(St. Cecilia Music 2003)

The first release on my own label, St. Cecilia Music. I started the label after my record deal with Universal was fulfilled. I chose not to sign a new contract with any company, and begun researching. What would it take to release this album myself in the same professional manner as the big guys on my previous releases? Reliable, qualified help was a must, regarding my well established career at this point. As producer and musical playmate I chose Kjetil Saunes. I've been a fan of his solo albums and magnificent voice for years. Kjetil and Reidar Skår did the mix. The recordings were made in Kjetil's home, HøytogLavt Studio, in Bislett and Majorstua, Oslo, 02/03. Additional musicians: Sigmund Groven (harmonica), Eivind Aarset (guitar), Espen Jørgensen (guitar), Anders Engen (drums & perc.), Paulin Skoglund Voss (cello). This album is a fling with harmonies and personal lyrics.

1 Homewrecker

2 Lay Myself Down

3 Sea Of Faces

4 Truth Be Told

5 Up Destiny's Sleeve

6 5th Floor (From The Street)

7 Little Mouse Me

8 Heavenly Bodies

9 Niagara

2 Blaming You

3 Obituary

4 Lisa's Morning

5 Current Position

6 Fortune Friday

7 For The Lonely Ones

8 Little Indian

9 Long Black Dress

10 Driving Through Fall

11 Lip

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(CD) Universal (2000)

Memories from the time I worked nights in down town Oslo. A step back to pick up something and have a look at it before I close some doors.
Malcolm Burn is producing and mixing. To watch him do it, is impossible to forget. We recorded in his house, Clouet St. Studio in New Orleans, fall 1999. We had wine with Emmylou Harris and hang outs at legendary Kingsway Studios (Daniel Lanois). Bob Egan (Wilco, Madrugada) popped by for a little pedal steel while the tape was running. Carlo Nuccio plays drums on this album and on Tori Amos' Under The Pink! Head technician Jim Watts and I listened to Ani DiFranco. Great food! Great candle lights! The recordings deserve listening under good conditions (volume up, ipod and a bus seat :). Back in the Blonde is a detailed, atmospheric head set record from a dream come true in New Orleans. It can handle a car stereo at night.

2 Grey Encounter

3 Story Of Last Night

4 Anything 'Bout June

5 Maybe (I've Been Thinking)

6 The Thread

7 Growing Process

8 Perfectly Allright

9 Message

10 Journey

11 Sorry

12 Wanna-Be-Song

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(CD) (PolyGram 1997)

'The Difficult Second Album'. But not for me. Having released one previous album I knew I enjoyed what I was doing. And I had experienced there was a place for me as a musician and that made me safe. Bugge Wesseltoft is producing and playing my songs once more. Alar Suurna (Roxette) recorded in Oslo Lydstudio and fixed the mix in famous EMI Studios, Stockholm. I was there experiencing Stockholm New Chamber Orchestra playing the strings on 'June', while Bugge stood in front of them directing. The sound filled the gym hall sized chamber. I witnessed it all from a small shelf under the ceiling. Magical moment big time. Additional musicians: Johan Norberg, Espen Jørgensen and Fredrik Sager on guitars. Kyrre Sætran and Marius Rekdal on bass, Tore Wildhauer on drums. Definitely Me received a Golden Record of Sales in Norway in 1997. General, personal conclusion: Yep, this is me. I wanna do more.

2 Can't Stop

3 These Walls

4 Won't Go Near You Again

5 Things On Their Way Out

6 My Voluntary Saviours

7 This Means You To Me Now

8 Same Shit New Wrapping

9 Lack Of Logic 10 Dreams

11 Playing Dead

12 Little Lie

Want this album? www.cdon.com

(CD) (PolyGram 1997)

I never dreamt of releasing a record. My relationship with music was a private one. I wrote stuff, but I never played in a band. I didn't make demos for record companies or attend talent competitions. In fact I started playing the guitar a year and a half before these recordings were made. The lyrics are reflections, experiences, people and memories that I needed to take a closer look at or just didn't want to forget. So I tried to put them in a beautiful private place. Like in a musical diary. I chose Bugge Wesseltoft to be my producer. Together with my hand picked band, we made an album I'm still proud of. We recorded in the basement of Bugges home and in a micro studio (in a chocolate factory in Oslo) called Bugges Room, which couldn't fit both me and a drum kit at the same time. I had to wait in the hall during drum sessions. The Vertavo String Quartet and my old friend and fellow dish washer from Rikshospitalet's main kitchen, Thor Arne Sæterholen, are guest starring. The songs came out varied, the production energetic, - the band opens it up. I couldn't have hoped for a better debut. My very first single, Won't Go Near You Again, was the song that made Ole (I'dole) Evenrud offer me a record contract. I played the song to him in his office. He made the offer on the spot. I had low expectations and a curious mind sneaking into this business as the album title indicates. But the audience embraced both the single and the album. Paal Flaata (Midnight Choir) sings gorgeously on the second single, This Means You To Me Now, which still stands. After signing the deal we went recording the album, and the next thing I knew I was performing live on National TV. I had scarcely played live before. All at once I was on top of things and the real learning process had begun. To Whom It May Concern achieved two Norwegian Grammy Awards: Female Artist of the Year and Album of the Year 1996 and achieved the Golden Record of Sales.

(Things we will do before we die)