Roxette – Help! (Abbey Road Sessions November 1995)

On 15th November 1995, Roxette recorded 4 acoustic tracks at the Abbey Road Studios in London. Those songs were 3 Rox hits (The Look, Listen To Your Heart, You Don’t Understand Me) and a wonderful cover of The Beatles gem, Help! All 3 Roxette tracks were already released on the You Don’t Understand Me single and YDUM also appeared on the Anyone single later. Help! (Abbey Road Sessions November 1995) is released digitally for the first time on 8th May, but earlier it was released on The RoxBox. Marie’s vocals are stunning! Listen to it on iTunes, Spotify, YouTube or other digital platforms.

Per about the single:

In these days of seclusion and confusion this digitally unreleased pearl is very much needed. Roxette paid homage to The Beatles on a sunny day in November 1995 at the Abbey Road studio in London. “Help!” is the first taste of the “BAG OF TRIX – Music from the Roxette Vaults” album series that will pop up when you least expect it. Enjoy!

Parts of the Abbey Road recording sessions can be seen in the documentary, Really Roxette. The album sleeve photo of Marie and Per was taken by Marie Dimberg in 1989 when Roxette was in London to appear on TV with The Look in Top of the Pops. You can see this picture in Sven Lindström’s book, Roxette – Den osannolika resan tur och retur. The famous Abbey Road crossing is still very popular. You can wacth it online all day long via a live cam on the studio’s website. The album sleeve itself would deserve a physical release and the song would definitely sound fantastic on vinyl.

The Beatles released Help! (written by John Lennon and Paul McCartney) in 1965 and it was No. 1 both in the UK and in the US. After 55 years, it still sounds amazing, even if John told in an interview that he regrets a bit that it became too fast, because they tried to make the song more commercial. I’m quite sure he would have liked Roxette’s slow version.

Marie Fredriksson tribute on Nordic Rox #2

As Sven promised in the first episode, here is the next Marie tribute on Nordic Rox, Sirius XM. Per and Sven start with Crash! Boom! Bang! Per tells they were recording the album in Capri for 6-7 weeks. Per always loved this song, because it’s so fragile and it’s so much Marie for him. Marie singing these big ballads is just mesmerizing. It’s a perfect Roxette song. Sven asks Per if he knew he would write it differently because of already knowing how Marie can deliver such songs. Per replies that he has always been a melody guy, so he could expand the melody a lot when he knew that Marie was going to sing it. For all the songs he wrote he made demos, singing them himself and some of the demos he had a really hard time to do, but it was piece of cake for Marie. If she liked them. Sometimes she didn’t like a song, then they didn’t record it. It’s natural. You have to really like what you are doing. CBB is like a trademark Roxette song. Sven says it also became a centerpiece on the live shows. According to Mr. G it’s a beautiful song and great production as well. It still sounds cool.

After CBB, the guys are talking about Roxette’s first two world tours. Sven says the CBB world tour (1994-1995) was not as big as Joyride (1991-1992), but almost. Per says it was big enough. It was different. The first world tour was when the band exploded and the tour got extended on the go. CBB was only like 100 shows. Here they start laughing. Sven says that was the first time when Roxette performed in South Africa. Per remembers they played big football stadiums. He also tells that the Crash tour was amazing for him, because they built up a great catalogue of hits, so they could make really wonderful concerts. Marie was amazing and they had a great band. They worked for basically 7 years in a row and those were the last 2 years of that period. They had their little peak there, Per thinks.

Sven asks Per if he knew in advance that Marie was such a rocker on stage. Mr. G says he doesn’t think so. Even Marie herself didn’t realize it before either. It just happened when they started making videos. When she performed her own songs with her own band, she was pretty boring on stage. She was sitting by the piano, like a singer songwriter. But suddenly, she just exploded on stage in the early videos. She always had this acting ambition. She felt very comfortable in front of the camera and eventually, she became an amazing performer on stage. That is also one of the reasons why Roxette became so big. They could deliver live as well, not only in the studio. They were a great live band, great musicians, Swedish guys and girls, all of them and of course, Marie as a centerpiece of everything. In the pop world it’s never been natural that even though a band has hits, most of them can’t deliver on stage. It takes a certain sort of quality to be able to perform for 55,000 people and have them entertained for 2 hours.

The next song they are talking about is Wish I Could Fly. Sven tells his special memory from later, from the Night of the Proms tour in Germany. The symphony orchestra was playing a piece to introduce Roxette and that was a Scandinavian piece which turned to WICF and Marie entered the stage from the floor, rising from there. When people realized that this classical piece turned into Roxette and saw Marie entering the stage through the floor, everyone stood up and started cheering. It was in 2009. Per explains Marie became ill in 2002 and she had a break for 7 years, so NOTP was the first comeback tour they did.

When Per wrote the songs for Have A Nice Day, he had a couple of years writing songs in different directions. Dance tracks, guitar tracks, electro music. Wish I Could Fly was just different to anything else. He was very surprised that the record label picked it as the first single for the album, because it was so different to what they had done before. Looking back now it feels like it’s a great part of te Roxette puzzle. Per really likes the song and Marie of course delivers it so well. Mr. G likes the lyrics and the way Marie sings it, as well as the arrangement. It’s so 90’s to him with the drum loop that goes on and on. It’s got a great riff too, almost like a Led Zeppelin riff. Sven adds that the song has also got an atmosphere to it that suits Marie’s voice so perfectly. She adds something magical to it. Per agrees. He says it’s a tough song to play live though, because it’s based on that machine loop that goes on and on and it’s hard to play it if you are not using sequencers and stuff like that. You can cheat a little bit if you want to, but they never did. The guys are laughing again.

The next song is from the album that could have been the last Roxette record, as Sven says. Milk And Toast And Honey from Room Service. The album was recorded in 2000. Marie was doing a solo album in Swedish and touring in the summer. She was planning to make more music with Micke. Per adds he is a great piano player. So Marie wasn’t really into making a new Roxette record, but Per wrote a lot of songs and they started to work on the album. Per personally thinks that Room Service contains some of their greatest works. There are some really outstanding songs on it. Sven agrees. He thinks it sounds great and it’s got a cool vibe to it. Mr. G says they used a new engineer, so they got a little bit different sound to it. They had basically the same players though. Jonas Isacsson plays amazing guitar. Marie sounded amazing especially on MATAH. According to Per, this is the best track on the album, because it’s a ballad, but not like a typical huge Roxette ballad, like Spending My Time or Listen To Your Heart. This is like a tiny little ballad that Marie just delivers and it’s beautiful.

By this time Marie already had 2 kids and family was much in focus for her. She wasn’t really interested in touring the world or promoting. She wanted to be at home with her family. Who could blame her for that? They had been doing it internationally for 12 years at that time, so Per thinks she wanted to have a break. The album was done very much by Clarence Öfwerman and Per and then they did a big European tour with that album as well.

Sven mentions the story of Marie arriving to the recordings of MATAH with a taxi and leaving right after recording her vocals. Per tells Marie’s vocals had been recorded already before, but he wanted her to do some different takes on the last chorus to change the melody, to bring the song home. So he called Marie and she came by taxi and kept the taxi waiting outside the studio, sang those 3 lines and she was out again, in the taxi and back home. Per is laughing while he is telling this story. Sven thinks it’s quite cheeky, but Per says that’s the way it was. Marie delivered, then Per and Clarence summed it up and finished the record.

After playing MATAH, this part of the tribute is over.


Unfortunately, it’s impossible to add a direct link to the program, but search for Nordic Rox and go some ”shift forwards” into the show to hear Sven and Per talking.

Thanx for the technical support to János Tóth.

Roxette in the Rock ’n’ Roll Circus

As we already posted about it in November 2019, in connection with the 50th anniversary of founding EMA Telstar (Live Nation today), legendary concert organizer, Thomas Johansson released a book, Rock ‘n’ Roll Circus: Artisterna – Musiken – Mötena (Rock ’n’ Roll Circus: Artists – Music – Meetings). Over the years Thomas has been working together with an endless list of artists and bands and of course, Roxette is one of them.

Thomas told his stories to writer and journalist (also author of The Lonely Boys fiction book among others), Mats Olsson who wrote them down. It’s not tabloid style, not at all. You won’t get to know any secrets you never knew about the artists themselves and most importantly, it’s not a scandal book. Thomas would never reveal anything he had been told in confidence. Why he can still do what he loves to do after 5 decades is that he is proved to be a trusty person and one who can sort out even things that seem to be impossible related to the concerts he organizes. Sometimes even related to those shows where he was not involved in the organizing. This is how his cooperation started with Bruce Springsteen, for example.

For a Roxer, the most important chapter in the book is without no doubt the one about Roxette, but since Per’s name and Roxette turn up here and there even in other bands’ and artists’ chapters, it’s worth reading the complete book. But not just because of that. The book tells you the story of how Thomas started his career already at the age of 17 and created his future day by day, event by event. You learn how important trust is and maintaining connections is another key factor. The little stories let you have an insight of how event organizing and musicians worked in the 60’s and 70’s and how it all has been changing over the decades. How you continuously have to keep up with the trends and be up-to-date with what’s happening in the industry. E.g. if someone has 1 billion views on YouTube, it doesn’t necessarily mean that people would buy tickets for 1000 SEK to see them live.

Roxette’s story in the book starts with them flying from Uruguay to Paraguay for their show in Asunción in April 1992. Thomas tells it was definitely the most dangerous flight ever in his life. He had pictures in his mind how the plane would crash in the rainforest, they would become completely isolated and stranded and started eating each other up. He says it was not a weird thought, because an air pocket caused a four-kilometer straight downfall. Per and Marie were quite calm, but there were other passengers panicking on the plane, screaming and crying. When they finally landed in Asunción, it was raining like hell. There was a press conference right at the airport, as it used to be a tradition in South America. There were 150 journalists sitting in a strange hall and so there was chaos, but they managed to get through it and leave by the cars that were already waiting outside after the conference.

Marie, Micke, Thomas and BoJo were travelling in the same car, a Mercedes. Thomas was sitting in the front and he remembers it was raining so heavily that his feet got completely wet even inside the car. Then suddenly, Marie from the backseat told she forgot her bag at the press conference. The whole convoy stopped, BoJo jumped out of the car into the water that reached up to his knees and rushed back to the airport for Marie’s bag. After he got back, they went to a golf hotel outside the city.

It stopped raining during the night and in the morning Thomas saw that the hotel was situated along a wide flood where dead cows were floating with their legs straight up in the air and crocodiles were swimming like in a Donald Duck comic. And Per was sitting on a balcony, sunbathing. [Hahaha. /PP]

The venue for the Roxette show was a big soccer stadium in Asunción that the organizer sold out. The arena was of the capacity of 30,000 people, but the organizer proudly said he sold 40,000 tickets. Tor Nielsen and Thomas immediately realized that they should strengthen the fences in front of the stage and they brought there a man who helped them with these kind of practical things.

The band was terribly good even if one couldn’t really hear what they were playing, because the crowd sing-along was louder than them. They asked the organizer how that could be, because no one spoke English, but the organizer said that in Asunción they used Roxette records for teaching at schools.

The organizers had built a large tower with mixer boards and spotlights in the middle of the crowd and while the band was playing Thomas saw from the stage how the light cones started to move and the whole tower was swaying by the pressure. BoJo gathered 200 soldiers who marched straight through the audience, up to the tower and they actually built it during the concert.

Thomas tells he has been working together with Per for 40 years, more than half of his life. Together with ”Blixten” Henriksson, who Thomas was working with in EMA Telstar they worked with Ulf Lundell, Tomas Ledin and Magnus Uggla, but after ABBA’s win in Brigthon Blixten took care of many other Swedish artists, while Thomas had other things to do. Blixten didn’t really believe in Gyllene Tider, he couldn’t see Flickorna på TV2 as a big hit and refused to work with them. So GT started working with their competitor, Thomas Nordlund at Showring. Later, in September 1981 they met Gyllene Tider and their business manager, Janne Beime and his wife, Lena in Örebro. Janne suggested to do a tour together. Blixten and Thomas were thinking all night about how to set up a tour for GT. The first time they worked together was in 1982 and the tour started in Ljusdal’s Folkets park. Thomas came just in time for the soundcheck and when he arrived he saw that the whole band was drinking coke except Göran and Per who ordered beer at the restaurant, but they didn’t get served, because they were too young. They were not, but they still didn’t get their beer.

Thomas says there was quite a contrast. They just did The Rolling Stones at Ullevi and then GT in Ljusdal. He was amazed at how good Gyllene Tider was. People loved them and the girls were screaming. Thomas is a nerd when it comes to songs and he can tell Per has written hits. GT was a classic pop band and they sounded fantastic already back then.

Mr. Johansson says it’s been a pleasure to work with Per, Gyllene Tider and Marie in different constellations. Before Roxette’s international break-through they already worked together on the Rock runt riket tour. Thomas could well build on what he learned from when he was organizing concerts for ABBA and other big international bands. Roxette played around the whole world. Not only in traditional arenas in England and the US, but also in South America and even Beijing in 1994. Wham! played there before Roxette, but Roxette was the first rock band allowed to play in China. Thomas remembers that they lived in a nice hotel in Beijing, but the venue, Capital Stadium left much to be desired. There were 12,000 in the crowd and no one was allowed to stand up and soldiers were sitting in the very front. The tickets cost 1-2 dollars, so not too expensive. People from the party listened to the songs in advance, checked the lyrics and they said they can’t play Sleeping In My Car. They didn’t explain why.

Thomas about Per:

Per is the engine, an engine of everything, a living dynamo. He was very young when we met in Örebro, but he was curious, smart and focused already then. Per has visions and thoughts, he wants a lot and that makes you talk, talk, talk and you can’t stand still. It’s a challenge, but also a pleasure to work with someone who is so creative.

Thomas admits he was a little worried before Gyllene Tider’s farewell tour last summer, but in hindsight he understands how incredibly deeply rooted GT’s songs are. They are part of Swedish summer.

Thomas mentions that Roxette had their very last concert in Johannesburg, South Africa in 2016. [The very last concert was in Cape Town, 8th February 2016. /PP] As Thomas says, ”Marie, this fragile little person, such a warm and unbelievably strong woman, could no longer tour”. Thomas remembers that after releasing Nu!, Marie so much wanted to do her last solo tour in 2014. Everyone told her she shouldn’t, she can’t, it won’t work, but she insisted and then you could see her enormous strength. She went through so much… The tour turned out to be phenomenal and she was singing like a goddess. Thomas says:

For me this is the essence of Marie, a mix of pop, blues, jazz, a little, little body with a big, big voice. Many have great voices and sing well, but can’t express anything. Marie can do that. She is a storyteller and not many are.

It’s hard to forget Roxette’s last show. It was windy that night in Johannesburg and there were 10,000 – 12,000 people inside the venue. Marie had problems with walking, so BoJo walked her to the stage. She was sitting on a chair, stood up and sat down again. Thomas thought that can’t go on like this for a long time. They booked a summer tour, but then it had to be cancelled.

After Marie stopped touring, Per wanted to continue. He wanted to play the songs he wrote for Roxette and Thomas and PG talked a lot about it. Thomas told Per that if he doesn’t do it, he will be thinking about it all the time in the future. So he said let’s call it Per Gessle’s Roxette and they book a tour in Europe in theatres between the capacity of 200 and 2000. Thomas thought Roger Waters performs as Roger Waters, but he plays Pink Floyd songs and those songs couldn’t sound more like Pink Floyd than when Roger plays them. The same with Paul McCartney and The Beatles. And no one else could sound more like Roxette than Per. The tour was good, even if it wasn’t sold out everywhere. It sounded fantastic and they got nice reviews. We will see what’s next. Now Per also has an electronic band, Mono Mind and Gyllene Tider’s 2019 tour was one of the biggest in Sweden.

Thomas says that Per has two, soon three generations in his audience. Like The Rolling Stones, Paul McCartney and Roger Waters. 40 years of constant hits.

In other chapters Thomas mentions that he is a Formula 1 fan, just like Per. Roxette turns up in a chapter with their 1996 Toronto TV appearance and Mr. Johansson tells that at the same time he was negotiating NHL matches to be brought to Sweden. In the Ulf Lundell chapter Thomas tells the story of how he started working with Lundell. He asked if Thomas still works with Swedish artists and when Thomas said he works with Ledin and Gessle, Lundell said then he wants Thomas to do his next tour. Mr. Johnasson explains that Per, Tomas and Ulf are very different, both in music and in their personalities, but they are very similar in their creativity. Thomas says it’s motivating to work so close together with artists who are so creative, because you can learn what drives them and then it doesn’t matter if the artist’s name is Per, Tomas, Ulf, Mick, Keith, Bowie or Bruce, they have the same thoughts and same questions and Thomas feels lucky and priviliged to work with them.

Mr. G pops up in the David Bowie chapter as well. There Thomas mentions that he, Bosse Norling (tour leader), Bengt Berg (from EMI) and a very young Per Gessle were travelling together to Lyon to see Bowie’s concert in 1983. They were flying to Geneva, rented a car there and drove through Switzerland to Lyon, France. They arrived in the afternoon and Per invited them for lunch at a truck stop. Appetizer, main course, dessert and wine, everything was included and cost ten francs per person. They ate one-minute hearty steak with french fries and there was nothing wrong with the wine either. For the coffee they could choose dessert or calvados. Thomas felt like they had begun to live the glamorous rock life.

From the Tina Turner chapter we get to know that Tina lives in Switzerland and Thomas was once there for dinner with Roxette. They were drinking good wines and eating excellent truffle pasta prepared by Tina herself.

As I mentioned at the beginning, you can see that Per and Roxette really turn up in the book in several chapters. Thomas and Mats picked 25 artists and bands to write about. So besides Roxette you can read stories related to Jimi Hendrix, Janis Joplin, KISS, ABBA, Queen, Lou Reed, Bob Marley, The Rolling Stones, Ulf Lundell, David Bowie, The Clash, Bruce Springsteen, Bob Dylan, Tomas Ledin, Neil Young, Tina Turner, AC/DC, Metallica, Rod Stewart, Pink, Roger Waters, Paul Simon, U2 and Paul McCartney. The foreword was written by Björn Ulvaeus from ABBA.

It’s a very interesting reading, I can only recommend. Good for practicing your Swedish too.

Marie Fredriksson tribute on Nordic Rox

Sirius XM made some programs available online and a little Nordic Rox is also among those free programs now. Sven Lindström and Per Gessle recorded a Marie Fredriksson tribute for Nordic Rox. They did that in Stockholm in Live Nation’s office. They were sitting in the ABBA room and Sven was joking that it’s because everyone else wanted to be in the Roxette room, so they couldn’t go there.

Sven and Per are talking about Marie with mixed feelings. Per tried to pick songs that for him represent what Marie was all about in Roxette. It’s a big palette of knowledge that she gave to the band. Sven says Marie and Per are a bit like opposites to each other. Per says they shared rehearsal studios, Per was in a band, Gyllene Tider and Marie was in another band. She was screaming and shouting and she was a little bit like a hippie. They were pretty different. Per was very organized and ambitious while Marie was an ”anything goes” type.

Sven asks Per if he remembers a specific moment when he realized Marie’s potential. Per says it was day 1, when he heard Marie singing. She was singing like no one else, even back then. Per’s band took off and became successful pretty quick and they invited Marie to sing on a Christmas song for them. Later Marie left her band and started a solo career and she ended up at the same record label as Per and his band were at, EMI Records in Stockholm. Sven tells Marie had several bands before her solo career. Strul and MaMas Barn. He says Marie and Per socialized in Halmstad. Per says they were very good friends. They never had a romance, they were more like sister and brother. Marie looked up to him because he was successful and in the music industry and Per liked her because she had this voice and she was a wonderful, very generous person. They were just hanging out, watching Dynasty on TV in Per’s apartment, playing the piano and the guitar and started writing songs together. In Roxette they very rarely wrote together, but in those early days they wrote together. They were both based in Halmstad, but Marie moved to Stockholm pretty quick. She started a relationship with GT’s producer, Lasse Lindbom and they started writing songs together and that became her first two solo albums in the early 80’s.

Since Marie and Per were very good friends, they shared this dream to do something together one day. Maybe do something in English together, because they both wanted to work internationally. So eventually, in 1986 Per wrote a song and they released it in Sweden and it became a big song for them in the summer of ’86. It was Neverending Love. They released it under the name Roxette that is coming from a Dr. Feelgood song. Because Neverending Love was a big success, EMI wanted them to make an album, so in no time Per translated 12 of his songs he had written in Swedish. He intended to release those on his third solo album which didn’t happen in the end. That became the first Roxette album. I Call Your Name is the song Sven and Per play on Nordic Rox and Per says the original Swedish title of it was Jag hör din röst (I hear your voice). It was one of the first tracks they recorded for the album. For Per it was like a turning point, because then he realized that something was happening to his music. They had a new producer Per never worked with before, Clarence Öfwerman. Per says Clarence made his songs danceable and groovy. Per comes from the power pop scene and it’s always been a lot of guitars, but it suddenly became different. And also the way Marie was singing, it was like a totally new chapter for Per. Mr. G thinks I Call Your Name is a really cool song. Their ambition was that Marie would sing and Per would write, but they also had the idea that both of them sing in songs. Most of the songs became duets this way. Which is sort of the Roxette trademark.

After ICYN Sven tells Marie and Per had T-shirts with the slogan ”Today Sweden, tomorrow the world”. Per says they were pretty ambitious. With the shirts they were having fun. They always liked slogans like what Stiff Records, an indie label in the 70’s had. E.g. ”If they’re dead, we’ll sign them.”

The guys get back to Marie’s vocal abilities. Per says he always felt very limited by his own voice. In Gyllene Tider he was the lead singer and it sounded OK, but he just felt that he could write bigger songs than he could sing himself. So to write songs for Marie was liberating from a songwriter’s point of view. The more the years went by, the more he customized his songs for Marie’s abilities, e.g. It Must Have Been Love.

The next song they play is Fading Like A Flower. Per says it was a big song for them and he chose this because it’s a typical example of a standard song. It’s Marie who makes this song work, the way she sings it. Also how it’s produced. Per thinks it’s not the best song in the world. When he sings the demo, it’s boring. Marie had this enormous capacity that she could sing the telephone book and make it interesting. It’s very rare. Per says he was very lucky as a writer to have that voice to work with. Looking back now, they did 10 studio albums and he wishes that Marie would have sung everything with Roxette. Per was singing a lot of songs with Roxette as well, but Marie was such an amazing singer. Especially in the early days. They were not thinking about keys or modulations, they just did it and she was singing it.

After FLAF Sven asks Per if there is a way to describe Marie’s qualities as a singer. Per says she was a very complete singer, she could basically sing anything. It’s very rare that you can find a singer who can deliver a power pop song as well as a huge ballad. Some people are really great ballad singers, others are amazing for pop music, but it’s very rare that you find both ways. Marie could do anything. Per tells when they did MTV Unplugged, Marie was singing Aretha Franklin, but on tours they also did covers of other bands’ songs, because Marie could sing anything. Per was much more limited. From a writer’s point of view it was liberating for Per to be able to write songs like The Look, Joyride or Sleeping In My Car, which are basically 3-chord power pop songs, as well as to be able to write more sophisticated songs like Listen To Your Heart or It Must Have Been Love. Marie could do anything. Per says that compared to him, Marie also had a great pronounciation. One couldn’t really tell that she wasn’t English or American. Per adds that Marie was not inspired all the time, but when she was, everything went very quick. She just made the song her own and made the lyrics her own and you could identify with her immediately. It was just a pleasure.

The next song is Stars. Sven says it was an unusual direction, because if he thinks back, Marie was more of a blues girl. Per says she loved blues and jazz. Sven jokes that Per doesn’t have many blues notes in his body. Per laughs and says he comes from the world of The Beatles, The Monkees and Tom Petty, the 3-chord pop songs and new wave. But he thinks that was the good thing that Marie took his songs and gave them a new vitamin injection. She came in from a different angle.

Getting back to Stars, and the album, Have A Nice Day, Per says they had a couple of years off after touring and promoting for 7.5 years. Marie had her second child, Per made a solo album and worked with Gyllene Tider too. Then he started writing for HAND which was recorded in Marbella, Spain. Time went by and the whole dance music scene has changed a bit, so they tried to do different things. They used different musicians. Stars is a little bit more dancey, Pet Shop Boys-ey. Sven says Europoppy. Per says it’s like the European dance scene at the time, which was pretty far away from the classic Roxette sound, but Marie could deliver that too. Mr. G says he loves that song because it got a great melody and Marie is just the greatest on this one. Sven says the song has a fun, unusual, special video to it. Per tells it was the first time they worked together with Anton Corbijn and shooting the video was hilarious. Regarding the album Per adds that he wrote so many songs in different directions, so HAND got dance songs, rock songs, acoustic songs, a little bit of everything. He thinks it’s because he spent so many years writing, he couldn’t really decide. Haha.

After Stars, this part of the Marie tribute program is over on Nordic Rox, but Sven says they will be back with more episodes.


Unfortunately, I can’t add a direct link to the program, but search for Nordic Rox and go 5 ”shift forward” into the show to hear Sven and Per talking.

Memorial concerts for Marie Fredriksson in Östra Ljungby church

Svenska kyrkan, Klippans pastorat organized 2 concerts in memory of Marie Fredriksson on 8th March in Östra Ljungby church. Marie was born in Össjö, but she grew up in Östra Ljungby and never forgot her roots. People in Östra Ljungby have always been very proud of her. There are several in the church’s choir who went to school together with Marie and they felt they had to do something. Before they began to organize the concerts, they asked Marie’s family if it was OK. When asked they remembered Marie as a down-to-earth person and that she was always singing. She saw a piano, sat there and started playing and singing.

The first concert was held from 17:00, the next from 18:30. Soloist Carolina Söderman felt honored to sing in Marie’s home ground and she shares that the first time she was singing at a wedding was when she was 17 in 1994 and the song she sang from Marie was Ännu doftar kärlek. Carolina says Marie had heart and emotion in everything she sang.

Tickets (250-250) for the events got sold out in less than 24 hours 1 month ago. One ticket cost 100 SEK and all proceeds will be donated to Cancerfonden (Cancer Foundation).

Songs that were performed:

  1. Ett hus vid havet
  2. Den bästa dagen
  3. Ännu doftar kärlek
  4. När kärleken föds
  5. Sång till Marie
  6. Listen To Your Heart
  7. Efter stormen
  8. Sparvöga
  9. Tid för tystnad
  10. Där du andas
  11. Tro

At the 2 concerts 50,000 SEK was collected from the ticket sales and this fully goes to Cancerfonden. You can also donate money to Cancerfonden via their website. THIS collection goes until 15th March and already 56,330 SEK is collected related to this Östra Ljungby event. You can also use this bank account number for donations: SE0650000000052101012251 or donate to the local cancer foundation in your country.

Videos from the event: 1; 2;