A SEVEN INCH SPECIAL, VOL. 11: Late era hard & heavy

GUN SMOKE
Midnight Train / Thoghts (Artside, 1975)
English vocals
International relevance: ***

Housed in a very fetching sleeve, this is a bit of a lost gem. Regional label Artside is almost exclusively known for dance orchestras of the most dubious kind, so how Gun Smoke ended up on the label is way beyond me. ”Midnight Train” is hard rock and and psych rock in equal parts with an urgent drive and a very appealing melody. The excellent lead guitar is present all through the track and really fires it up during the solo. ”Midnight Train” is a mini masterpiece that has gone under the radar for far too long. The misspelt ”Thoghts” is a ballad with a nice, drowsy, hazy atmosphere. It's decent I guess but it just can't touch the A side's brilliance. But ”Midnight Train” alone makes this one of the best 45s featured on this blog.

Gun Smoke reunited in the 00's as Gunsmoke and released a CD in 2005. It has a vastly inferior re-recording of ”Midnight Train”, and is more in a southern rock style.

 
HIGHBROW – Rock On (T-Bone, 1978)
English vocals
International relevance: **

Rooted in mid 70s hard rock but moving in the heavy metal direction with dual guitars and some boogie rock moves. The A side ”A Loser” found its way onto the all-Swedish volume of the ”Jobcentre Rejects” compilation series doing a great job documenting rare NWOBHM (and FWOSHM - first wave of Swedish heavy metal) singles otherwise lost to obscurity. The vocals, handled by Norweigan born Dave Nerge, leave bit to be desired but at least they're gratifyingly free of the genre's more annoying mannerisms. B side ”Roumers” (which I guess is supposed to mean ”Rumours”) is perhaps more interesting with an unusual melody with overlapping vocal lines. All in all, it's pretty well executed and not without talent. It's not surprising that all members went on to other bands, some of them quite successful, after releasing a second single in 1979.

 

ROCK SET – Piteå kommun / Up In My Room (Frontalrock, 1979)
Swedish vocals, English vocals
International relevance: *

Rock Set really must have hated their hometown judging by the track ”Piteå Kommun”. They vehemently describe it as a terrible place where time stands still, everything is boring and everyone has alcohol problems. Set to a riff suspiciously similar to Eddie & The Hot Rods' ”Writing On The Wall”, the message gets through loud and clear. Coupled with a blues rocking ”Up In My Room”, this is a great and highly sought-after classic, sometimes going for up to around 200 euros! Thankfully, the guys behind the aforementioned ”Jobcentre Rejects” series reissued it as a deluxe 7" in 2021, making it easier (and cheaper) to obtain. Perhaps too punkish for some, it still remains an excellent example of the rough-hewn DIY ethos that signified punk as well as progg. 

Rock Set released a few more singles (and there's a self-released CD-r compilation of theirs including previously unreleased material), but none of their later outings were as good as this one. 

 

KARL BRUN & HIGHWAY – Ikväll / My Love Is Burning (no label, 1979)
Swedish vocals, English vocals
International relevance: *

Highway were a Gothenburg band augmented with Karl Brun (real name Kenneth Pilo with his nom de plume being a reference to Snoopy character Charlie Brown) and issued this self-financed 1979 single in 200 copies. Brun only appears on ”Ikväll”, an example of idiotic radio friendly boogie stomp. The English spoken B side is credited solely to Highway and is better in a Deep Purple-ish style sans the organ. Obviously rare and seemingly quite expensive when offered for sale, but definitely not worth the price.

TEJP – Tung rock / Sanningen (Tejp, 1979)
Swedish vocals
International relevance: *

”Tung rock” means ”heavy rock” in English, and it's not far from the truth. Or perhaps this one's more speedy than heavy. Both tracks on this very rare and valuable 7” are a revved up mix of harder rock and punk, a bit like Hela Huset Skakar but not quite as good. Tejp won't win any awards for groundbreaking songwriting, but both tracks are soaking with a devil-may-care attitude, and the unpolished execution gives them a very charming underground feel perfectly matched by the primitive cover art. I'm quite fond of the kind of energetic no-nonsense, hit-and-run rock'n'roll Tejp play, but it will definitely not satisfy anyone demanding complexity or sophistication.

 

VANADIS – Heaven Can Wait / Do Me A Favor (CF, 1979)
English vocals
International relevance: *

This year's award for strangest cover art goes to Vanadis from the southern city of Helsingborg. It's not the only quirky thing about their only outing, recorded in 1978 and released the following year. Singer Jan Göransson has a dry, strangely timbreless voice which is very far from what you associate with a hard rock singer. The drum sound is peculiar too, especially on ”Do Me A Favor”, with the flat, thuddy bass drum being too loud and the guitars to low in the mix. Producer Göran Sandquist was responsible a few more records in the years to come, but this was done in of his earliest days on the job and he obviously hadn't gotten the hang of it. It sounds as if he was more accustomed to radio production than music ditto. Not that the songs are too impressive either – they're too standard sounding – but they would certainly have had more oomph had they hired someone who knew what he was doing at the mixing desk.

Vanadis started out in 1975 as Aniara. They split up in 1979 due to military service, but some of the members later joined other bands.

BAKRUS
Kärnkraftsrock / Blåljus (Bakrus, 1979)
Nettan / Lämrock (Blåljus, 1980)
Swedish vocals
International relevance: *

A band from Åsa, a small town a few miles south of Gothenburg. They left only two self-released singles behind, and the first one at least was recorded in Nacksving's studio. Generally undistinguished semi-hard rock hinting at '77 punk and lyrics with typical post-Nationalteatern sentiments. ”Kärnkraftsrock” is against nuclear power, ”Nettan” against drugs and prostitution. Both singles are rare and sought-after but just not worth it. The best track is clearly ”Lämrock” which can be also found on ”Killed By Death, Vol. 51”. 
 

HAIRLINE BLUE – Snart så kommer jag hem / Månen (Harline Blue, 1980)
Swedish vocals
International relevance: *

Had the mix been better balanced, maybe this would have made a greater impact although not by much. ”Snart så kommer jag hem” is semi-boogie rock with shouty vocals. Not good. The B side is a ballad of sorts with a pseudo Christian vibe (although it isn't religious). ”Månen” has some decent heavy lead guitar with proggish overtones, but it's not enough to save it. 

 

ARMATUR – Rock 'n' roll / Mr. X (Duvan, 1980)
Swedish vocals

International relevance: **

The A side is every bit as daft as its title – if you have to convince people you're rock 'n' roll, you're not.

”Mr. X” is quite good however, although it has a loan or two to repay to Black Sabbath. But Armatur are hardly the only ones in debt to Sabbath, so I let them get away with that. The vocals are only so-so but the track has a nice push to and a very good lead guitarist. Only 500 copies were pressed, and with one of the tracks being so good, it's easy to see why it's in such demand with asking prices in parity with that. Recommended if you can find a copy. But don't play the A side.

 

DAKKS – Änglarna / Tema för säsongen / Metallmani (Dakks, 1981)
Swedish vocals
International relevance: *

Not very wellknown, and not very expensive. Not very good either, and certainly not stringent. During the course of only three songs, they swing from one style to another, and I've no idea if they want to be a hard rock band, a pop band or an experimental ska band. Given the main track, the artwork, and the song title ”Metallmani” (=”metal mania”), I guess that hard rock/heavy metal was what they aimed for. But who am I to say from such an inconsistent effort. Singer David Taylor sounds like he would be in a Christian band – there's something about his tone colour that would fit that. However, one source claims he's the guy later known as Roy Taylor (real name Tony Hellander) in Swedish hair metal band Trash, but I can't decide if that's correct or not. No matter what, Dakks only release is more confusing than appealing.

 

REPULZ – Telling Your Future / God Save Rock 'n' Roll / Problembarn (Stepping Mexicam Produktion, 1981)
English vocals, Swedish vocals
International relevance: *

Sometimes classified as punk, Repulz actually think they're hard rock. But whatever idea they might have had in their heads about their own sound, they failed to put it into practice. This 45 is just plain bad with pedestrian songwriting, a clumsy drummer and a singer who obviously skipped English classes in school. ”God Save Rock 'n' Roll” is as clichéd as its dull-witted title. The slightly punkish ”Problembarn” (=”problem child”) is the only song in Swedish and is probably the best track here for that very reason.
 

BOOGIETRYCK 

Röd eller blå / På andra sidan (Try Musikproduktion, 1982

 Swedish vocals
International relevance: *

An insignificant band from northern Sweden that nevertheless released another 45 and a full LP in 1984 in addition to this debut 45. Pretty much in the typical straightforward Northern rock style with a fair amount of boogie rock mixed in. ”Röd eller blå” is the better of the two tracks but none of them is very good. Rekyl and Kylans Rockorkester did this thing better even if the style itself isn't too interesting to begin with.

 

WULCAN – Mysterier / Travellin' (Wulcan, 1982)
Swedish vocals
International relevance: **

A very obscure, very rare and very expensive 45 from a band originally known as Paradox formed when the drummer was only 8 years old! As Wulcan, they won a local talent contest in 1986 which resulted in a second single. This their debut was paid for by the band, and display a fair amount of talent. ”Travellin'” is a bit on the mediocre side despite some fully functioning harmony vocals, but the Swedish side ”Mysterier” (=”mysteries”) is very good with a mood setting piano intro and a really beautiful melody. The lyrics seem to have Christian overtones but it's hard to say for sure – there's certainly no overt preaching going on here. Although not really in the old school hard rock vein a la November, Midsommar or Great Ad but a couple of steps closer to heavy metal, it's such a wonderful track that I still recommend it. I really hope it will reissued in some way considering the asking prices for an original. Maybe there's even some unreleased stuff of the same calibre hidden away somewhere?

Gun Smoke
Midnight Train / Thoghts (poor sound) 
Highbrow
A Loser (Bandcamp)
Vanadis
Heaven Can Wait / Do Me A Favor
Bakrus
Kärnkraftsrock / Blåljus 
Nettan / Lämrock 
Hairline Blue
Snart så kommer jag hem / Månen  
Armatur
Rock 'n' Roll / Mr. X 

Tejp full single
Karl Brun & Highway full single playlist
Rock Set full single playlist (Bandcamp) 
Dakks full single 
Repulz full single
Wulcan full single

A SEVEN INCH SPECIAL, VOL. 10: Rock

  
RESPEKT – Den stora bron / Rebellernas afton (Respekt, 1977)
Swedish vocals
International relevance: *

It looks like an biker hard rock single but it sounds more like average singer/songwriter rock. ”Den stora bron” is quite OK (although overlong at 6+ minutes), with an acoustic rhythm guitar and a harmonica solo to put it firmly in the Ulf Lundell/Bob Dylan/Neil Young tradition. ”Rebellernas afton” is musically weaker and particularly suffers from singer Bengt O. Johansson's attempts at sounding Ulf-Lundell-as-John-Wayne macho.

 

MOTVIND – Plockepinn / Törst (Nacksving, 1979)
Swedish vocals
International relevance: *

First ever single by Motvind, released between their third and fourth album, and their only 1979 lifesign on vinyl. The style is typically Motvind with two songs approaching boogie rock and hard rock. Typically Motvind also means typically ignorable.

 

DRÖMPOJKARNA

 Sofi / Ny i stadens ljus (Musiklaget Slick, 1979)
Final Single (Svenska Popfabriken, 1980) as F.D.Drömpojkarna
Swedish vocals
International relevance: *

Featured here for the sake of completion as Drömpojkarna's only LP is already included. Both singles have some of their better songs, and doesn't suffer too much from the contrived 'controversial' tone that was evident on the album. The 1979 single was produced by Pål Spektrum, an underground legend responsible for most of what was released on Svenska Popfabriken, a label that was hot as a waffle iron in the late 70s/early 80s thanks to the strong regional air to their many pop and rock'n'roll styled releases. For the aptly titled ”Final Single” (actually released as F.D. Drömpojkarna – ”f.d.” meaning ”ex-” – signalling the band had split up before its release) they took the full step and became a Svenska Popfabriken act. I personally have a weak spot for Svenska Popfabriken and what they stood for, but neither of these singles are at all recommended to progg fans.

FRONTALROCK – Nattens barn / Angår oss inte (Gadd, 1980)
Swedish vocals
International relevance: *

Sometimes classified as punk or hard rock, this has very little of either. It was taped in 1979 but not released until 1980 at the band's own expense in a 500 copies edition. ”Nattens barn” shows very faint traces of the then popular neo-ska of the British 2 Tone label, but is basically a mid tempo rock song which is quite good with a discreet but ornate piano and a rather fiery lead guitar. The title of the B side means ”Doesn't concern us”, and that's how I feel about the song too. It sounds more like a Kylans Rockorkester throwaway, a silly rock'n'roll pastiche that is has none of the decent songwriting qualities of ”Nattens barn”. 

Bassist Christer Höglund was also in Musikgruppen ACP and Istid. 

 

DJUSH BAND – Just nu / Lilla Lisa (no label, 1980)
Swedish vocals
International relevance: *

Categorized as hard rock on Discogs, but that's wrong. It's a private release with a somewhat quirky track on the A side and the more straightforward proggish ”Lilla Lisa” on the flip. ”Lilla Lisa” sounds a bit like a later Nationalteatern song and deals with at-risk youth and related social issues. The phrase ”livet är en fest” even appears in the lyrics (alluding to one of Nationalteatern's best known tracks, meaning ”life's a party” which is purely ironic). Several clues lead to Gothenburg as the band's origin, which would further explain the Nationalteatern influence.

RENDEZ-VOUS – Plugget är slut / Åh dessa dagar (GMP, 1980)

Swedish vocals
International relevance: **

An outlier on the GMP (Great Music Production) label that was more into Swedish dance bands than the budget kind of commercial sounding symphonic rock of Rendez-Vous. Singer and keyboardist Thomas Nanor had an MNW single of classical interpretations out in 1971, a semi-rare space electronics album in 1982, plus another 7” in 1986. Needless to say, both ”Plugget är slut” and ”Åh dessa dagar” are heavy on keyboards. The latter is in fact a half-decent ”dramatic ballad” in itself, but I find Nanor's high pitched vocals with a threating vibrato quite irritating. Perhaps the symphonic vibe is too light to appeal to seasoned symph fans, but then again, I'm not sure who else would be very interest in this. Judging by the low market value and the fact it's fairly easy to come by, the answer is: no-one.

 

PER P – Ackumulerad skuld / Sabine / Novalucol / Hon var våt (Eko, 1980)
Swedish vocals
International relevance: *

Per Paulsson had previously released the album ”Tro, hopp och kaffe” in 1974 while his backing band Ruff is featured on the various artists comp ”Ruff & Fukt & Suck”. This four track EP was released with two B sides according to the sleeve and labels and was pressed in red vinyl. It's pretty pedestrian rock progg although some of the lyrics are a bit peculiar. I've never heard of ”drunken guitar picks” before I heard the punk inspired ”Ackumulerad skuld”... Probably the best track here, and as that's not very good you can take this as an encouragement to pass on this.

 

ICTUS – Jag vill ut / Yesterday Song (Plebb, 1980)

Swedish vocals, English vocals

International relevance: *

Released through the label run by Plebb/Purple Haze in an edition of reputedly only 285 copies, this might seem more interesting than it is. ”Jag vill ut” is a mediocre power pop track, so it's ”Yesterday Song” that has to offer up some progginess to justify its place here. It has a slightly off-kilter rhythm suggesting funk and reggae without being any of it plus some knotty guitar playing. The melody is oddly elusive. Elusive apparently also to the singer who seems to struggle with it. Rare yes, but that's really the only thing it has going for it. Avoid.

GRÖNA HISSEN – Statt! (Ori, 1980)
Swedish vocals
International relevance: *

Although titled ”Statt!”, the two songs on this small label release are named ”Ute” (several meanings, here ”out of fashion”, ”unpopular”) and ”Samhällets fiende No. 1” (=”Public enemy no. 1”). Often considered a hard rock band, Gröna Hissen were a more a plain rock band with a punk/progg edge. ”Ute” borrows shamelessly from ”Jumpin' Jack Flash” while the bass line on ”Samhällets fiende No. 1” is reminiscent of neo-ska band Specials. Which is not to say that Gröna Hissen were mere copycats. Although they weren't the most original band around, ”Statt!” nevertheless has a certain appeal thanks to its strong underground aura. They're not the best players, and not always tight, but these two songs have an urgency to them which I like. Prices vary, but not being an established sought-after rarity, it should still be fairly easy to come by relatively cheap for those interested (as of early 2026).

SPINNROCK – Nighttime Is The Righttime / I Remember You (Hit-Records, 1981)

English vocals

International relevance: *

Although there's nothing particularly wrong with this – ”Nighttime Is The Righttime” [sic!] even has some mildly interesting harmonic turns – it's pretty mundane. The lead guitar has some hard rock glitz to them, and the harmony vocals are OK for a release like this, but both tracks leave me cold and a little bored, especially the ballad ”I Remember You”.

Respekt 
Rebellernas afton 
Motvind
Plockepinn / Törst 
Djush Band
Lilla Lisa
Rendez-Vous
Plugget är slut 
Gröna Hissen
Ute
Drömpojkarna
Sofi full single playlist 
Final Single full single playlist 

Frontalrock full single 
Ictus full single playlist 
Spinnrock full single playlist 

Per P no links found 

RÖDA RÖTTER – Kom igen (Röda Rötter, 1982)

 
Swedish vocals
International relevance: -

But for fuck's sake...

This is a perfect example of an album I wouldn't even touch with a twelve feet stick and eight pairs of gloves if it wasn't for this blog. It's a private pressing released by Röda Rötter (="red roots"), a women's choir affiliated with the local Social Democratic section of Staffanstorp in the south of Sweden. So expect the sloganeering to be a bit more watered down than on your regular Stalinist shout fest. Also, the acoustic guitars are swapped for accordeons (not a positive thing). The B side has a couple of solo performances but of course they suck too.

Now if you excuse me, I have an album to smash.

No links found 

ERIK ASCHAN – Erik Aschan (E. Aschan 73, 1973)

Swedish vocals, English vocals

International relevance: **

It took me a while to realize what my real problem with Erik Aschan is. He's part talented and part delusional – he probably holds the world record of mentioning his own name most times on a record cover, but although egomaniacs can be annoying, they're not necessarily scary. Then I realized that listening to Aschan is like talking to a friendly stranger in the street and suddenly catching a dark flash in his eye that gives you an uneasy feeling you can't quite explain. Not that I think Aschan is a violent man or anything, on the contrary, I think he's Mr. Peace himself, but something just feels off and it makes me feel awkward. 

This is Erik Aschan's first of six privately pressed albums up to 1986, and unlike several of his later ones an all acoustic effort. A couple of tracks are quite good like ”Om du inte fanns” and ”En sommarvind”, the latter a bit similar to Roy Harper around ”Folkjokeopus”. Others are melodically indistinct and just samy strummy which make me lose attention. And then there's ”Vilse i stora skogen”, ten very self-indulgent minutes that the album would have done better without. It's a thousand times better than John-Erik Axelsson, but a Kjell Höglund Aschan is not.

Full album

OBADJA – Testa (Obadja, 1977)

  Swedish vocals
International relevance: ***

I suppose a lot of people had never heard about Obadja until Subliminal Sounds included them on the ”Frälst!” compilation with the hard rocking title track from their sole album, a private pressing from 1977. But it's the least representative one. ”Testa” consists of sometimes lightly funky but mostly moody, reflective songs with a slight, very pleasing basement feel. The lyrics are all about Jesus, and some of them are naive and in the case of ”Räddningsfirman” outright cringy, but there's a sincerity to them that in fact is rather endearing. Songwriter and piano player Torbjörn Westberg has a keen melodic sense, an his voice is a bit similar to Pugh Rogefeldt's at times with a disarming directness to it. The only bad track here is guitarist Lars Ohlsson's ”Våldets spiral”. And you can't say he's a perfect guitarist, sometimes stumbling on his otherwise edgy solos, but that actually adds to the earnestness and deepens the impact of the predominantly piano driven songs (both acoustic and electric piano are used).

With the exception of ”Våldets spiral”, the songs are so great it's hard to pick a facourite. But I'm particularly fond of album opener ”Jobbig tid” with a hypnotic, descending scale (and included as a digital bonus track on ”Frälst!”).

I haven't heard every Christian album ever released in Sweden (the very thought of doing it is horrifying), but if there's any one better than this, I'd be more than happy to hear it. ”Testa” is quite simply a wonderful effort and should be a no-brainer for a proper reissue. 

Jobbig tid
Letar du efter räddning
Testa
Använd kolat 
Räddningsfirman

SUSPEKT ASPEKT – Den årliga vårliga konserten på Röhsska muséet (no label, 1979)

Instrumental
International relevance ***

Probably one of the most obscure bands ever to be featured here, Suspekt Aspekt never even released any music when they originally existed. Originating from Gothenburg, they formed in the mid 70s and disbanded in early 1980. This recording were distributed privately by the band after having reunited in 2003. It's a live recording made at Röhsska museet, an art museum in the centre of their hometown. Sound quality is good, even excellent for an audience recording from 1979. The music is soft instrumental symphonic prog with an epic quality, somewhat reminiscent of UK bands like Camel. It's well played and rather pleasant, but with 23 tracks clocking in at over two hours, it's too much to chew in one sitting for the casual listener, Genre fans however will surely be delighted by the discovery.

Had Suspekt Aspekt had the opportunity to have a proper album out when they existed the first time around, they would most likely have been widely recognized among aficionados, instead of being a hardly known footnote in the history of regional symph prog.

Full album playlist

FOLKTEATERN – Nya kvasten (Folkteatern, 1978)

Swedish vocals
International relevance: -

Definitely an album to ignore, being songs and spoken excerpts from a local Gothenburg stage play written by political playwrights Kent Andersson and Bengt Bratt. All Andersson's and Bratt's works have a strong socialist kitchen sink framework with a strong local colour, and this is no exception. Only one track has a progg feel, namely the actually rather decent ”Irrfärd” that vaguely sounds like a something inbetween Motvind's ”Lära för livet” and some of Ulf Dageby's soundtrack to ”Ett anständigt liv”.

The album was released by Folkteatern themselves.

No links found.

SAMBANDET – Gud är! (no label, 1976)

Instrumental, Swedish vocals, English vocals

International relevance: **

This is one of the most striking obscurities from the Swedish Jesus underground. Still largely undiscovered, two tracks were included on Subliminal Sound's excellent ”Frälst!” comp, so I suspect it's only a matter of time until prices skyrockets. (One guy on Discogs already tries to cram a laughable €300 out of it – yeah, right, good luck with that.) Until then, it's still possible for a lucky guy to pick it up for peanuts in local charity shops around Sweden.

Apart from being recognized by Subliminal Sounds, the appearance of Björn Famne immediately piqued my curiousity. Famne 's finest moment is ”Vampire”, an outrageous full frontal fuzz attack originally featured on his eponymous 1975 Rasp Records EP and later revived on ”Who Will Buy These Wonderful Evils Vol. 3”. Those who because of that and Sambandet's two ”Frälst!” tracks expect a hard psych freak-out from their sole LP ”Gud är” (”God is”) from 1976 are sure to be disappointed though. As a whole, this is a different beast – but an intriguing one.

Those in the know consider ”Gud är” as one of the finest Xian albums ever to come out of Sweden, and it doesn't take much to get its appeal. It's much harder to pinpoint its style though, as it constantly changes. ”I Am Free” is a strangely prog-induced track with quacking wah-wah guitar, while ”Go(o)d News” is a bizarre kind of tripped-out studio exotica, with no similarity whatsoever to anything else on the album. (No wonder these two tracks ended up on ”Frälst!”) Unusual to a religious album, a large part of ”Gud är” is all instrumental. Some tracks remind me of a less trippy and more flute-folky Älgarnas Trädgård (but I might be just about the only person in the whole wide world to sense that), while ”Don't Be A Loser” could have been a Gabor Szabo outtake with its clean-sounding easy listening styled guitar work and feather-light beat. ”Happy” makes me think of a Gentle Giant getting drunker by the minute on Swedish schnapps while trying to play a sunlit jazz waltz. ”Vi tycker om att sjunga” translates to ”we like to sing” but is in fact another short instrumental which sounds as if it could have been the theme music from a 70s children show no-one ever saw. ”I Wanna Be More” in turn is Sambandet's stab at gospel but of course warped through a prism of female vocals private pressing UK folk. And so on.

”Gud är” is one of those albums so kaleidoscopic in style it's hard to understand what exactly the band was aiming for. Definitely inconsistent, but the inconsistency is also what gives it its weird charm and works to its advantage. Recorded in the semi-mysterious/semi-legendary Falks Studio in small city Eksjö, it has a ”professional low-budget” sound that goes well along with the decidedly mixed skills of the performers. (Falks Studio might even be the label, but who knows.) Björn Famne is a driven guitarslinger (and shows off his acoustic guitar chops on the renaissance sounding instrumental ”Bortom”), while drummer Kjell Ljunggren doesn't bother a sometimes sloppy beat.

The wild mood and style changes makes for a truly original listening experience, and once you've put it on, it's hard to turn it off as you never quite grow accustomed to its bizarre versatility. Hear it ten times, and you're still not prepared for what comes around the corner. Like I just said, I've no idea what Sambandet were trying to achieve anything but whatever lept to their minds at any given moment, but in the end, the possible lack of a proper plan almost appears visionary. It's a one-of-a-kind album no matter how you look at it, and if you decide to strictly view it as a Xian album designed to woe the Lord, it only gets even stranger and even more confusing.

Is it a masterpiece? Not necessarily, but it's sure an album you don't hear everyday but one you definitely want to hear more than once in your lifetime. If only to find it out.

Full album playlist

ROGER EKMAN – Ångest (no label, 1978)

 
Swedish vocals
International relevance: **

This is an album I've been eager to hear for years, but being in the three-figure league pricewise, it's not one you easily stumble upon (or can afford if you, like me, are on a tight budget). It's been conspicuously absent from the Internet as well. As the years went by, my hopes for a true gem only got higher, but I was afraid it would in fact be another Axelsson dump of incompetence. Thankfully, it isn't near Axelsson's unfathomable crappiness at all, and despite its dark lyrical topics, it's not a fright trip into the mental abyss like Stephen David Heitkotter either. Instead, it's a surprisingly accessible and well-crafted piece of work.

”Ångest” means ”anxiety” in English, and the lyrics deal with the insufficient mental health care system from an indeed personal standpoint. Knowing the lyrics capture firsthand experiences of depression and anxiety, they hit harder than if they were only an outsider's proclamations to make easy political points. Better still is that Ekman was a talented songwriter and a good enough singer who also managed to assemble a line-up of able students from Stockholm's distinguished Adolf Fredrik's music school to get his ideas across. The arrangements often have a jazzy feel but with its acoustic framework including flute, sax and upright bass, they never fall into the dreaded fusion trap. Some songs have a Latin touch as opening track ”Väntan”, while ”Besök hos en allmänpraktiserande läkare (specialitet nervösa besvär)” is decidedly folksy. Tobias Peterson compares Ekman to Ronny Åström in his progg encyclopedia, but to be honest, I don't hear Åström as much as I hear someone like Mikael Ramel thanks to the album's versatile musicality and Ekman's melodic sense. The album was recorded live-in-the-studio and has a highly appealing organic well-balanced sound rather unusal to private pressings – the richness of the upright bass is particularly sweet.

”Ångest” had a run of only 100 copies in 1978 and has never been repressed. Most of them were given away to friends, but a batch of overstock copies was later discovered and sold with a newly produced booklet authorized by Ekman himself, as the original insert was missing in some of the covers. To keep the original manufacturing costs to a minimum, the album came in sleeves from other records turned inside out, and were re-glued and stamped with Roger Ekman's name along with the album title.

As the album's raison d'être is the lyrics, an important aspect is lost to non-Swedes so it might not appear as urgent to foreigners, but with Ekman's knack for songwriting and the empathic backing musicians, it's still an album several notches above the standard homemade progg album. Despite ”Ångest's” lyrical concerns, it's a beautiful album that was finally graced with a reissue in 2025 on the British BBE label.

Full album

MA CONNECTION – 8691 (Brute Force, 1981)

 
English lyrics

International relevance: **

Semi-professional sounding private release from this Umeå band which existed from 1980 to 1982 and toured with other local bands as well as being support act to wellknown Luleå band Rekyl. More of a heavy rock outfit somewhere between early ZZ Top (only better, which isn't too hard to be!) and other somewhat less boogie-inflicted contemporaries. Despite the year of release, there are surprisingly few signs of Ma Connection taking cues from the then burgeoning NWOBHM scene. Progressive moves are prevalent albeit faint; they're much more steeped in the pre-heavy metal hard rock of the 70s. Although I'm not much of a genre fan (although not entirely dismissive of it either), I won't deny there's something decidedly appealing about the curiously titled ”8691”. The performances – eight tracks in total – are passionate and the playing is tight and spirited. The vocals are only so-so but they add a down-to-earth blue-collar gutter vibe to the music which in fact is pretty tasty.

The songs aren't bad at all, especially in their field. I find myself tapping my feet and nodding my head to ”Mighty Men Of Power” and the gritty ”You Will Care” which, to top it off rather nicely, sports some Eastern-sounding guitar work. All tracks are originals, and given the high quality of the material, that is in fact pretty impressive. Only album closer ”Aching Heart Disease” is a bit 'meh”, being a rather pedestrian blues (and at almost 7 minutes, overlong).

Only 300 copies were pressed, and on the rare occassions ”8691” comes up for sale, it has a rather hefty pricetag attached to it. I can see why: genre fans must drag their drooling tongues on the ground over this! This one is certainly ripe for a proper reissue. Shadoks, are you listening?

Ma Connection also had a live cassette out, ”Live At Elvira”, of which I know nothing.

For those who may wonder, the cryptic album title refers to Martini Bianco.

Full album playlist

GRUPPKORSBANDET - Hör och häpna (no label, 1976)

Swedish vocals

International relevance: *

The liner notes read:

This isn't an ordinary record. We're neither skilled nor commercial - you have to be that to get an album released by an established label. That's why we've made this record ourselves. /.../ We can't allow the music being taken over completely by a flock of professional musicians while the rest of us hardly dare play to ourselves, let alone to others. MUSIC BELONGS TO ALL OF US!

How cute. Too bad it's all progg baloney. It sounds just like something those nine members of Gruppkorsbandet had repeated like a mantra to get it right like a quote from Mao's little red book, probably in front of the mirror so that they could strike the perfect progg pose while parroting the tired old progg credo to any old person unlucky enough to be around to hear. It's all nonsense, because nobody stopped anyone from playing anything. Not even in the 70's.

Take a look at the cover. The typeface looks like something off an information brochure from the official Don't Have Fun Institute saying Eat Brown Rice And Be Boring. Look at the nine regular people and their regular people postures. Look at the dull, washed out greyness of it all. Take the record out, put it on. It sounds exactly like you'd expect from the yummy-yummy brown rice munchers with regular people postures pictured in forty shades of grey. Nothing wrong with regular people or brown rice or even the colour grey, but hey...

It's all acoustic folk styled songs with a typical political bent (needless to say, there's an Eisler/Brecht track, mandatory to albums like this). Several members sing simultaneously, Vietnam-solidarity-action-group-with-righteous-placards style. If you want to sing along yourself, a lyric sheet is included. Just yell away.

And, the final nail in the coffin of a stillborn album: a Fria Proteatern cover.

Music belongs to everybody. Fine and dandy, but please keep me out of this.

No links found.

STEFAN MELLBERG – Pieces Of My Mind (SMR, 1978)

English vocals
International relevance: **

Late-to-the-party singer/songwriter Stefan Mellberg's only album, housed in a sleeve with a nice private pressing vibe. Unfortunately, the cover art writes cheques that the songs can't cash. While Mellberg is capable of a couple of decent tracks, i.e. ”Amelia – Where Is the Sun?” and ”Well, That's the Way” (the latter with a slight Leonard Cohen bent), most of ”Pieces of My Mind” is rather unengaging soft rock. On a couple of occassions, Mellberg tries to change the pace with a bit of jazz, reggae and good old rock'n'roll. It falls flat however, especially on album closer ”Dream Lover”, the particularly bad faux reggae track. The sound is quite good for a private release (SMR = Stefan Mellberg Records), and the otherwise unknown backing musicians are OK, but Mellberg's vocals have an frustrating, uninterested feel. Maybe he was struggling with the English language too much? Not that his efforts are very convincing... Mellberg's voice has a slight touch of Ola Håkansson's (of Ola & The Janglers) and I figure he had a musical taste firmly rooted in the 60's judging by the melodic traits.

It's certainly better than other more embarrasing examples of artistically bankrupt nobodies in the singer/songwriter vein, but 'not inept to the point of insulting' just isn't enough. It's not a very expensive album and it shouldn't be either. As a matter of fact, it's hardly even worth the $10 people usually ask for it.

Full album (Spotify)

MERSMAK – Liten groda i stor damm (Frog, 1978)

Swedish vocals

International relevance: **

An unexciting predominantly mellow folk rock Kalmar outfit with a slight British vibe. Several singers, with the female vocals reminding me The Incredible String Band's Licorice McKechnie and Rose Simpson, That is not meant as praise.

But at least the soft folk rock of limited suffiency is easier to accept than Mersmak's very annoying habit of tossing rock pastiches and mock blues into the mix, sometimes in the middle of a song of a completely different nature. That's when I want to throw my hifi system out of the window. A pity, because ”Liten groda i stor damm” does have some pleasant features such as the occasional use of cello and a sometimes promising atmosphere. But promises are worth zilch unless they're fulfilled, and Mersmak repeteadly fails to fulfill them.

They also had a non-album 1978 single out on their private Frog label. Guitarist Dan Jonsson joined Ragnarök in the 80's and has appeared in different constellations since.

Full album

ZTHÜREHZ – Zthürehz (Sill Y, 1981)

Instrumental, English vocals, Swedish vocals

International relevance: **

A very rare half symphonic, half new wave private pressing released in 500 copies locally in the band's hometown Vimmerby. Very rare yes and in the multi-hundreds region pricewise, but – you know where I'm going with this – incredibly bad. Even the band name is stupid. Not that 'Zthürehz' means anything in Swedish, it isn't a proper word, but it sounds completely moronic anyway.

It's all cheesy synths galore, crappy vocals, stupid lyrics, and twee songs on one hand pretending to be Kaipa 'ambitious', on the other some kind of punk/new wave. Well, OK, ”I'm Rich” could possibly have been a decent power pop number in the hands of anyone except these wannabe nobodies.

But the worst track by far and further still is ”I träsket”, a reggae attempt so horrendous I wouldn't blame Jamaica if they want to declare war on Sweden.

I suppose Zthürehz were pretty young when they recorded this album, and you could say that ought to work for the benefit of their questionable honour but the album still sucks mammoth genitalia. At best it sounds like a very embarassing school project some untalented kids force their poor parents to sit through in pain and boredom.

They named their label Sill Y and well, at least they got that right. Silly it is.

Nice album cover though, if you scratch out the band's name.

They (I can't make myself spell out their name again) also released a 7” in 1984. I haven't heard it, and I have no wish whatsoever to do so either.

Full album

VARIOUS ARTISTS – Musikfest Örnsköldsvik 80 (Musikhuset, 1980)

Featured artists: Murena / Lars & Per-Erik / Staffans / Horny Band / Kylans Rockorkester / Het Örn / Blue Notes
Swedish vocals, instrumental

International relevance: *

One of many regional pressings providing a peep into a specific local scene, this time the Northern town Örnsköldsvik and the music forum Musikhuset. The album comprises seven acts from various genres – anti-bacterial jazz, folk pop, test tube funk fusion, straight ahead rock, B grade reggae – and while ”Musikfest Örnsköldsvik 80” obviously was made possible by the progg ethos on the way out in 1980, few of the bands have any real progg sensibilities to speak of. The best known band here is Kylans Rockorkester whose ”Min borgerlige bror” is typically pedestrian boogie rock with political lyrics. That fusion outfit Staffans' take on Dave Brubeck's ”Take Five” in a washed out Made In Sweden style is the album highlight says it all.

Murena - Flotta Sture 

Lars & Per-Erik - Johnny 

Staffans - Take Five 

Lars & Per-Erik - Tåget 

Horny Band - Solen står lågt 

Kylans Rockorkester - Min borgerlige bror 

Het Örn - Rasta din hund

Lars & Per-Erik - Historiens hjul 

Blue Notes - Rastlös 

Murena - Från oss alla 

A VARIOUS ARTISTS SPECIAL – 3 regional compilations

HOPKOK (Partille Musikförening, 1975)

Featured artists: Akropolie / Impros / Varde Ljud / Måttbandet / Medium

Swedish vocals, instrumental
International relevance: **

Released in Gothenburg suburb Partille, featuring five local acts mostly in the progressive and symphonic vein. None of them is very interesting, the best being Medium with a slight krautrock vibe and lots of guitar/organ jamming.

JORDLJUS – BEFRIA MARKEN (Jordljus, 1978)

Featured artists: Lillemor Lund / Jordbandet / Mullvadarna / Lillen och Göran / Bank I Väggen / Margareta Söderberg, Margareta Van Gilpen & Sara Söderberg / Hagamal / Christer Öhrman

Swedish vocals, spoken word, a capella

International relevance: **

This private pressing (in an edition of 1,200) was a fund raising release for Jordfonden, an association of people known as Jordfolket ('the Earth people') wanting to buy some land to set up a hippie styled agricultural commune as an alternative to the modern industrial society.

The album has a distant Arbete & Fritid connection, with Margareta Söderberg who had the ”Käringtand” album out in 1976 with them backing her up, and Lillemor Lind whose album ”Hjortronblom och kärleksört” features several Arbete & Fritid members.

”Jordljus – Befria marken” consists of mainly folk and folk rock, all of it with a homemade vibe and some of it political sounding. Most of it isn't very good, but a couple of Jordbandet's contributions are OK, and Bank I Väggen's ”Springlek” is instrumental and acoustic folk rock somewhat reminiscent of Arbete & Fritid/Anders Rosén's ”Sen dansar vi ut”.

MUSIK I TANUM -80 (Tanum Skivristningar, 1980)

Featured artists: Pertinax / Björn och Tomas / Baltix / Nibokas / Siv och Sixten / Milda Makter / Henry och Einar Hedström / Marie Stensby / Hans Fromén / Bengt och Nisse / Andrea Ehnebom / Lur-Gunnar / Bohus-Dals Dragspelsklubb / Kalle i Kalleby / Kville Kyrkokör / Maud Tretom / Ärter Och Fläsk / Märta Thorwall / Aröette Chené Wiklander / Kurt Wiklander / Johan Johansson / Backa Skola, åk 3 / Kent Andersson / Gitarrkvartetten / Sara Reimbert / Gerlesborgslägret / Jazzgruppen / Muzzle

Swedish vocals, English vocals, instrumental
International relevance: *

Released in Tanum north of Gothenburg famed for its many impressive rock carvings – more impressive than this album for sure. Only one track is interesting from a progg perspective, ”Bibbi” by mediocre symph rockers Pertinax. The rest is unexciting jazz, school bands and classical music.

From Jordljus - Befria marken:
Jordbandet - Framåt tillsammans

KJELL HÖGLUND - Complete albums 1971-1980

Undran (Alternativ, 1971)

Swedish vocals
International relevance: *

Kjell Höglund's first album, privately recorded, privately released, privately sold (originally with only an inner sleeve). Most of his trademarks are evident already here, small songs asking big questions in unassuming phrases, simple guitar accompaniment and his patented intimate voice. ”Jag hör hur de ligger med varandra i våningen ovanför” is one of Höglund's best known songs but hardly one of his best. The album is endearing for sure but very uneven – not all tracks are as good as ”Denna känsla av undran”, the utterly charming ”Gustav under trappan”, ”Den vita kråkan” and ”Stormen före lugnet” (the latter re-recorded for ”Vägen mot Shangri-La”). 

Later versions have the cover pictured above with the album title handwritten. Same cover was used for "Blomstertid", also with the title in handwriting. 

Blomstertid (Alternativ, 1972)

Swedish vocals, spoken word

International relevance: *

Second album, similar to the first so it makes sense that ”Undran” and ”Blomstertid” was later combined to a double LP. (Original copies were also sold in a white inner sleeve, as with "Undran".) The main difference between the two albums is that Höglund sounds more self-confident here, plus the addition of electric bass on a couple of tracks. ”Du sålde min biljett” is a great track, one of his best from the early years, but ”Blomstertid” has, generally speaking, higher lows and lower highs. Or if you will, it's a less uneven album than ”Undran”. 

Baskervilles hund (Alternativ, 1974)

Swedish vocals

International relevance: **

Höglund matured considerably with ”Häxprocess” released in 1973. With ”Baskervilles hund” (with appearances from Lasse Englund and Rolf Wikström) he had carved out his particular songwriting style rather well. Or actually his two styles – the perky songs, and the more reflective ones which usually are Höglund at his best. A terrific example of the latter is ”Man vänjer sig”, a heartwrenching description of a numbingly dull everyday life but, as the title says, ”you get used to it”... ”Trollfolk på bygden” is another brilliant track, this time featuring a funky full band. And, at the other end of the arrangement spectrum, the hysterically funny a capella tragicomedy of ”Sista valsen”.

This is Höglund's second best album, here and there actually reaching the heights of ”Häxprocess”.

Hjärtat sitter till vänster (Alternativ, 1975)

Swedish vocals

International relevance: *

A disappointment after the great ”Häxprocess” and ”Baskervilles hund”, with uninspired songs, some of them quoting blues and trad jazz with a yawn. Also, Höglund tries to adapt to the political agenda of the time which suits rather bad. He's an observer asking questions, but not leading questions as he does here. Only ”Lågor för dom döda” is up to the usual Höglund standards. 

Wikström and Englund are still on the job, and Greg FitzPatrick, Mats G. Bengtsson (Blå Tåget) and Hans Wiktorsson (Nationalteatern) join in too.

 Doktor Jekylls testamente (Alternativ, 1979)

Swedish vocals
International relevance: *

Pretty much a return to form. (I guess it some kind of inspiration proof that ”Desertören” is 17 minutes long, and thus the longest Höglund track recorded, even beating the title track from ”Häxprocess” with almost two minutes.) Some musical quotes that miss the target but they're easy to bear with when Höglund delivers tracks like the part serious, part ironic ”Höglund har blivit gammal”, the tongue-in-cheek gibe at (political) bigotry ”Slutstrid”, and the lovely almost-a-hit ”Lugnare vatten” (that actually was a hit, with Marie Bergman). Not a bull's eye album, but with several very good moments.

Vägen mot Shangri-La (Alternativ, 1980)

Swedish vocals
International relevance: *

Last album of Höglund's classic era, followed by another four year hiatus. Some good songs (”Holländsk genever”, ”Mr. Swanee”, the superior remake of ”Lugnet före stormen”) but ”Vägen mot Shangri-La” suffers a bit from a sterile production. Not as much as Höglund's later albums that are all suffocated by period synths and dated aesthetics, but a more vivid sound could possibly have given some of the lesser tracks a well needed punch.

Kjell Höglund's next album was "Tidens tempo" in 1984. Again it had some good songs, but the album is drenched in synths and studio polish and is hard to digest. Later albums are even worse productionwise.

Undran full album playlist
Blomstertid full album playlist
Baskervilles hund full album playlist
Hjärtat sitter till vänster full album playlist
Doktor Jekylls testamente full album playlist
Vägen mot Shangri-La full album playlist