We played and played and had no real plans. At the Youth Center in St. Gallen we saw a bulletin board notice: "Drummer SEARCHES Band". Somehow that drummer seemed to be a remarkable guy. We called him immediately and right away we had a drummer. His name was Peter Suter, aka. "Suetzg". Pretty soon we found a name for our band. Simply put, it is the name of an area in Morocco. Shortly afterwards we had our first live concert, albeit only in the circle of our closest friends. There were at least about 50 people, though. We played in a small youth pub and got paid a whopping 112.- SFR. just for having had an hour of fun. That was in early autumn 1972; just a little bit later we had our first public concert in a gym. There are records from that concert and I'm still amazed how we got it all done.

We participated in a contest. The 4 best amateur bands of Switzerland would have the opportunity to record their music for free in a studio. Yea, guess what? We won. Sure we did. As a result, we had our first studio recordings. To be heard on the LP "Perspectives" and on the LP / CD "Live at Sunrise-Studio.""

Sensational concerts; every time there were four to five hundred people. It was a good time and we were enjoying it. Together with friends, we moved to a farmhouse in the Thurgau Hinterland. Duede Glaus, one of our friends, made sure we got good instruments. That's how I got my 'Gibson Les Paul', the queen of guitars, which I still own. Richi began to play the Mellotron, the fabled keyboard instrument which, in a pretty archaic way, played back samples of instruments pre-recorded on tape loops. All of a sudden, we belonged to the legendary "Thurgau Hinterland Farmhouse Movement". We met 'stars' from the Swiss scene, such as Hardy Hepp, Tony Vescoli or Duede Duerst, comfort-spoilt Zurich City folk who had discovered country life. However, the best guy for us to meet was Bernie Sigg, a totally shrill pop journalist. He knew the Stones in person, or so they said, and suddenly we knew him. We did a good deal with him: We helped him with moving his huge LP collection and in return he wrote a cover text for our LP. That way we got some kind of cult status, which opened doors to the best concerts. Several times we played in front of thousands of people at the Zurich Fairgound Festival. Hippies pure...

Christoph ‚Yogi' Birchler wurde unser Manager. Von da an ging's rund und es gab viele gute Konzerte auch bis über die Grenzen. Durch Yogi lernten wir Etienne Conod kennen. Er hatte in der Nähe ein grosses Haus mit kleinen Fabrikanbauten geerbt. Dort lebte er mit seiner Band ‚Sunrise'. Richi kaufte bei ihm eine Hammond B3 aus den vierziger Jahren, dasselbe Instrument, welches er bei Uriah Heep so bewundert hatte. Etienne wurde natürlich gleich zu einer Session gezwungen und die Idee eines Studios wurde geboren. Er hatte den nötigen Platz, ein Kunstkopfmikrofon, und wir unsere Ideen, fast kein Geld und viele gute Instrumente. Das Sunrise-Studio wurde gegründet. Ein Studio, in dem man mit guter Technik zu einem minimalen Preis in hippiefreundlicher Umgebung seine Sounds aufnehmen konnte, wie man wollte. In diesem Studio nahmen später auch berühmte Leute aus der Progressive-Szene ihre Platten auf. Embryo aus Deutschland waren da, das war für mich damals der grösste Knüller.

We released our first very own LP: "Kedama - Live at Sunrise Studio." All of a sudden, people from Bern and Basel knew us. The halls were filled to capacity, and we stumbled from party to party. At the beginning of our concert in the Gasholder in Bern we nearly failed to reach the stage. One big traffic jam around the place and lots of people lined up in front of the box offices. Suddenly it dawned on us that all those people were there because of us. At another concert, after the 4th encore, I tried to find my girlfriend, to no avail since there were thousands of people. All were clapping their hands and shouting, "Encore!" I realized that it was us whom they were applauding. In our farmhouse we met people who behaved as if they were at home there, people whom we didn't know at all. We had a hard time finding a quiet place for us. The whole bustle started around lunchtime and ended at about four o'clock in the morning. Once in a while we played on stage. We had a well-organized team. Often we were already lying in our beds, from where we heard the roadies arriving with their truck and loading all the instruments and amplifiers.

Again, we had a totally new program, and Etienne bought an 8-tack tape machine from an African radio station. So we went to Sunrise studio and recorded some pieces for a new LP. Some of those pieces are now on the CD version of "Live at Sunrise Studio." We had never cared much about money, and that was going to backfire now. We had to look around for temporary jobs. For several weeks we even jobbed as roofers. Our payments of the rental were belated by months. Moreover, our cooperation with Yogi came to an abrupt end - no one remembers the reason why. Suddenly we were running out of engagements, other than the concerts that were already booked. The making of the second LP was put off. 

Our community in the Thurgau Hinterland was broken apart. Peter Suter moved towards Zurich, Richi and I again close to St. Gallen. The band rehearsed in Wil, which meant long drives. The debts grew; fear of the future, desperation and depression drove out the enthusiasm and the colors. That was not Kedama anymore. In the early summer we had our last appearance in an intro program of Embryo at the Volkshaus in Zurich. At the same time Eric Clapton played in Zurich too. That evening we had an audience of measly 30 people. It was an embarrassing moment, and, for the time being, it marked the end of Kedama.

The new Kedama album was a very good experience to our own amazement. We just continued there where we stopped. It came already out under the name "Free Flights Fly Free". 

We are already recording a new CD. The records get better and also somewhat more rocky. Besides other songs we also recorded a "Rap".  Unfortunately there is still no producer; maybe again in 20 years....?

 August 2002: We finished 5 new songs; and we are working on the 6th

The third CD with eight new titles is finished as far as the music goes. The cover is still lacking some essentials, though. We're neither able nor willing to do everything on our own. It's just music that we want to make. And then there's the annoying fact that, of course, this is our best CD so far: "desertegg." The latest CD always is best.

Since 2000 we have canned 3 CD already. Yet no one knows that we are back and kicking. Granted, we are not doing anything to let the world know. Things are going so well, it would be a pity to waste time on dry paper stuff. So we try to do a proper job and go to Gallus Studio in St. Gallen. There, Jovi Widmer masters a selection of tracks from our first three CDs, with which we want to get off our duffs. "...in black and white..." is the title - and again nothing happens. How could it?

2004 Kedama is still keeping at it. "hope is..." - that's the working title - carries us away to totally new worlds, particularly from track 5 onwards.

Rapper und Freestyler Odium da Pro verleiht der Kedama-Musik eine völlig neue rotzfreche Dimension. Wir produzieren 4 neue Songs mit ODP. Zusammen mit einer Instrumental-Version von "fine young criminal", sind das gerade mal gute 25 Minuten. Aber die lohnen sich. "Vilicht git's meh..." heisst die Mundart-CD.

Im Dezember 04 ist die siebente CD "hope is" fertig geworden und eine neue, mit dem sinnigen Arbeitstitel "No. 8" ist am Entstehen.