theoretic, story teller and blablabelizer old man Anders Björnsson in Värmland — a Guru, wow — ... (then I had to leave the group, for my own simple "unmarried" mind...) We are regarded as one of the factors in Sweden creating "Gröna vågen", the "Green Wave", later being a necessary part of all political parties.
A photo montage on the green record inner convolute,
by Mera. Click on it to see bigger.
Gräs och Stenar Decibel Records 3702 1970 (CD release
Silence SRSCD 3602 1995).
Rock för kropp och själ (Rock For Body and Soul)
Silence Records SRS 4608 1972.
Lag (The Law of The Jungle) Tall 1 1971
afterburner 1973: Mors mors (Bye Bye) Tall 2.
Since then the band have reunited itself several times, first 1979
for a concert series against nuclear power plants.
1981 in the era of punk for some tours around Sweden, with
Thomas Tidholm, with the name T. Gås (a play with the TG&S
characters meaning T Goose)
1995 the band reunion once again, and we are still playing.
We have some concerts every year, some big, some small. We are not a
museum of some lost times, we are improvising the music alive in this
Träd, Gräs och Stenar Homepage: Rock for body and soul where you find most useful information and can communicate with the band by the guest book.
This page in Swedish: På
gång & senast , is what I write of last and coming gigs.
First review in English www.stonerrock.com
Review at Hellride
Prog-Reviews Nr 10 - 2002
At Aquarius Records
Interview in Psychedelic Fanzine
Review in The Wire january
psykedeliaklassikon huikea paluu paljastaa,...
Donato Zoppo / PROGMAGAZINE
|Comments in English
One review sent to several sites
Review in The Wire, September 2001.
Review in Broken Face.
At Luna Kafé
Interview in The Broken Face :
For fans of seriously damaged psychedelic excess only: Pärson
Cuando el minimalismo se encuentra con el rock
The History of Rock Music. Parson Sound: biography, discography, reviews,
As essential as any Amon Duul I or Taj Mahal Travellers record
I can think of offhand -- and that is very high praise indeed. Following
"Hemat", Harvester morphed into Trad Gras Och Stenar for yet
another four albums or so of sustained wonderfulness. Highest recommendation!
Other Music Top 10 2001: Parson Sound/ Harvester/ International
Harvester/ Trad Gras Och Stenar reissues:
The mere epilogue to Parson Sound -- the aural
equivalent of a
woozy, toilet-hugging, projectile vomiting session, records that
will damn near make up for every weak-ass obscure psych record you
bought this year.
International Harvester- Sov Gott Rose-Marie - Milestone first album
by one of the most exciting and most innovative groups in all of Europe
in 1969. This features a brilliant fusion of doomy fanfares, to heavy
acid rock, to demented chanting, to mysterious folk music, to long improvised
tracks that sound like Grateful Dead jamming on folk music with Pink
Floyd. Krautrock made in Sweden! With a bonus track.
Allan's favorites at Aquarius Records 2001
Sandra Barrett on Sov Gott Rose-Marie at gullbuy.com
On Hemåt at Aquarius Records
On Hemåt at Forcedexposure
Review in The Wire January 2002
||Träd, Gräs och
Stenar ”Djungelns lag”, reissue december 2002,
bonustrack 32 minutes (Halv 1-2, 1/2 Special, released in New
||Träd, Gräs och
Stenar ”Mors mors”, reissue december 2002,
bonustrack 27 minutes (Halv 2-2, 1/2 Special, released in New
"Recorded live in Sweden and Denmark 1972. Originally released
on the band's own Tall imprint 1973 in an edition of 1000, reissued
here for the first time, in conjunction with the band, from the original
master tapes and with previously unreleased bonus material. Complete
notes from the band and more tasty pictures, flyers etc. These two
independently produced albums by Swedish psych/kraut/stoner legends
Trad, Gras and
Stenar upon initial release only reached the turntables of 1000 turned-on
souls each, and for records of this magnitude (ahem, these are easily
best two albums - the studio recordings on Silence that you may have
heard never captured the true organic force of this band, plus the sound
on these albums
is amazing - two mics into a reel-to-reel - unreal!), that is not
enough. In a world where seriously inferior artists of the era (Grateful
Ya-Ho-Wa) have boxed sets and large record sales to show, the true
bliss of these trance-inducing, throbbing hallucinatory jams, its Ornette-esque
guitar lines and Liebzeit/Tony
Allen voodoo-drumming deserves to be heard by more than the psychedelic
fatsos who don't blink twice spending the 100 - 200 dollars it would
take to obtain an original copy."
Get both records at
Comments on the records at
Jakob Sjöholm: gamla.viksund(at)telia.com
Torbjorn Abelli: torbj(at)tgs.nu
Bo Anders Persson: boanders(at)brikks.com
Thomas Mera Gartz: mera(at)comhem.se
About the band, and the times around 1960-70, can be read about in my
BOOK possible to download on this
site at the page BOK, but sorry, only
Some other pages:
Invar Loco Nordin have a good story of the band and two records. 2007. English
English: TRÄD, GRÄS OCH STENAR. Torbjörn
Abelli interview by Klas Sjögren , based on this
in Swedish TRÄD
GRÄS OCH STENAR interview.
Also published in Swedish:
Gräs & Stenar and other 70:th bands, articles in Gränslöst
In Swedish (only show some with photos):
interviewing Träd, Gräs och Stenar in the music
magazine SONIC no 3, summer 2001.
Interview with Mera
and Dogge of the rap group The Latin Kings in the
big morning newspaper Dagens Nyheter 3/8 2001.
Village, Västerås 2/2 2001
TG&S av Conny Blom i NTS.
YETI - the abdominable zine presenting SWEDEN'S ORIGINAL
TRIBAL PSYCH-FOLK TRANCE-ROCKERS Träd Gräs och Stenar: YETI.
You can buy this zine there.
Reviews in English of some concerts: Tanto,
The Happening and Kafé 44.
Review of a film festival where films by TG&S were shown: Med
pupillerna i kosmos/ With the Pupils of the Eyes in Cosmos. English.
And groups, in the shape I did know them and had the joy to play with them, that dont exist any more:
Kalousch, where I was one of the drummers for some years, 1996 - 2002, were playing Sufi trance dance music in the Moroccean traditions of Aissawa and Hmadsha. Very intense. Often completely without electric amplifying, and rather at the middle of the floor of the room than at the stage. My friend Roland Keijser (whom I earlier had the pleasure to play together with in the group Arbete & Fritid) was blowing ghayta, lira, ney etc., Abdelghani Najraoui played different drums called tbal, ganga, bendir etc., Henrik Wartel also, me too, and Jalal Boutmoudit and Bengt Berger likewise. Lars Gulliksson often the second ghayta player. Arne Forsén, Anders Nilsson and Håkan Falthin were blowing nfar. Also been touring in Sweden with guest musicians from Morocco, Mustapha Lakssis, Abdebrahamr Madhani and Mustapha Ben-Seyed. Cooperated for a moment with another Arabic music oriented Swedish group, Urban Turban.
Kalousch did not make any record, but Roland Keijser made one with similar music where some of us are playing:
Kaloush homepage in French
Kool Blaasa, RUBCD 21, 2001.
Mecki Mark Men
In this group I was playing drums, some bamboo flute and tenor saxophone.
The band was formed around the music by the formidable Hammond organ
player Mecki Bodemark. The breakthrough was 1967 with two drummers,
electric bass, electric guitar, two horns and Mecki organ and song.
One of the first bigger psychedelic groups in Sweden. House group at
the famous rock club Filips in Stockholm in company with Hansson
& Karlsson and Baby Grandmothers. Television. Support
act to Frank Zappa and The Mothers of Invention at Stockholm
Concert House, and to Jimi Hendrix tour in Sweden 1968.
LP-record sold 20000 copies in USA and Japan. 2 singles.
Gartz Freeformorkester/ Gartz Free Form Orchestra
Once I had a free form group where I was playing alto saxophone
(white plastic like the one Ornette Coleman used) and flute + graphical
compositions (ink brush paintings with poems) for the band to spontaneously
interpret (alto sax, tenor sax, elec. cello, elec. bass and drums).
A bewildering, musically revolutionary concert at a performance of music-and-poetry
at the University of Uppsala. A big discussion if you are allowed
to play like that burst among the audience.
Together with Hasse Nordström who was the sax
player in Meckis I was the sax terrorists that suddenly
appeared in different jams blowing wild.
(1973), a group (several members from TG&S) playing songs by
Thomas Tidholm. LP The Hot Boys: Varma smörgåsar
(Hot Sandwiches), Silence SRS 4624. Tours.
||One more LP record with Thomas
Tidholm songs: Obevakade ögonblick (Unguarded Moments),
Silence SRS 4697 1984.
Arbete & Fritid (Work & Leisure) 1974-79
(the years I was involved, but the group had existed since 1968-69)
I was playing electric violin, electric guitar, singer,
flute, tenor sax, drums in this group. A great group of improvisation,
very adventurous long tunes which were open to all kinds of musical
influences and instrument mixtures. Influences from Swedish folk musik,
the Balkans, Turkish and Indian scales, over jazz, rock, atonal art
music, pop songs, schottische, tango and waltz, drones, space music,
crazy free form with the roar of laughter ready any moment, pure word
babble and lecture as tenor sax solo. Anything could happen at any moment.
Great seriousness, big humor. One of the most musically reckless groups
of the Swedish 1970 decade. Existed in several personnel shapes but
all the time the cello, elec. guitar, violin, singer, toys player Ove
Karlsson was the anchor of the group. During the time I was member
Roland Keijser, Torsten Eckerman, Bosse Skoglund,
Tord Bengtsson, Torbjörn Abelli, Janne Zetterqvist,
Thomas Tidholm and Ulf Ärtan Wallander were
playing. Touring around Scandinavia and around once again and again,
music forum, jazz clubs, rock clubs, schools, jails, people festivals,
music festivals etc. Several LP-records. Television.
An article from The Golden Void on this record.
||This CD was possible to get,
a collection of studio recordings (not long live adventurous wild
ones): Arbete & Fritid Deep Woods (1993)
resource rescd 501. It was found at this address
http://www.cabal.se/mnw/, but nothing now. Pity. Earlier released
as Arbete & Fritid 1969-1979 MNWCD 224.
||Otherwise the last record of
the group: Håll andan (Keep the breath),
MNW 92P 1979 (try to get it if you can).
ArbArch/Archimedes Badkar (The Bathtub of Archimedes)
1978 - 81 (meaning the years I was a member)
When Ove Karlsson quit Arbete & Fritid we (I, Tord and
Torbjörn) continued for a shorter time as trio. But we met Archimedes
Badkar, another group of improvisation also influenced by free music
and folk music, which also had lost members. The remains of both groups
joined as ArbArch, that after some time took back the Archimedes name.
Bengt Berger and I found out a funny solution of being two drummers.
We used the same bass drum and constructed our drum sets sitting facing
each other. Also in this band I continued to mistreat the electric guitar.
But the African music influences was very strong in the band, both by
Bengt who had been studying in Ghana, and by Christer Bothén
in Mali and Morocco. Both influences tried to coexist fore some time,
but split up in two new bands: Bitter Funeral Beer Band and Bolon
Bitter Funeral Beer Band 1981 - 86
The Bengt Berger 13-personnel group, playing his
compositions based on music from Ghana. 2 LP-records. Touring in Sweden,
Norway, Finland, Denmark, Belgium, France, Austria and India. Skeppsholmsfestivalen
1985, Voss Jazzfestival 1986, Pori Jazz, Deutsches Jazzfestival in Frankfurt,
Jazz Ost-West in Nürnberg, Summer Jazz in Berlin, Jazz Yatra in
Bombay and New Delhi.
Another group within the group, a society of
drums, Stockholms Gahuklubb, could play in smaller and simpler
||Bitter Funeral Beer
Band, ECM 1179 1982.
Praise Drumming, Dragon DRLP
Råttan Frittz (Frittz The Rat) 1982
Another electric more heavy funk improvisation oriented
group that grow out of Bitter FBB, where all were members. I was drummer
and singer (reading poems), two electric basses Sigge
Krantz and Thomas Huhn, alto sax and electric guitar trough
samples and synthesizer Jörgen Adolfsson, percussion samples
Lise-Lott Norelius, Mattias Helldén electric cello.
Dror Feiler saxophones earlier. Friends Tord Bengtsson,
Bo Anders Persson, Stefan Agaton were guests.
||Maxi single Som Eld
(Like Fire) Urspår Urmax 2 1984.
Peter Bryngelsson Triangulus/Reliker 1987-88
Percussionist in the Peter Bryngelssons composition Reliker
for 13 players. Drummer in Triangulus. Tours.
Prins Lätt (Prince Light)1987 - 94
in this group (the name is the son of another group, Kung Tung
(King Heavy), old blues- och rock songs, popular songs, covers,
all words in Swedish by Thomas Stålberg (guitar and lead
singer) and by Anders Åborg (elec. mandolin, slide guitar,
accordion and second singer). Light in the sense easily
loaded into an ordinary car with personnel, equipment and all, half
acoustic orchestra with tuba, Per Sjöberg (earlier Per-Åke
Holmlander) instead of elec. bass, and a small drum set of only
bass drum, snare and a small Zildjan splash. Pubs, private parties,
weddings, Hultsfredfestivalen, EP-record 1988.
||A collected works CD named Nåt
att gnaga på (Sumthin' to gnaw on).
Stockholms Vattenorkester/Lilla Vattenorkestern
(Stockholm Water Orchestra/The Small Water Orchestra) 1991-94
Tuomo Haapala are creating very big situations
or happenings. The first, Aug. 1992, were 150 persons, musicians,
divers, canoeists, lights, sound, actors performing a huge happening
at, on, in, under, besides the water of Stockholm Ström during
Stockholm Water Festival. Stockholm Water Orchestra was the music part
of it. The group also made some concerts at other occasions.
The Small Water Orchestra were playing (1992-93) at indoor
pools on and with water and instruments sounding by water.
And a group/groups existing now and then, even if I ain't playing with them anymore:
Flygande Nunnan/ Rikets Säkerhet/ ASS/ Psykmaskinen/
Kapten Free Form Freak & Dom Stendumma Flummarna (The Flying Nun/
The Security of The Kingdom/ Art Society of Stockholm/ The Psychic Machine/
Captain Free Form Freak & The Stoned Stupid Hippies) 1982-.
A bunch of people of the same large gang which have appeared
under different names playing trash and heavy rocknroll in slightly
Rikets Säkerhet, the poet Mats Barrdunge
with unbelievable agitating rapping. Hultsfredfestivalen etc.
ASS with Mikael Katzeff, Per Wikström.
Collage-music several tape recorders, mixers, efx, elec.
guitar, elec. violin, saxophone and voices.
Psykmaskinen, crazy fools playing the utmost feedback.
Kapten Free Form Freak & Dom Stendumma Flummarna,
playing Swedish rock songs, own and others, in the tradition of the
leftist music movement, so called progg.
Gudibrallan (God In The Pants), the first
punk group of Sweden, ten years earlier than the punk: Gudibrallan - the
band that refuses to die! Reappears every time the front man Örjan
Tejre want to act, backed up by some gang put together by Mikael Katzeff.
And then there are other groups I have been involved in, for shorter
meetings or fun or... Söderdårarnas Spelmanslag, De Galna
Anarkisterna, Peter Mosskins Gäng,
Helen Bohman Stenblomma (Flower of Stone),
Djungelungnen och Soldansargrabben,
Sten Bergman Lyckohjulet (The Wheel of Happiness),
Broder Molns Spelmän,
Livstrand Mötet (The Meeting),
Christer Bothen´s Bolon Bata, Johannes Bergmark Co, The Aleph
Sanctuary Percussion Orchestra...