A Interview with Tommy Blom : By Magnus Englund
Courtesy of UGLY TNINGS magazine, which firstly carried this on the summer
Introduction by Mike Stax
Sweden produced many fine groups during the 1960s,but
perhaps the group whose records have proved to be the most enduring is
From their first hit, "Sleep Little Girl"--a #1 in
Sweden in 1964--the Tages were unstoppable, going on to produce a dozen
more Swedish Top Then hits and releasing four excellent LPs.
Unfortunately for the Tages, despite their massive
popularity in Sweden and some of the other Scandinavian countries, they
were unable to duplicate their success elsewhere, notably Great Britain
and America. It was the same old story: lost in the landslide of great
music released in that decade, it was only after the group had ceased to
exist that people outside their homeland began to discover the excellence
of their records.
The Tages were most prolific, and although much of their early output
was derivative of the English groups, whose success they sought to emulate,
they soon found their feet creatively and with material like "The One For
You", "Guess Who", "Every Rain drop Means A Lot" and "She's Having A Baby
Now", they proved that they were more than mere copyists. The group recorded
quality beat and pop records, many of which easily matched--and sometimes
even surpassed--those being put out by such giants as the Beatles, the
Small Faces and the Who.
The nucleus of the Tages was TOMMY BLOM(lead vocals);GÕRAN
LAGERBERG(bass, vocals);DANNE LARSSON(guitar, vocals);and ANDERS TÕPEL(guitar,
vocals).The band went through three different drummers during their career,
starting in 1964 with FREDDIE SKANTZE, who was succeeded by TOMMY TAUSIS
in 1966 and then Lasse Svensson in 1967.
GRAPEVINE magazine's Magnus Englund got a hold of Tages lead singer
Tommy Blom, and Tommy talked about his days with the band...
MAGNUS:"Did you play with any other bands before the Tages?"
TOMMY:"No. I can tell you quite easily the beginning. In 1963
in Gothenberg, the Shadows were still going strong. The young people were
divided in the English way of mods and rockers. We had other names for
it in Swedish for the ones who were working and for the ones who were studying.
That was the difference:you stopped school and then went on to work, or
you kept on studying and went on to college or whatever. In Swedish we
say the mods were 'Siska' and the rockers were 'Boss'. We were mods.
"Anyway, we used to get together and play. It was small sailing
regattas on the West Coast followed by a party. People would gather. We
didn't play dance music or anything, we just played sing-along songs. What
we played was skiffle, that's why the funny thing with the name, the group
was Tages Skiffle Group."
M: "Does Tages have any special meaning?"
T: "No, it's a name like you say John's Skiffle Group. So, we
kept on playing. I think in '64 the bass man, Göran Langerberg,
wanted to have a bass. His parents thought that a stand up bass was too
expensive and a little bit unpractical, so he got an electric one just
like Paul McCartney had, the Hofner?
So then we thought about having a drummer. That could be good. Then
we kept on playing for the summer.
"In autumn '64 there was a big competition in Gothenberg, the 'West
Coast Beatles Competition ' by a paper, the Gothenberg Tidningen(Times).
A lot of groups participated. It was the public who were going to vote
by applause. All our fans were from the West Coast, where we'd been playing
all summer, and they were all there in the big
concert hall, so they voted the Tages as the winners, and in that was a
contract for doing a record.
"I came back from England, where I 'd been on a fourteen day holiday,
leaning English and living in a youth hostel, and we went into--not a studio,
actually--a cellar in a youth club where this special room was used for
wrestling! With a couple of tape recorders and a couple of microphones
we recorded two songs. One was 'Sleep Little Girl', which was an original
song. It was released and nothing more than that."
M: "Were there two versions of 'Sleep Little Girl'? One from
the wrestling room and one from a real studio?"
T: "Yeah. If you compare, there's a big difference. So, we won
the 'West Coast Beatles.' We got a few gigs, a few places to play, tight?
Do a little show for thirty minutes . All because of the competition
that we won.
"One day we were on the road to play. They had a radio program called
Tio i Topp-Ten to the Top. They played fifteen songs and the public voted
which one would be number one, number two, number three, number four and
so forth. We went to the top of the charts. We were number two the first
week. Number one wasn't a Swedish group, the Beatles maybe. It wasn't meant
to be anything, but then everybody wanted to know, 'Who is this group?
What are they doing?' It was in 1964, in that era with the Beatles, and
the Swedish magazine didn't have any Swedish groups to write about. So,
pictures of five young guys and boom,boom,boom,we were there! Big summer
M: "Summer of '65?"
T: "Yeah, We toured the whole of Sweden, and there were riots
and everything like that. Nobody understood anything. Money went in and
money went out. The record company wanted to have another record. We recorded
more songs and it kept on just happening until 1968. Of course, there was
a lot of things between that, but that's the beginning. After 1968 the
group made an album without me. They called themselves Blond."
M: "Tell us something about your early trips to England with
T: "Once we ordered boots when we were there together, at a
real exclusive shop in Oxford Street. They took our sizes. It was the kind
of shop where you can say, 'I was here in 1967', and they answer , 'Excuse
us, we will have a look at our records' and they pick out the size. The
boots were went over to Sweden-awfully expensive! It was real boots, small
heels, not those big ones but really small ones, and blue ones in suede.
Otherwise we were in London to tour. We played at Marquee for example."
M: "Was that something special, as it was so famous?"
T: "It was , as there's a legend built around the place. Otherwise
we would never have played there 'cause it was dirty, small, and had a
bad scene. The dressing rooms were small!"
M: "Did you ever meet the Small Face? You looked inspired by
T: "We were on a trip with an English Magazine called Fabulous.
Me and Danne were invited, and they didi an article on the trip and took
photos. It was the Small faces, the Zombies, the Hollies and us. We went
to the English south coast, where they stopped and we went go-carting!
The Small Faces were always one step ahead with clothes."
M: "The Swedish mod had long hair as early as 1964, when the
British mods hadn't. In1966-67, when many people in Britain were long-haired,
it seemed like people in Sweden had short back-combings with sideburns-why?
T: "For awhile it was just long hair that mattered. The papers
started to write about these people that were longhaired. It wasn't any
haircut, it was just hanging. Then someone got the idea of using the long
hair to do something, cut it so that it stood up at the top. It was some
of the Stockholm groups that were first with shorter hair.-Ola and Janglers
and Annabee-Nox. I think the British mods did react to our long hair, but
it wasn't as long as the Downliners Sect or Them, who also had long hair."
M: "Do you think it's weird that there's young people who dress
in the sixties styles today?"
T: "I don't think so at all! In the sixties it was much about
breaking away from the old way. In those days there was just two ways to
be: in or out of society. There's such a lot of funny things in clothes
and other things from the sixties. And boots are very comfortable to walk
in, aren't they? And they're good looking as well. But they have to be
M: "What was your relationship like with the other groups on
the Swedish pop scene, such as the Hep Stars and the Shanes? Was there
a friendly or unfriendly rivalry?"
T: "It was not an unfriendly raivalry. We actually didn't meet
the Hep Stars very much during those days, not much-one or two times. The
other were nothing. The only thing was coming back to Gothernberg after
we made it in Sweden. The other bands said, 'Uh huh. It's the big guys
coming here again. This was sometime in 1965 when all of us were very big-headed.
We each got it for longer or shorter periods between 1964 and 1968,it happens
to everybody. Some critics were probably right.
"Anyway, they used to have a competition in the papers: Who was the
cutest ones in the band. This is my favorite bass player of the month.
Who was the most popular and cutest guy? Usually it was between me and
our guitarist, Danne. We always looked up in these fan magazines
to see who was number one that week.' You 're number one this week! Hey,
take a look, you're number two!' That was the thing. The lead singer in
the Hep Stars, Svenne Hedlund, also. It was the Hep Stars and the Tages
who were the biggest. The others came a little bit below: Ola and the Janglers
and the Shanes. Then there was an enormous amount of groups in the third
classification: Fabulous Four, Hounds, Jackpots, Red Squares. The Dee Jays
were quite a good band. They came from England."
M: "Do you remember any of the bands that played with you during
tours? Fabulous Four? Hounds? Red Squares?"
T: "Yeah, all of them."
M: "None particularly stand out?"
T: "No. In Denmark we played with Jeff Beck's Trio with Rod
Stewart as singer, in 1968. They played before us. We were really big.
We had two singles on the charts in Denmark, ' I'm Going Out' and 'Treat
Her Like A Lady', which are two songs we didn't write, but they're very
"During our time We conquered Norway and Denmark. In '68 we made a
big European tour, and everything was clear for England. We'd had one tour
before that, in '67. We changed record companies from Platina--a small
one—to Parlophone in 1967. We had one release which was called 'She 's
Having A Baby Now.' It was going to be released in England but was banned
by the BBC. They didn't want to play that. It was controversial. 'She's
Having A Baby...'If you listen to the words, it's actually socially pornographic.
I don't know if you use the same words in English? We call an article a
socially pornographic thing. It's not pornographic in the way of pornography.
It's when they go into a family disaster and they exploit it. The father
is drunk, the mother's on drugs, the kids are..."
M: ”It’s not sexual exploitation. It’s social…”
T: “It’s social exploitation. Actually, this one (She’s
Having A Baby Now’) is about a very tragic thing. She’s having a baby with
someone who doesn’t want to know anything about her, She lives in a little
town , and she has to move because she want to take care of the baby. So,
it’s nothing, but the title, ‘She’s Having A Baby Now’, was too much for
M: “But you had some singles released in England?”
T: “Oh yeah. We did after that, ‘Halcyon Days’ by Peter Frampton
and ‘Fantasy Island’Fantasy Island.’ So, we were very close to making it
in ’68 in England with everything, management and so fourth, but something
clicked. We should’ve known what kind of agency we had. A big agency was
taking care of us. It was a combination of the record company, the agency
and the tour. I don’t know what it was that went wrong in our band. It
was quite known that we were there (in England). We were sitting in a club,
and suddenly Roger Daltrey from the Who came up and said, “Hello, you must
be the Swedish group that’s here, Tages? Tages? How do you pronounce it?’
“We got to know everybody in the sixties, the Who especially. I became
personally very good friends with Roger and Pete Townshend. Also with another
group, the Zombies , Rod Argent. He was a good friend as well. But it didn’t
happen there. We had a very good concert at the Marquee. We toured Wales,
the Midlands, and Ireland as well. We actually followed the same and we
were one week after. In one place we got together.
“Some of the records were recorded in England in Abbey Road: ‘ Fantasy
Island’, ’Like A Women’, and , I think, ‘Halcyon Days.’ Maybe only the
background on that one. We did three cuts there, the rest were done in
M: “Why didn’t you do more at Abbey Road?”
T: “Time, We ran out of time.”
M: ”Did Platina have studios?”
T: “They did, but we mostly worked in Stockholm at Europa Film.
They had a good studio, Film Europe, as we say it in Sweden. A big film
studio, but they had some record studios as well.”
M: “Can you remember any interesting bits about any of
your recordings? You gave me a little bit on ‘Sleep Little Girl’.”
T: “Sleep Little Girl” is a true story, it’s a true story ,
it’s what happened.
“One funny thing is about ‘Miss McBaren’. We were in Denmark, and Platina
phoned down and said, “We’ve got to have a title for the next single because
we want to print the sleeve. ’We didn’t have a song, so we sat down in
the bar in Denmark with a couple of beers and went to finding titles. Danne
looked out thesindow at a sign that said ‘Smoke McBaren Tobacco.’ In the
middle of the discussion, he turned to us and said, ‘Miss McBaren. ’ We
thought that was quite funny, because we could get sponsored by the McBaren
Tabacco company! We had some fun about that. So, we just telephoned and
said the title was ‘ Miss McBaren.’
“We wrote the song on the bus up from the south of Sweden to Stockholm.
We actually nicked the first part of ‘Miss McBaren’ from something we heard
in Finland a year before! A group played the song. We did the song in the
bus on the way up. We were dead tired when we went into the studio. We’d
never played the song out. That sound you hear at the beginning? I was
lying in the grand piano, running through with a pick. I thought that was
a good sound, the beginning of that one.
“If you listen real carefully to ‘Treat Her Like A Lady’ in the
first or second verse, the background disappears totally until it gets
into the refrain. We were in the studio doing the harmonies. We came back
and llistened to them before we put on the lead singer. The background
wasn’t there! Nobody knew what
happened in the table, the board, the A technician, the B technician
did something. Nobody knew, so we kept it. No-one is ever, ever going to
be able to do that again! It’s a technical error that we kept. It was quite
“’In My Dreams’was, in the beginning, two verses. A contradiction between
dreams and reality, ‘In my dreams, I’m the one for you…’In reality,
that not the fact, and that was the end of the song. Very short, just a
little thing. We were going to release a single, and we’d recorded ten
or twelve songs. Our so-called manager at that time—the one from the record
company—came and said he wanted to release ‘ In My Dreams’ because it was
a little like ‘ Sleep Little Girl’-soft. It went up to number one here.
It was too short so we added an extra verse. At 10 o’clock in the evening,
the arrangement guys wrote an arrangement for flutes, and these flute
players were called in. The extra verse was actually going a little faster
than the beginning. I wrote more lyrics, we added them, and it was ready
by one or two o’clock. It was ready by one or two o’clock. It wasn’t meant
to be that way. It was meant as just a little thing about what goes on
in dreams and what is real, then it goes into you’ve got everything a man
could ask for. Have you heard such things?”
M: “what’s the story behind the flexi disc with ‘The Man You’ll
Be Looking For’?”
T: “It was in a music paper. A fan magazine wanted to give out
a little plastic record, a flexi. They bought one song from each of the
four groups. Royalties and all that were nothing to think of. We just wrote
M: “You just wrote it, recorded it, and sold it to them for
a flat fee and that was that?”
T: “Yeah , blah, blah, and you can give it out. It turned out
to be quite good, because it was played on a 6-string bass guitar. There’s
a fantastic bass guitar on that one…very sharp bass, like the Who they
use in ‘ My Generation’, that sound. We just did it for fun.”
M: “There seems to be a translation with ‘ Every Raindrop Means
A Lot.’ You helped write that one, right?”
T: “In those days we were very democratic. We put everybody(
on thesongwriting credits). We arranged it all together.”
M: “Would you agree with the liner notes from the EMI compilation
that after awhile Göran ‘stepped out as the group’s leader’?”
T: “Yeah, musically. He and the producer got very much involved.
But we went too far away from what the sixteen and seventeen year old girls,
who bought the records, liked. It was mostly Göran , Danne and I wrote
the ideas, the visions of the songs. We used the others to get support
for our ideas.”
M: “ Anything special about ‘Every Raindrop Means A Lot ‘?”
T : “We did that style on some of our album numbers as well. One of
us wrote something, then we knitted it together with another part. We changed…
a soft part, then added what could be a totally different song. So, it
built up in a totally different way from the others that we did. I’ve never
heard anything like it before in the same build up of a song. The rain
in the song is shower picked up from the back of Europa Film Studios. They
had the sound of a shower. They have an enormous amount of cassettes
with sounds. We just picked it out.”
M: “The song ‘ My Home Town’ appeared only on the ‘Popliigan’sampler
T: “Yeah. That was something like ‘The Man You’ll Be Looking
For.’ I wrote it. It was quite hard to play because there’s a drum going
backwards on that one. It keeps going the same all the time, you want something
to happen with it.”
M:“You left the band in 1968?”
T: “Yeah, in the autumn, August or September, I think.”
M: “Any special reason?”
T: “No, just tired, just plain tired. There were little changes
in the group as well. We didn’t really know which way we were going, or
what we were going to do. You can say that in the beginning when everything
just happened, the way we played the music was not at all on the level
of the popularity. It was like the Monkees in the beginning. They were
popular like that. It was usually others who used to play. We captured
that. We got to the top, but then we went beyond gibing a certain kind
of music which the public liked, what the public knew us for. We got away
from that too much and started to experiment into wild dreams of writing
progressive music and turning into a…We had a light show which was extraordinary
in those days. It was incredible in those days what you had to work with.
Nothing like the Jefferson Airplane or anything like that, but it was great!
It was big. It was taken well in England. Our biggest thing was the shows
during the time we were out playing.
We did some really good shows, we had a really good stage act.”
M: “You were saying that at the point where you first started
becoming successful you weren’t playing as well as…”
T: “No,no. I don’t think we even know how to play! We didn’t
find the roots and the basis for everything. After 1963, the American Blues
and Song Festival—Sonny Boy Williamson, Lightnin’ Hopkins, and all those
guys—came to Gothernberg and turned me and the rest of the boys onto the
basis of the rhythm and blues music.
So, We dug, and in 1963 when we started to learn how to handle the
guitar, we went beyond. We took the music of the Rolling Stones, and we
found out who wrote that song. We went back and found the original. We
went that way. The sweet music which we were performing on some of our
records—the soft kind of music—that was not really our music. It was more
the rhythm and blues and the rock that we performed onstage/ When we came
to ‘Every Raindrop Means A Lot’, that was one of the breakthroughs. It’s
still a verry good song.”
M: “That’s a definite transition period between the record companies.”
T: “We left because we didn’t get the support. Platina was a
little record company. We were big in Denmark, but if we wanted to go out(of
Sweden) we needed a bigger corporation behind us. EMI was the biggest,
they could really do it. In those days: 1966,1967,1968,the interest from
the rest of the world in Swedish groups was nothing.”
M: “It seems like the Tages got out into the rest of the world
more than anybody else, more than the Hep Stars, Shanes or Ola and the
Janglers. Nobody else ever went to England.”
T: “No, not in that way. With the papers, the press, Musical
Express interviews….In all those magazines, we were there. We got out,
but we didn’t actually get out. It was only a little thing. We did television,
we did Top Of The Pops and so forth, we did programmers there and in Germany,
Holland, and everywhere, but it was not enough. The record company did
what they could. I don’t know if we lacked money to buy ourselves onto
the list, which some groups did at that time. I don’t think so.
“The press conference at EMI was quite amazing. We were standing there
at the drinking table having fun, and suddenly Sir Joseph (Lockwood), the
head chairman of EMI, came down, said, ‘Hello’ to us and some guys , and
went. He’d only done that two times before, when they had a press conference
with the Beatles, and when the Beach Boys were over. When he came down,
the journalist went, ‘ Oh, Sir Joseph is here!’ That meant something to
them. We heard afterwards that it was quite amazing that he turned up at
the press conference. Some records went out, and everybody thought they
were good. Something happened. You don’t know why.”
M: “None of your records ever clicked in England?”
M: “There was fierce competition in England in ’68 like in ’64.
It was the start of a whole new movement.”
T: “It was still in the middle of some kind of psychedelic movement,
flower power stuff. Also, the revolution stuff started in ’68.”
M: “It was also the start of the whole heavy music thing. Did
you guys ever experiment with that sort of sound?”
T: “No, We didn’t do that. There was something in ‘Fantasy Island’,
if you listen to that one you can get some traces of Vanilla Fudge—a little
heavy organ, drums, and guitars tending to be a bit rougher. There were
discussions in the group of going back to a more heavy, heavy rhythm and
blues style rather than going to the big organ sound like they did in Blond.
After I left, the songs were good and stuff, but for me it was like through
a filter. Violin arrangements weren’t our style at all.
“Some of the cuts from the albums were very influenced by the Swedish
traditional music. ‘Have You Seen Your brother Lately’ has some instruments
which were used in ancient Swedish history. That was a bit before 1969
and 1970 when groups in Sweden got money from the Government—culture money—because
they took Swedish folk music and turned it into rock and roll. They moved
the traditional harmonies and things into rock and roll. We had already
done that in 1968.
“It all happened too quickly. When we started to learn how to do it,
it went to our heads. The crowd that listened to that album said, ‘Listen
to the music. What’s this they’re doing?’ It went too quickly, it should
‘ve taken more time. I don’t know. From the last album we did—‘Studio’—to
the albums we did before was such a complete difference in the music. It
was like coming up and just seeming so many beautiful things that you picked
one there, one there. It was not straight on, there was no focus.
“In 1968, if we’d done one record that did well, we could have gotten
money from that, or a tour, and taken half a year off. We could have focused
on what line we should have taken. In Sweden you didn’t make so much money
from record sales. The thing that kept a band alive was touring, which
was totally different from some groups in England and America. They could
do one tour in the summer or that autumn or the winter. The rest of the
time they could create, and then go into the studio, where they’d be for
a long time. Not that I’m particularly fond of being in the studio working
on a record for fourteen days, when I could rehearse outside and then go
in and put it on tape. We did a lot of touring, I don’t know how many miles
on the road.
“Also, the lack of professional people made all of us—but especially
me—very sick. Nobody knew anything about this kind of pop and rock and
roll music from 1964 to 1968. We had to learn. I remember one time we went
into the studio with an album by the Beach Boys—one of my personal favorites,
‘Pet Sounds’—and a Beatles record. I gave it to the technician and said,
‘We’re not going into the studio today. Take this record home and listen
“The next day he came back and said, ‘Funny. There’s a lot more bass
and drums in pop music than in the normal schlager industry.’ That was
the kind of people you had to work with. You had to tell them what was
the meaning and how the sound should be.
“It was also the same with the guys who were manager. Nobody knew how
to manage a group, nobody knew anything about it. Nobody in the record
company knew how to do good promotion. I don’t think they even sponsored
one single poster in those days. The fan club paid for it all. We paid
for it. I don’t know who paid for it, but anyway, we got them printed.
I think the last one—EMI—put up the money for some cards on us.”
M: “Do you think this was a Swedish problem that an English
or American group wouldn’t have?”
T: “I don’t think so, but in England and America there was a
knowledge of how to make a star, how to keep him up recording and touring
and being places, things like that. Everybody was learning in those days.
You can see now the guys with the biggest promotion firms or agencies that
take care of bands, they learned in the 1960s. There’s nobody left from
the 1950s. The people now doing the job, making the money, doing the professional
tours, they were brought up in the sixties. They learned.
“It was quite tough in those days. You went to a place where they usually
had a record of 2000 people. The guy who’d booked the act was there, but
no extra guards called in. Nothing. The dressing rooms looked like ‘Bugh!’
No showers, no soap, no handkerchiefs, no towels-nothing! On that day there
were 5000 people there. How can you get the car in? How could we get ourselves
through the crowd and into the dressing rooms? He’d never thought about
it. He said ‘Well, in 1959 we had a guy who was quite popular in Sweden,
and he walked. Why can’t you do it?’ ‘ Why don’t you go yourself and get
yourself killed?’ With the long hair, everybody wanted to touch the hair.
There was this hysterical thing-the fans crying, breaking their legs….Nobody
knew. It was a totally new phenomenon, mot only to the ones who were arranging
“The record company director said, ’Well, what is this? We’re making
a lot of money on this one!’ Before, records were selling 2000. In 1964
in Sweden a gold record was for selling 10,000copies of an album, Our first
two albums sold 20,000. So, we got two gold albums from the first two LPs.
Everybody was suddenly reaching the gold record, so they changed it to
25,000. It was an enormous boon for the record industry and the music companies.
Nobody calculated it, nobody knew. The record contracts in those days were
the same as in ’61 and’62. In Some record companies are probably still
living on that money. Someone along the line makes the money. We didn’t,
we used it. Money came in and went out.”
M: “You used it running the band, or you spent it?”
T: “You bought new things. During the four to five years, you
got what you wanted. You wanted to eat good food, you ate good food. You
lived in the hotels—not the worst ones, the middle ones. You bought some
clothes when you wanted some clothes, and some toys when you wanted some
toys, and some books when you wanted that. You wanted a new guitar , you
bought a new guitar. We wanted to change the whole set of Vox amplifiers
to Marshall amplifiers, so we changed it. When we stopped, we did not have
one million crowns in the bank. So that was about it.”
M: “What did you do after leaving the Tages?”
T: “I did three singles. Two in Swedish for Metronome(1969)
and one for a record company called Zoom(1971). I kept playing and singing
with some productions, the Pop Flip Show in 1969 with Ola of Ola and Janglers,
now with Secret Service. I did some DJ work. I did nothing except for having
fun for a couple of years, then started to work. I kept on with different
kinds of things. I came back in 1983 from five years in Spain. I was the
manager of a Swedish tourist agency. I had a bar, a restaurant, and a hotel
together with my wife and a so-called friend for a couple of months but
that didn’t work out. I’ve got two sons, they wanted to come back to Sweden,
so we moved back in February 1983. We’ll see what happens.
“We did do a disco version of ‘Sleep Little Girl’ in 1982. I had a
group down playing in the hotel in Spain, we did some songs. One of the
guys is a producer, he did an arrangement of ‘Sleep Little Girl’ which
we did down there. Turned out to be funny. We decided to record it. He
arranged with a small company in Sweden who had a lot of money they wanted
to put into something, so we flew up from Spain to Stockholm and did the
M: “All that Tages together again?”
T: “No, just me. ‘Sleep Little Girl’ in a disco version. English
on one side, Swedish on the other. It was a 12-inch single as well. It
was the producer’s idea, just for fun, no intentions of a comeback or anything.”
M: “What are the other Tages members doing now?”
T: “No-one kept on playing after Blond except Göran , the
bassman. He was in some Swedish groups, very progressive. The others stopped
playing. The drummer(Freddy Skantze) went into producing with a record
company. He’s quit that , now he’s dealing with videos. The others went
into normal life, got married and into other businesses.”
*this is message from Tommy in1998
I am now working at an oldies station in Stockholm, Sweden.
You can listen to me every day
between 10,00 - 15.00 local time on our homepage: http://www.vinyl107.se
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