DON CHERRY – The Swedish albums 1967-1977

It's really quite strange that it took me 13 years of progg blogging before Don Cherry got his own post here. He's emblematic to what I think is the true spirit of the blog, a place where all kinds of music meet as long as it has a mind of its own. And perhaps that's why I overlooked his inclusion for so long: he's so huge and obvious that maybe I thought he was here already. Well, he actually is if only in small portions as he appears on albums by Bengt Berger and Bitter Funeral Beer Band.

Born in Oklahoma City in 1936 with music running in the family, he made his mark on jazz already in the late 1950s when teaming up with Ornette Coleman for a long series of albums including milestone releases ”The Shape Of Jazz To Come” and ”Free Jazz”. He also performed with John Coltrane, Archie Shepp, George Russell, Albert Ayler, Charlie Haden – he passed gracefully through jazz history and jazz history passed smoothly through him and his trumpet. He even played percussion on Allen Ginsburg's album of William Blake interpretations, collaborated with Polish composer Krzysztof Penderecki and Terry Riley, and co-wrote the score for Alejandro Jodorowsky's surrealist movie ”The Holy Mountain”. There's also a famous 1976 recording of Lou Reed live at The Roxy in Los Angeles with Don Cherry sitting in. He often did that – I know several Swedish musicians of different kinds who can tell stories of how they suddenly heard a beautiful sound on stage and when they turned around, there was Don Cherry with his pocket trumpet joining in, uninvited but welcome.

He spent time in Europe in general and Scandinavia in particular. There are for instance a set of great recordings from the Montmartre jazz club in Copenhagen 1966 released on ESP Disk in the late 00s. But it's his recordings with Swedish musicians that stand out from his European years. Cherry's playing was usually great no matter who he performed with, but it was here in Sweden he really found a home both musically and physically. He moved permanently to Sweden in the late 60s, bought a defunct schoolhouse i Tågarp in the beautiful Österlen region of the southern county of Skåne with his wife Monica ”Moki” Cherry. Moki was a textile designer; her works were as colourful and striking as her husband's music and graced several of Don's album covers. They had several children involved in music, with Eagle-Eye Cherry being the best known. Don's stepdaughter Neneh Cherry has also had an interesting and multifaceted career in music.

The house in Tågarp became something of a centre for friends and musicians, and the place where Don Cherry's Organic Music Society shaped and developed, a concept that to all intents and purposes was the forerunner to what would later be known as 'world music', only freer and more open.

Outpourings of Don Cherry's Swedish years weren't that many to begin with, but there's been an upsurge of archival recordings from this period, especially after Cherry's untimely death at 58 in 1995. I have included every album recorded in Sweden and/or with Swedish musicians between 1967 and 1977, except for those where only Moki Cherry appears usually on tamboura. That's not to dismiss her efforts but because I consider her and Don a unit. Also, it shouldn't surprise anyone that I consider Maffy Falay and Okay Temiz Swedish musicians too even though they techncially were Turks. There are also recordings featuring Swedes prior to 1967, such as ”Psycology” [sic!] with domestic free jazz pioneer Bengt ”Frippe” Nordström and released on his own Bird Notes label in 1963 (an album that interestingly enough also features drummer Bosse Skoglund on one track). A George Russell live document from Beethoven Hall in Stuttgart 1965 has both Don Cherry and Bertil Lövgren on trumpets, but that too is excluded due to the early date.

Movement Incorporated (Anagram, 2005; rec. 1967)
Instrumental
International relevance: ***

Don Cherry used to hold workshops and music classes at ABF, the labour movement's education centre, and this disc was recorded at one of their locales in July 1967. Old friend from years back Frippe Nordström appears along with Leif Wennerström and Okay Temiz on drums, Maffy Falay on trumpet and flute, Tommy Koverhult on tenor sax and Bernt Rosengren on tenor sax and flute, plus American trombonist Brian Trentham. I'm not sure how official this release actually is. Anagram had a few interesting discs out (including a great one by Gilbert Holmström). The sound quality is nevertheles a good mono recording and once it gathers momeutum, the recording is an excellent example of spontaneous collective composing. ”Suite 3” and ”Surprise Surprise” particularly point to the future with their clear Oriental/Arabic influence. Not easy to find these days – I suppose it only had a small run and the label is now definct, but it's well worth looking for.

 

Brotherhood Suite (Flash Music, 1997; rec. 1968-1971)

released as Don Cherry with Bernt Rosengren Group

Instrumental

International relevance: ***

Recorded at various Stockholm locations during the course of four years with roughly the same group as on ”Movement Incorporated”, this is one of my favourite Don Cherry releases. Not only am I a fan of Bernt Rosengren in general, but him in combination with Cherry is usually explosive matter. The sound quality varies due to the different sources, but it's a varied and vivid selection. Some continues along the lines of ”Movement Incorporated” with free jamming while other tracks are composed and focused. If you don't mind the fidelity fluctuations (nothing sounds bad) and the stylistic span, this is a wonderful compilation of an excellent composite of musicians.

 

Live In Stockholm (Caprice, 2013; rec. 1968/1971)

Instrumental

International relevance: ***

Much like a latecoming expansion pack to the Flash Music disc above, these recordings originate from 1968 and 1971, with the half-hour long ”Another Dome Session” being recorded the same night as ”In A Geodetic Dome” on ”Brotherhood Suite”. The remainder of this release is dedicated to the two-part ”ABF Suite” with the second portion being based on Turkish folk melodies brought in by Maffy Falay. Again a collaboration between Cherry and Rosengren's group, but it's a bit different than the two albums above. Here you can sense the direction in which the trumpeter was heading in the future, getting closer to a more dissolved, genre bending style, the musical crossroad of the entire world. As a study of his development it's certainly rewarding, but it doesn't quite have the same impact as other Rosengren/Cherry documents.

 

The Summer House Sessions (Blank Forms Editions, 2021; rec. 1968)

Instrumental

International relevance: ***

This is an absolutely fantastic album that perfectly melds Cherry's free jazz power with his search for a universal expression! It was recorded in the summer home of Göran Freese, sound engineer and musician (appearing on, for instance, G.L.Unit's ”Orangutang”), and mixes members from the ”Live In Stockholm” band with musicians from his international ensemble New York Total Music Company. The idea was to have them jam and rehearse freely without any intention of making an album, but thankfully the tapes rolled and the recordings were finally presented to the world in 2021. The undemanding setting made for some stunning performances that rank among the finest ever from Cherry and his cohort. The music flows freely between traditions, and Turkish hand drummer Bülent Ateş really adds an extra dimension. Essential!

 

Eternal Rhythm (MPS, 1969; rec. 1968)

Instrumental

International relevance: ***

Another international grouping comprising American, German, Norweigan and French musicians, plus Swedes Bernt Rosengren and Eje Thelin, recorded live at the Berlin Jazz Festival in November 1968. It's a long suite notable for utilizing a large number of flutes and an array of Gamelan percussion. A giant step in Cherry's career, and the first album to properly predict the 'organic music' concept. With names like Albert Mangelsdorff and Sonny Sharrock it's clear from the start that the music is grounded in free jazz, but when adding the unusual (for jazz) timbres of the metal instruments, it becomes something else, something wider in scope and emotion. The thing is that is doesn't sound at all contrived suggesting that Don Cherry had a very clear idea worked out in his head what he wanted to achieve by using them. AllMusic's Brian Olewnick called ”Eternal Rhythm” ”required listening” and I am the first to agree.

 

Live Ankara (Sonet, 1978; rec.1969)

Instrumental

International relevance: **

Having already acquainted Maffy Falay and Okay Temiz, Don Cherry was no stranger to Turkish music, and in late 1969 he got to play at the U.S. Embassy in Ankara with Temiz, saxophonist Irfan Sümer and bassist Selçuk Sun. Despite relying heavily on Turkish traditional material, it's a fairly straightforward set revealing strong traces of Cherry's past with Ornette Coleman (especially with two Ornette compositions in the set). It's not very exciting, and the dull sound also hampers the experience a bit.

 

Music For A Turkish Theatre (Caz Plak, 2024; rec. 1970)

released as Don Cherry/Okay Temiz

Instrumental, wordless vocals

International relevance: **

Another Turkish recording, this time with an interesting backstory. The music was commissioned for a play written by James Baldwin who was living in Turkey off and on between 1961 and 1971 having fled racism and homophobia in the U.S., and produced by theatre owner Engin Cezzar. Dealing with gay relationships in an Istanbul prison, the play was controversial and banned by the Turkish government in after 30,000 people had already seen in it in two months. The music has its moments, but it's by no means essential. It's value lies mainly in the story behind it. Released physically on vinyl only, it came with four different covers, all in limited editions and now sold out.

 

Blue Lake (BYG, 1974; rec. 1971)

Instrumental, wordless vocals, other languages

International relevance: **'

A trio date from Paris, 1971 with Cherry, Temiz and bassist Johnny Dyani. I don't like it at all. First of all, I don't think Temiz and Dyani is a good team (see thisreview), and second of all I don't like Don Cherry's vocals and there's a lot of that on ”Blue Lake”. The playing is messy and sometimes simply directionless, it just goes on forever without getting anywhere. The album was originally released only in Japan 1974 but has for no good reason been reissued several times since.

 

Orient (BYG, 1973; rec. 1971)

Instrumental, wordless vocals, other languages

International relevance: ***

A sister album to ”Blue Lake” released the year before, with half of the double album having more tracks from the same Cherry/Dyani/Temiz date, meaning they also sound about the same. The two albums were reissued together on CD in 2003.

 

Organic Music Society (Caprice, 1973; rec. 1971-1972)

Instrumental, English vocals, other languages, wordless vocals

International relevance: ***

The album that most of all epitomizes Don Cherry's 'organic music' theories. It's intriguing and annoying, messy and flourishing, intense and flaccid all at once. There are field recordings and studio takes, focused performances and half-baked ideas in a raffle of sound and it's sometimes hard to make sense of it. That is the album's weakness but also its strength, and what you think of it probably very much depends on your current mood. I personally would have preferred the double album slimmed down to a single disc, keeping side 2 and 3 (despite Cherry's vocals) and perhaps keep the rather captivating ”North Brazilian Ceremonial Hymn” as an opening track. It would have narrowed the scope of the organic music idiom and by that missed the point, but it would have made a more cohesive album.

A nice list of performers though: Tommy Koverhult, Christer Bothén, dynamic duo Temiz & Falay, and – most importantly – Bengt Berger. Engineered by Göran Freese, the summer house owner who initiated the majestic 1968 recordings.

 

Organic Music Theatre: Festival de Jazz de Chateauvallon 1972 

 (Blank Forms Editions, 2021, rec. 1972)

released as Don Cherry's New Researches featuring Nana Vasconcelos
Instrumental, English vocals, other languages, wordless vocals
International relevance: ***

The organic music brought to the stage for the very first time. With Christer Bothén and various tag along friends from Sweden plus Brazilian percussionist and berimbau player Nana Vasconcelos performing as Don Cherry's New Researches in the Southern France. Much more focused than ”Organic Music Society” although Cherry's vocals are still a major snag.

 

Eternal Now (Sonet, 1974)

Instrumental, other languages

International relevance: ***

With the organic music concept being worked on for a couple of years, the essence of it had finally crystallized on 1974's ”Eternal Now”. A mellow and spiritually gripping album that stands head and shoulders above any previous attempts in the style. Maybe because not every Tom, Dick and Harry creaks and clangs and babble their way into the music – with a personnel of only five including Cherry himself, they can move in the same direction without any distraction from unnecessary outsiders. Especially as they're such a tight unit to begin with, with Cherry, Berger, Bothén and Rosengren at the core with Agneta Arnström only adding Tibetan bells to one track and ngoni (a West African string instrument) to another. ”Eternal Now” (a beautiful title!) oozes with midnight magic, it's like incense for the ears and enlightenment for the soul. Without a doubt one of Cherry's best 70s albums and one of Moki's best album cover works to boot.

 

Modern Art (Mellotronen, 2014; rec. 1977)

Instrumental, other languages

International relevance: ***

A live recording from The Museum Of Modern Art in Stockholm in early 1977. Per Tjernberg from Archimedes Badkar finally makes an appearance on a Don Cherry album – it seems just so appropriate. More unexpectedly, so does Jojje Wadenius who sounds a bit lost to begin with when on electric guitar but blends in better once he switches to the acoustic. (He returns to the electric towards the end and seem a bit more comfortable then.) It's a set heavy on Indian influences so it's surprising not seeing Bengt Berger here. I think he might have been a great staibilizer, because although the performance is rather pleasant, it's a bit trying and uncertain.

However, like I said earlier, Berger's and Cherry's collaboration continued later with Cherry being a vital part of the excellent Bitter Funeral Beer Band. A collaboration that extended beyond the time frame of the Swedish Progg Blog.

There are of course numerous of other Cherry albums without any Swedish connections, some of them less good but some of them among the best jazz music ever put to disc. Don Cherry was a true master, and as a Swede I feel honoured that he chose to live here for so long and also produce some of the finest music of his career while doing so. He was not only a real visionary, he was also a true genius.

Movement Incorporated no links found
Brotherhood Suite full album
Live In Stockholm full album playlsit 
The Summer House Sessions full album playlist       
Eternal Rhythm full album playlist   
Live Ankara full album  
Music For A Turkish Theatre full album playlist (Bandcamp)
Orient / Blue Lake full album playlist
Organic Music Society full album playlist  
Organic Music Theatre full album playlist (Bandcamp) 
Eternal Now full album
Modern Art full album playlist     

There's also an hour-long Don Cherry documentary called "Det är inte min musik" (="it's not my music") made  by Swedish Televison in 1978 that gives some further insight into his life in Sweden. You can watch it here. 

A SEVEN INCH SPECIAL, VOL. 7: Psych & such

LUCAS – Antisocial Season / Hymn To The Sun (Polar, 1967)
English vocals
International relevance: ***

The 'A' side is a slightly New Orleans tinged piano based track and not very good, but ”Hymn To The Sun” is nothing less than excellent hazy, UK styled psychedelia. The track is a real masterpiece unfairly overlooked even by connoisseurs, and impressively enough an original group composition. Never very expensive, but if people knew just how great it is, the prices would surely go up quickly. Piano player and singer Janne ”Lucas” Persson later joined Pugh Rogefeldt and Ola Magnell on the ”Ett steg till” tour which was documented on a double album in 1975. 

SLEEPSTONES – As The Night Comes To See / I Put A Spell On You (Columbia, 1967)

English vocals
International relevance: **

The Sleepstones were Jan Schaffer's first proper band, going back to as early as 1962. They changed their name several times before settling for the name under which they recorded five singles between 1964 and 1967, with ”As The Night Comes To See” being their last. The 'A' side is a rather elegant, harmony-laiden moody ballad which is quite nice but with a cheesy chorus. The flipside is the old Screamin' Jay Hawkins standard, covered over and over again by uncountable bands over the years, most famously by Creedence Clearwater Revival. The Sleepstones go for an organ heavy arrangement that breathes Swedish folk jazz. A dynamic and driven take with vocalist Ted Åström at his most soulful. Not the best version I've heard, but definitely a very credible perfomance of an international stature.
 

 

ATTRACTIONS – Let Love Come Between Us / 5th February 1968 (Columbia, 1968)

English vocals, instrumental
International relevance: **

It's not quite true that The Sleepstones only made five singles, because The Attractions were basically the same band and released two further 45s in 1968. ”Let Love Come Between Us” is a mediocre sunshine pop track with a steady beat, nothing special. But the 'B' side draws the lines of "I Put A Spell On You" further with a six and a half minutes instrumental workout in a psychy, progressive jazz vein, rich with organ and a proof that Schaffer was a force to be reckoned with already early on. 

CHEERS – Love Me Two Times / Somebody To Love (Decca, 1968)
English vocals
International relevance: **

A Stockholm band that was active a couple of years before they had this 45 out with two Summer of Love covers. ”Love Me Two Times” is a competent but redundant take on The Doors while Jefferson Airplane's ”Somebody To Love” gets an inspired and pretty intense treatment. Both tracks have been comped, ”Somebody To Love” even twice, on ”Who Will Buy These Wonderful Evils, Vol. III” and RPM's excellent survey of Swedish garage rock ”Svenska Shakers”.

MEMBERS BLUES BAND – One Night / P.S. Elic (Jacks Beat, 1968)
English vocals
International relevance: ***

Swedish band on a Danish label. ”One Night” is a completely pointless cover of the Elvis track while the flipside is one of the most fantastic psych tracks ever recorded in Sweden. Perhaps even in the world. Overflowing with backwards sounds and treated vocals, it could have been a highlight on Freak Scene's ”Psychedelic Psoul” album. An absolute masterpiece in perfect tune with the times. Thankfully included on ”Who Will Buy These Wonderful Evils, Vol. III” as originals are incredibly rare, changing hands for up to 500 dollars.

ZOOM – Coloured Rain / Ticket To Ride (RCA Victor, 1968)
English vocals
International relevance: **

When Members Blues Band broke up, two of their members went on to form Zoom. Again they had to approach a neighbouring country to secure a one-single deal, this time Norway. ”Coloured Rain” is the well-known Traffic number, here extended to twice its original length by a decidedly psychy and meritorious organ solo. The Beatles' ”Ticket To Ride” is slowed down to Vanilla Fudge tempo but the rendition is lightweight. 

ARDY THE PAINTER OF LOVE – Pregnant Rainbows For Colourblind Dreamers (Sonet, 1970)
English vocals, spoken word
International relevance: **

This ”painter of love's” real name was Ardy Strüwer and the same guy who made the ”Öronpaj” album in 1973 with actor, comedian and painter Lasse Åberg. Åberg's here too on bells and maracas. The idiotically titled ”Pregnant Rainbows For Colourblind Dreamers” was released in a single-sided edition of only 99 copies for an art exhibition, but has since been revived for the 4CD box set regrettably named after the single. Rare indeed, but also complete rubbish. It's basically an improvised drums and flute duet with Ardy babbling nonsense on top. 

AUNT SALLY – Shakin' All Over / She Left Me (Green Light, 1970)

English vocals

International relevance: **

One of the singles on MNW's early subsidiary Green Light. The cover of Johnny Kidd chestnut ”Shakin' All Over” isn't anything special but the 'B' side, the original composition ”She Left Me” is quite a cool track with psychedelic overtones and a bass line slightly reminiscent of Red Crayola/Krayola's ”Hurricane Fighter Plane”. Not bad at all! Aunt Sally was a band from Lund in the south of Sweden and they had a four track EP ”Slabb” out on another label prior to this.

BJÖRN & BENNY – She's My Kind Of Girl / Inga Theme (Polar, 1970)
English vocals
International relevance: ***

I bet you didn't see this one coming! Yes, it is Björn Ulvaeus and Benny Andersson, soon to be mega stars as 50% of ABBA. Let me say that not all Swedes like ABBA, and I'm the living proof of that. I hate their plastic sound, I hate their vocals, I hate (most) of their smarmy crap songs. But this is something else. Well, ”She's My Kind Of Girl” may not be the greatest song ever written, it's a OK in a in a Tages happy-go-lucky style, but once you flip the single over, you get ”Inga Theme”. The two Bs wrote the songs for Joe Sarno's sexploitation movie ”The Seduction of Inga” which in itself is a spectacular fact. But what's more spectacular is that "Inga Theme" it's a great fuzz-laiden track with hypnotic psychedelic qualities! There's absolutely nothing in the entire ABBA clan ouvre sounding like this or being this good. You want hidden gems? You've got it!

CANDLE – In A Vision / Matthew, Little Man (Mallwax, 1971)

English vocals

International relevance: **

”In A Vision” is a light harmony pop track with baroque shadings while ”Matthew, Little Man” loses the baroque-ness. Nice and sweet, not very exciting but nevertheless included on ”Who Will Buy These Wonderful Evils, Vol. III”. Songwriter, singer and guitarist Håkan Bryngelson later became CEO of one of Sweden's biggest real estate companies.

DON CURTIS

Men Of Dakota / Riding (GP, 1970)

Red Indian Brothers / In The Corners (GP, 1971)

English vocals

International relevance: **

Born as Kurt Arne Norman, then changing his surname to Nordlander but performing as Don Curtis since his 7” debut in 1966. He released several singles in the 60s, and his final two in the early 70s, both reflecting his strong passion for Native Americans and their culture. Sometimes dressing up as one, he may seem like a silly Billy, but these two singles are in fact fine examples of a garage rock sound akin to Kim Fowley's best moments. ”Men Of Dakota” is great with an overheated arrangement, but the hard driving ”In The Corners” is possibly even better. ”Riding” unfortunately reveals Curtis's Elvis fixation – he even became an Elvis impersonator later in the 80s. A curious character with an illustrious history.

"Red Indian Brothers" and "In The Corners" were recorded with Scoopes, a band that had one single on their own in 1970. Both Curtis singles were released with several different colour sleeves. Signed copies seem common.

RAUNCHY – Flygmaskinen / Orminge Centrum (Scam, 1974)

Swedish vocals

International relevance: ***

A very obscure band from Stockholm with only this one single in their discography. ”Flygmaskinen” is really lovely, moody, low-key track with flanged vocals creating a hazy, slightly disoriented atmosphere. Maybe a strike of luck, because the 'B' side is just a fast rock song with very little going for it. ”Flygmaskinen” was, thankfully, salvaged from obscurity on ”Who Will Buy These Wonderful Evils, Vol. 6” making it a lot easier to find. 

Members Blues Band full single playlist
Lucas:
Antisocial Season / Hymn To The Sun
Sleepstones:
As The Night Comes To See / I Put A Spell On You
Attractions:
Let Love Come Between Us / 5th February 1968 
Cheers:
Love Me Two Times / Somebody To Love
Zoom:
Coloured Rain / Ticket To Ride 
Ardy The Painter Of Love:
Pregnant Rainbows For Colourblind Dreamers
Aunt Sally:
Shakin' All Over / She Left Me
Björn & Benny:
She's My Kind Of Girl / Inga Theme
Candle:
In A Vision / Matthew, Little Man
Don Curtis:
Men Of Dakota / Riding / Red Indian Brothers / In The Corners
Raunchy:
Flygmaskinen / Orminge Centrum

PHILEMON ARTHUR AND THE DUNG – Skisser över 1914 års badmössor (Silence, MC 1987; rec. 1967-72) / Får jag spy i ditt paraply? (Silence, 2002; rec. 1967-72)

 

Skisser över 1914 års bandmössor (Silence, MC, 1987; rec. 1967-72)

Får jag spy i ditt paraply?: The Pest Of Philemon Arthur And The Dung (Silence, 2002; rec. 1967-72)

Swedish vocals

International relevance: **

Philemon Arthur And The Dung's 1972 album is a stone cold classic of absurdist, nonsensical, anti-fi craziness that killed the Swedish Grammy Awards for 15 years. Ironically but probably perfectly planned, once they revived the Awards in 1987, the first new Philemon Arthur release appeared as a riposte. ”Skisser över 1914 års badmössor” (= ”sketches of 1914 swimming caps” -- don't ask!) was a cassette-only release that came in a sardine can. To play the tape, you had to open it. A great fuck you to mint condition collectors! (Although some probably bought two, one to play and to keep for posterity. Or they bought one and never played it. You know how collectors are.)

The tape contained 24 previously unreleased nuggets from the secret archives of the equally secret group, recorded around the same time as their LP. (Yes, the true identities of the Philemon Arthur And The Dung members is still unknown to all but a handful people.) It simply was more of the same meaning two brothers (or were they friends?) strumming a guitar sometimes tuned, banging away on pots and pans, and hollering out lyrics about flyswatters, braces, dromedaries and soup bowls. Nothing strange about that.

Thing is, you can never get too much of the same. This world always needs more Philemon Arthur And The Dung. Which is why “Får jag spy i ditt paraply” (=”may I puke in your umbrella?”), subtitled “The Pest Of Philemon Arthur And The Dung” was just as welcome as the archival collection before it. But here the discography a wee bit complicated.

“Får jag spy i ditt paraply?” was actually a complementary CD release to “Musikens historia del 1 & 2” (=”the history of music, parts 1 & 2) released ten years earlier, in 1992. “Musikens historia” in turn was a re-release of the original album with selections from the cassette added as bonus tracks. Due to popular demand, “Får jag spy i ditt paraply?” gathered the remaining tracks from the tape plus 19 more previously unreleased tracks from the original golden days. To uncomplicate things a bit: if you get “Musikens historia del 1 & 2” and “Får jag spy i ditt paraply?” you'll have a complete collection of all Philemon Arthur's released material in two convenient CDs. And believe me, you need it. At least if you're anything like me. It helps understanding the strange lyrics, but the unhinged zaniness of Philemon Arthur's music comes through loud and clear (or unclear) no matter what.

Actually, there is one more Philemon Arthur track out there, found a bonus 12" that came with the 2023 vinyl reissue of the original album. The single has Swedish art punk band Bob Hund doing a Philemon song on one side and Philemon Arthur doing a Bob Hund song on the other. But that is an afterthought, a curious modern day postscript that doesn't count.

Instead of messing about with the tracklists trying to re-create the running order of the original cassette, the links below are the two CD's as they come.

Musikens historia del 1 & 2 full album playlist
Får jag spy i ditt paraply full album playlist

ÅKE SANDIN – Förlorad i toner (Subliminal Sounds, 2002; rec. 1965-70)

 Swedish vocals
International relevance: -

I don't have many rules for this blog, but one unwritten law is to include all artists mentioned in Tobias Peterson's ”The Encyclopedia Of Swedish Progressive Music”. That includes the 100 artists mentioned as ”suggested further listening”. Some inclusions in the book, especially among the extra 100, are puzzling. Sometimes I wonder what Peterson's selection criteria was.

That certainly goes for Åke Sandin. True he was a solitary original, recording his weird songs with idiosyncratic vocals and strange lyrics and releasing them himself. But the musical style was a remnant from the popular songs of the second world war and after. His songs, including those from his sole album ”Rariteter i kokäkta konvolut” with an album cover made of cloth and released in 1968, fit the Incredibly Strange Music tag. I can appreciate such myself as it's often so weird and off that you sort of have to learn to listen anew. And yes, I'm somehow fascinated by Sandin, but progg it is not. Not even with my otherwise generous definition of progg. So this post is merely to fulfill my own blog law.

Subliminal Sounds released "Förlorad i toner" in 2002 which collects everything Sandin recorded between 1965 and 1970.

Full album playlist

THE OUTSIDERS – Inside Outsiders (Mellotronen, 2024; rec. 1965-69)

  
English vocals, instrumental
International relevance: **

The Outsiders only had three 45s released in 1967 and 1968, all an different labels, but they were enough to cement their lasting reputation of being one of Sweden's loudest and rowdiest mod/garage/freakbeat bands. True they were, at their best, a combo that would give most other outfits a run for their money, and that includes Namelosers and Lea Riders Group. No wonder The Outsiders became one of Jimi Hendrix's favourite bands.

Given their slim output, it wasn't obvious they'd be honoured with a a full length compilation, but the guys at Mellotronen managed to dig up a number of previously unreleased recordings for the 2024 limited edition archival collection ”Inside Outsiders”. It is short though, not even a full 30 minutes, and only about half of it is relevant to this blog. I've decided to present it in its entirety anyway.

The core of the album is obviously the three singles ”Don't Fight It/From Four Until Late”, ”So You're My Sister's Boyfriend/Kinda Dead” and ”On My Magic Carpet/Inside Of Me”. ”Don't Fight It” is an OK mod groover with nods to The Small Faces and their peers, while ”From Four Until Late” sounds more like a silly leftover from the beat era and definitely old hat in 1967, even by Swedish standards. ”So You're My Sister's Boyfriend” follows along those lines, a real ”meh!” in The Outsiders' minimal catalogue. However, this stupid vaguely music hall inspired dud is balanced against their first true victory on disc, the flipside ”Kinda Dead”. It shows that Hendrix's love for the band was mutual – ”Kinda Dead” falls somewhere between ”Hey Joe”, ”Foxy Lady” and ”The Wind Cries Mary”. It's in moderate tempo with a distinct bass line, backing vocals hovering like ghosts in the background, and a confidently sneering guitar solo.

But it's the third and final 45 that is the prime proof of The Outsiders' potential. Both ”On My Magic Carpet” and ”Inside Of Me” rank with the best UK freakbeat singles of the era. Two true classics that showed such great promise for the future. Had The Outsiders only kept going instead of calling it quits in 1969, they'd easily had beaten Mecki Mark Men in their own game.

A trip to London meant gigs at The Marquee and The Speakeasy, but a promised contract with Mercury Records that would have led to a Brazilian tour fell through when bassist Sten ”Plutten” Larsson didn't want to go. When lead vocalist Thomas Hermelin then left the band, British singer Roye Albrighton joined instead, and with some further line-up changes, the band kept going for a little while before eventually breaking up entirely in 1969. (Albrighton later joined fellow exile Brits in German band Nektar.)

”Son Of A Gun”, recorded live in early 1969, opens ”Inside Outsiders” and shows just how far the band had gotten from their humble beginnings in 1965. A heavy, guitar driven progressive blues track clocking in on almost five and a half minutes, it's very different to the three home recordings from 1965 also featured here, presenting The Outsiders as a rather shaky instrumental surf rock combo. ”The Cruel Sea”, ”Pipeline” and ”Foot Tapper” are interesting to hear as a comparison, but they certainly drag the album down. Together with the short total playing time, they suggest that maybe there wasn't too much in the vaults to choose from.

The remaining two 1966 studio recordings are closer to the 'real' Outsiders. ”Dancing In The Streets” is a passable Motown tribute, while ”Milk Cow Blues” is a youthfully revved-up cover of The Kinks' cover of said song. Not great but still more convincing than what many other Swedish beat bands produced around the same time.

As you can tell, ”Inside Outsiders” doesn't work as a cohesive album. (The closing interview snippet with Noel Redding/Jimi Hendrix may be only 11 seconds long, but is still an unnessary addition only adding to the scattered feel.) It's an overview of a band in constant search of a style they found only shortly before they gave up. The real shame is they never got a proper album together in 1968/69, but chances are almost zero there are any more studio recordings left unreleased after Mellotronen's trawl through the surviving tapes. Unless a miracle happens, like someone finding a good or at least decent quality tape of a full late period gig, this is what we have and this is what we'll get. And given the shocking collectors prices for the original singles, it's also the only way to get the three really good Outsiders tracks to an affordable sum.

Full album playlist

HANSSON & KARLSSON WITH BENGAN DAHLÉN – Crescendo 1968 Volume 1 & Volume 2 (Mellotronen, 2023; rec. 1968)

 

Instrumental
International relevance: ***

It's surprising that Hansson & Karlsson archival releases amount to only two, ”For People In Love” released in 2010, and this live recording spread across two limited edition vinyl volumes. There must be piles of unreleased Hansson & Karlsson tapes collecting dust somewhere, and since they were known to be a dazzling live act, it would be great having more documents like this officially released. (One thing's for sure: as long as Jimi Hendrix's estate refuses a release of his mythical Club Filips live jam with the Swedes being, most of us will only ever hear the chopped up lo-fi snippets that circulate.) So having access to a release such as this is much appreciated.

To put it short: This is the best representation of Hansson & Karlsson available, and that includes their original albums. Especially since this sees the duo expanded with soon-to-be Fläsket Brinner guitarist Bengan Dahlén on violin! Some have compared this unusual line-up to Zappa's ”Hot Rats” with Sugarcane Harris and Jean-Luc Ponty, but that's lackadaisical. There's no Zappa here to keep a tight rein on the musicians. What we have here is three musicians working as a collective mind, with all them being leaders improvising either entirely freely or wihin the framework of a song such as ”Tax Free”, ”Triplets” or ”Richard Lionheart”. Some tracks stretch out to 10, 13, 17 minutes but almost never feel overlong. All three players are on fire and Dahlén really brings a lot to the table with his violin. In him they get another person to bounce ideas off allowing the music to find new paths. He doesn't feel at all like an extra but a completely natural musical ingredient in a tight unit always ready to work up an improvisational frenzy. 

The stereo recording is surprisingly good with a rich and warm reel-to-reel sound that retains enough nuances to warrant a pleasurable listening session. Unearthing these tapes and presenting them to the public is an act of love and care, and it's shame only they're a limited edition release. This is the kind of stuff that should be kept available forever in a proper, physical format and I say that even though I'm not a die-hard Hansson & Karlsson fan. I am, however, a massive fan of Hansson, Karlsson & Dahlén.

Crescendo 1968 Volume 1 full album playlist
Crescendo 1968 Volume 2 full album playlist

SCALA-TEATERNS ENSEMBLE - Hår (Sonet, 1968)

Swedish vocals

International relevance: **

Originally an off-Broadway production in 1967, musical "Hair" eventually became a Broadway blockbuster, spawning multiple domestic versions in numerous countries of the free world. The Swedish staging was performed at the Scala theatre in Stockholm 1968, the very same year it moved to the proper Broadway stages (thus being the very first musical to make that particular move).

Appallingly subtitled "American Hippie-Yippie Love-In Musical", the musical backing was provided by Baby Grandmothers in their later Mecki Mark Men incarnation, although the album was technically credited to Scala-Teaterns Ensemble. The inclusion of Kenny Håkansson, Mecki Bodemark et al is the only thing to make this release historically interesting, but it has to be said that it's impossible to tell the identity of the band just by listening to the LP. While they conjure up some appropriate groove when needed, any fairly talented group of musicians could have achieved the same thing. The focus is on the singers, but the male and female vocals are maddening, with the female vocals being especially grating. After all, it is a musical, and musicals are an inherently grating abuse of music, like a watered-down version of the operetta which is a watered-down version of the opera which is annoying to begin with.

Those expecting anything along the lines of Baby Grandmothers' "Somebody Keeps Calling My Name" or the Jimi Hendrix impersonations of Mecki Mark Men are up for a major disappointment. "Hår" is just another provincial below average take on a silly musical parodying starry-eyed hippies. Which too was annoying to begin with...

The album was also released by Sonet in collaboration with shampoo and conditioner manufacturer Sunsilk (what else!) with a different sleeve (see below), also in 1968.

Full album playlist

BEFORE PROGG - A SPECIAL FEATURE ON SWEDISH 60'S POP, ROCK & PSYCH

It is of course very convenient declaring the two Gärdet festivals the starting point of Swedish progg, but as with any 'movement', progg is the result of what came before it. There's not one thing that appears completely out of the blue with no ties to the history. Besides, claims of the Gärdet festivals as the real beginning of progg exclude bands such as Hansson & Karlsson and Baby Grandmothers from the equation which needless to say is plain revisionism. But the roots of progg go deeper and further back than that too. Several prominent and important characters of progg or, if you will, 'the music movement', were in bands long before progg was a thinkable concept. Therefore, and despite the 1967-1982 scope of this blog, I think it's time to go back a bit in history and shed some light on what went on in Sweden in the 60's.

I don't think anyone actually ever counted how many active bands there were between 1962 and 1968, but likely several hundreds. Some of them hit big while others had just a single or two released, while others in turn never rose above the amateur level playing to friends and rehearsing in their parents' garages and basements. Needless to say, it's impossible to mention even a fraction of all those bands here, why this is merely a small overview of some of the domestically better known bands. Bands familiar to Swedes but not necessarily to anyone outside our borders.

Just a linguistic note before plunging ahead: Swedish 60's bands rarely used the grammatical article 'the' in their names. It's ”Namelosers”, not ”The Namelosers”; ”Mascots”, not ”The Mascots”. While it may appear inadequate to English speakers, and although exceptions exist, I've decided to keep in line with the original and most common band name procedure.

As in most Western countries, the impact of The Beatles were massive on the Swedish youth. Through pirate radio stations such as Radio Syd ('Radio South') and Radio Nord ('Radio North'), and through national broadcasting radio show Tio i topp ('Top ten'), the new melodic sounds from the UK reached our domestic listeners. A pop band craze took on swiftly, although those new amateur bands from all over the country were called twist bands early on. A wimpy name but truth be told: many of the bands were pretty wimpy sounding anyway. Some started out even before The Beatles broke big, but The Beatles and, to a not negligible extent, also The Rolling Stones and The Who had a huge impact on the majority of the Swedish beat groups.

TAGES

With limited knowledge of the English language (including some truly awkward pronunciation) and a not necessarily natural penchant for songwriting, many of those bands relied on covers of UK bands and American rhythm & blues standards, but some creatively fortunate bands featured good songwriters and above-average skills. Most notably Gothenburg's Tages (pronunced 'tah-gehs', not 'taygs'). After a weak start with a couple of less than impressive 45's, they got the chance to record and release an impressive amount of five LP's before disbanding (or rather evolving into Blond who also had one full length disc out, in 1969). Tages won a battle of the bands contest early on and became known as ”The Beatles of the Swedish West coast”. Soon freeing up a considerable amount of songwriting skills and a genuine sense of creative studio work, their last two albums are exceptional for a Swedish 60's band. Both ”Contrast” (featuring the psychedelic workout "Fuzzy Patterns") and especially their final album ”Studio” are landmark efforts of very elaborate pop psych. Add to that their final singles among which "Fantasy Island" is a beautiful example of how far the band would go before the saga ended.

Tages featured one Göran Lagerberg on bass, who later became a stahlwart on the progg scene, generously sharing his abilities with bands such as Kebnekajse, Fläsket Brinner, Jason's Fleece and Egba. He was also an oft-hired studio musician why his name can be found on albums by Joakim Skogsberg, Sam Ellison, Bernt Staf, Pugh Rogefeldt, Bo Hansson and the likes.

MASCOTS

The decidedly second best Beatles influenced beat group was Mascots. As with Tages, Mascots had an excellent flair for short, catchy pop tunes appropriate for the 7” format. They did however release two full length discs, the eponymous debut album in 1965, and ”Ellpee” the following year. Their best track by far was however first issued on a flexi disc that came free to subscribers to the premier Swedish pop magazine Bildjournalen (the song later released on a proper 7"): ”Words Enough to Tell You” is where Mascots let all their melodic expertise shine the brightest. It even beats Tages in their own game, with lush harmony vocals and an absolutely irresistable melody line moving in perfect ways somewhere between The Beatles and The Hollies. It's no wonder that ”Words Enough to Tell You” has found its way to several various artists comps over the years, both nationally and abroad. It certainly deserves it.

It's a sad fact that a burgeoning interest in politics brought Mascots to their demise. The band evolved into the unfathomably abysmal political band/theatre ensemble/general break-every-record-with-their-name-on-it-inspiring Fria Proteatern. What an utter waste of almost unrivalled pop sensibilities!

SHANES

Predating both Tages and Mascots were Shanes. They first tried their luck as an instro band in the Ventures vein in 1963, but as pop mania spread like a wildfire across the nation, the Western twang of their very earliest 45's changed in favour of a more typical beat group sound. When they went for a rougher, more garage or freakbeat inspired style, as on the pounding and hard-driving ”I Don't Want Your Love”, and when they at the very end of their career moved a step or two towards pop psych as on the very nice Yardbirds influenced ”Faces, Faces”, it really worked in their favour. That said, their shamelessly poppy ”Chris Craft No. 9” is a prime example of Swedish 60's beat. Shanes compilations exist but tend to focus on their most familiar hits and not necessarily on their most worthwhile tracks why it's a pretty frustrating task approaching the band's output. You need to sit through a fair amount of crap to save the nuggets.

OLA & THE JANGLERS

The same can be said about Ola & The Janglers. A graphic diagram of the quality of their output would look conspicuously similar to an ECG curve. Their bad songs were really bad and their good songs were really good. At their rawest they were a rather convincing garage rock band, and their stabs at psychedelia – most notably the Eastern-tinged track ”No One Knows What Happens Round the Corner” – were credible enough. Their good stuff would fill an LP length compilation, but a good one doesn't exist, only a couple focusing on their hits, including pointless Johnny-come-lately covers of Del Shannon's ”Runaway” and Chris Montez's ”Let's Dance”. I wish compilers would cast off the demon of nostalgia and go for the truly good stuff instead. There's one pretty great album hidden in Ola & The Janglers' ouvre but that has yet to see the light of day.

One of the Janglers' most prominent members, Claes af Geijerstam, recorded one underrated popsikey album in 1970, ”Out of My Hair”. The Ola of the bunch, Håkansson, went on to fame and fortune with bands like Secret Service who scored big with their single ”Oh Susie” in the 80's. He also became an influential music business honcho.

LEE KINGS

Lee Kings' output is relatively slim. Apart from a slew of singles it consists of one and a half LP only (the half one being shared with the forgettable band The Sunspots which contribute three tracks). Lee Kings were obviously sensitive to the changing times, constantly trying to come up with a song that would sit particularly well with the adolescent record buyers. You can easily say their vision, if ever they had one, was shaped by the whims of Tio i topp. That said, they did put out some memorable tracks, especially when psychedelia was slowly becoming the new worldwide fad. From Lee Kings' last year in existence, 1967, it's well worth lending an ear to ”Coming from the Ground” (backed by a surprisingly rowdy and fuzz fuelled "Day Tripper") and the highly endearing "The Trees Are Talking".

Singer Lenne Broberg later scored a brontosaurus sized hit with ”Mälarö kyrka”, a soft sounding predecessor of sorts to Contact's ”Fyrvaktarens dotter” and something of a 'guilty pleasure' of mine. And of course: guitarist Bengan Dahlén went to Fläsket Brinner.

STEAMPACKET

Steampacket, a.k.a. Steampacket II, a.k.a. The Longboatmen were also stylistic grasshoppers, even more so than Lee Kings. Their eight 45's present a wide array of styles, from the moody balladry of ”Bara ett par dar” to the fiery freakbeat of ”Take Her Any Time”, with stops at psychedelia, country music and straightforward pop along the way. But with the great Rolf Scherrer and the exceptionally talented Mikael Ramel (both vocals and guitar) in the band, they were well equipped to dabble in whatever they felt like. Their complete recordings were released on the print-on-demand CD ”The Singles and More 1965-68” in 2015, and although it's far from stylistically lucid there's certainly not much to object to as far as quality goes. Having already mentioned Scherrer and Ramel, it's obvious why Steampacket are crucial to the pre-history of progg. Scherer was an early member of Kebnekajse and can also be heard on several Bo Hansson albums. And Mikael Ramel – well, he's Mikael Ramel, i.e. a genius solo artist of ”Till dej” et al fame, plus a one-time member of Fläsket Brinner.

So what about their multiple band names? Well, in Sweden they were called Steampacket II for their first three singles to avoid being confused with Rod Stewart's band Steampacket. For the same reason, ”Take Her Anytime” was released in the UK as The Longboatmen. Later they were domestically known simply as Steampacket.

SHAKERS

Say what you will of Tommy Rander – later to become main leftwing fundamentalist operator on Gothenburg's progg scene and eventually the nemesis and relentless decapitator of progg's unkempt creativity, and recently taking an unnerving turn towards ideas sampled from the extreme rightwing (after all, politics aren't a linear scale but a circle where the extreme right and the extreme left are much closer neighbours than a lot of people have the guts to admit) – but he indeed had a strong vision of what Shakers were supposed to be. More precisely a snotty Rolling Stones/Pretty Things styled, abrasive rhythm & blues band. If you don't mind his fonetical gibberish (English in Rander's mind) on early tracks and only slightly bettered in time for the band's final releases, you have quite a few highlights to discover. Shakers were also one of the earliest and most eager condoners of psychedelia, as evident on excellent numbers such as ”Who Will Buy (These Wonderful Evils)” and ”Tracks Remain”. All their recordings are decidedly rough-hewn which is a welcome change of pace after delving into the discographies of the more polite sounding bands. And if you pretend there's no Rander involvement whatsoever, it gets even better...

NAMELOSERS

In terms of rawness, Malmö's Namelosers gave Shakers a run for their money. Few Swedish 60's singles rock as hard and brutal as Namelosers' throat-grabbing rendition of ”Land of a 1000 Dances”. Of all the recorded versions of that old chestnut, Namelosers' version is hands down among the top 3. I mean, seriously, that fuzz guitar can simply melt concrete walls! It's hard to fathom the fact it was recorded and released in Sweden as early as 1965 when fuzz boxes were a brand new thing only just heard on Rolling Stones and Beatles records. Namelosers were truly in with the in-crowd.

Founded already in 1962 as Tony Lee & The Fenders, they soon changed their name to The Beatchers. As such they released their debut EP in late 1964 with Gary U.S. Bonds cover ”New Orleans” as the lead track. A Gothenburg band called The Beachers, without a 'T' in the middle, wasn't too happy having another similarly named band around, and threatened The Beatchers, with a 'T' in the middle, with a lawsuit. The now nameless band needed to come up with something catchy to call themselves, and a name contest was arranged by pirate radio station Radio Syd. I've no idea what other listener suggestions there might have been, but whoever came up with Namelosers (with an obvious reference to the recent Beachers debacle) won... ”New Orleans” was hastily reissued (on a new label) with the substituted band name on the cover. The name mess proved advantageous however, bringing a fair amount of attention to the band, and the song went straight to No. 3 on the Tio i topp chart. Fans were frantic, causing havoc at Namelosers shows, and the band quickly earned a bad boys reputation, Rolling Stones style. Restaurants wouldn't let them in because of their long hair and scruffy looks. (Those were the days...) To further nurture their hoodlum image, they told Bildjournalen that one of their favourite pastimes was to go to Malmö's local dump and shoot rats. Probably nothing more than a publicity stunt, although their best singles indeed sound as if they could kill a diversity of rodents...

Namelosers released a total of fourteen tracks from 1964 to December 1965. One further song appeared on a Bildjournalen flexi disc in 1966, the storming ”Do-Ao”. For some odd reason, the impossible-to-overrate ”Land of a 1000 Dances” failed to enter Tio i topp. Taken by surprise and hugely disappointed, Namelosers called it quits shortly after. In 1989, rare records shop and record label Got To Hurry issued a compilation of Namelosers complete studio recordings. Still possible to locate in used condition, a reissue is nevertheless long overdue.

ANNAABEE-NOX

In the small but loud legion of more garage infused bands you can't ignore the curiously spelled Annaabee-Nox. As with Shakers, no label trusted them with an album contract. Seven singles and a track on a Bildjournalen flexi disc are all that officially remain from their 1965-1968 lifespan. A rare surviving live tape confirms what people lucky enough to have seen them in concert have said ever since: they were one wild stage act. Not all of their studio recordings retain that same high level fervor, but you really don't want to mess with ”I'm Not Talking” and ”Bo Bo Boggie Pack” [sic!] if you love your mother. If you love your wife/husband and yourself, you don't want to pay the prices for the original 45's either – if they ever appear in playable condition that is. Thankfully, their complete discography received the compilation treatment in 2014 by Allatiders Skivhandel, and it's also easily obtainable in digital format courtesy of Parlophone.

LEA RIDERS GROUP

Of all 60's bands, Lea Riders Group is probably the one that most notably bridges the 60's and the progg era. They were also one of the most technically mature rock bands Sweden spawned during the entire decade. Led by Hawkey Franzén and featuring Slim Borgudd and Bosse Häggström, they were the embryo of Made In Sweden. Without Jojje Wadenius, the jazz elements were a lot fewer, although you could still hear jazz strains in their best known track ”Dom kallar oss mods” (the leitmotif from Stefan Jarl's [semi-]documentary of the same name). Without a doubt the band's high point, with wild screeching guitars, frenetic staccato vocals dissolving into stoned and paranoid groans, drums pounding out a disintegrating beat that is hazy and hard as rebar at the same time, a full frontal psychedelic assault leaving only smoke and dead bodies behind. A lot of people are familiar with it from being famously included on ”Pebbles Volume 3” (and subsequently on other comps as well). A track like that obviously raises the expectations for Lea Riders Group's other outpourings, but they might leave you disappointed at first. Which is not to say that the rest of their material is bad. Not at all. On the contrary, a lot of it is hard-boiled, thick-skinned, jailhouse badass rhythm & blues of international stature with all the chops needed to pull it off with brilliant precision. Just not from the same mould as ”Dom kallar oss mods”.

For an annoyingly long time, Lea Riders Group's recordings were just about impossible to find. Swedish label Garageland Records tried to rectify that in the late 80's when they released a vinyl comp, later reissued on CD as ”The Forgotten Generation”. However, the Garageland CD is best forgotten too as the sound is so dull and hissy that I suspect the tracks were taken from a fourth or fifth generation cassette dub. That hack job was thoroughly pushed into the depths of redundancy when Universal (for once!) did a good thing and released the collected singles on a Record Store Day LP in 2018. Although losing the bonuses from the Garageland CD (all of them live recordings and/or rehearsals in dubious fidelity from what I recall) and not including the additional instrumental tracks from the soundtrack to Jarl's movie, Universal's ”The Singles 1966-68” is absolutely essential from any perspective.

FRIENDS

When Garageland put out the unsatisfactory ”Forgotten Generation” CD, they concurrently reissued two other titles from their back catalogue, one by Panthers, and one by the rather peculiar band Friends. The Panthers release is best ignored altogether, but the Friends CD ”Talkin' 'bout Us” is well worthy of attention. At least to some. They're probably a band in the 'love it or hate it' category, all depending on what you think of Anders Peedú's vocals which admittedly is an acquired taste. The pronunciation heard on the early Shakers singles is Queen's English compared to the sometimes indecipherable syllables coming out of Peedú's mouth. But if that doesn't bother you (and I've learnt not to let it bother me although it took some time and persistance), then Friends were a rather remarkable group who despised the commonly overt Beatles and Stones influences. Their take on rhythm & blues was quite frankly unique among Swedish bands. ”It Ain't Necessarily So” and ”Empty Handed”, both taken from Friends' 1965 debut 45, are as raw as any of the American garage bands, untrained to the nth degree but nevertheless consistent and chock-full of self-assured and cocky attitude bordering on the nihilistic. Despite all Friends' obvious shortcomings (like having a twelve year old drummer, but so did Ornette Coleman), the three singles released during their short lifetime as a band are some rather exceptional stuff. The Garageland album fleshes out the short playing time those singles make for with some previously unreleased tapes which add nicely to the dizzying experience.

Although having Karusell, a major label with a thorough experience of bringing fame to their acts, backing them, nothing could catapult Friends to the commercially viable level of Tages, Mascots and Shanes. An appearance on the biggest (actually, only) TV talk show Hylands hörna generated gigs but no impressive record sales. Friends' fan base was largely made up of outcasts and mods from Stockholm's underground circuits, people often sharing the hard-living Friends' destructive lifestyle of drugs and alcohol. Years after the demise of the band – it was all over in 1966 – two of the members died from substance abuse. A unique band with an ever so inspiring integrity, but with a tragic story attached to it.

HEP STARS

I've not yet mentioned the biggest act of all: Hep Stars. Still heralded among a lot of people, I refuse to believe their position in people's minds is anything but pure nostalgia. Because man, did they suck! The only thing worthy of acknowledgement is their smash hit cover of Vince Taylor's ”Cadillac” which remains a stone cold classic. Albumwise, the only remotely amusing thing they did was the undeniably frantic live document ”On Stage” where they rush through their repertoire at breakneck speed in front of hysterical teenage girls. It's not a good album by any stretch, but yeah, it is remotely amusing. Hep Stars member Benny Andersson later became a mega star with ABBA.

COMPILATIONS

There are several shortcuts to the Swedish 60's if you don't want to take the long and often disappointing road to it. For a general overview there are two vastly different editions of ”Stora popboxen”. The first one leans towards the poppier side, while the second edition is more towards the rhythm & blues sounds. Both of them are a bit much to chew for the average listener, why I'd rather recommend the almost flawless one disc comp ”Searching for Shakes”. Originally released on vinyl by Amigo Records in the mid 80's, the CD reissue is graciously expanded with meticulously chosen tracks in the same garage/freakbeat vein as the original album. Some of the songs I've specifically mentioned above are featured on this five star compendium of Sweden's rawest sounds from the 60's. A similarly styled 2 CD set was fairly recently put together by UK's RPM Records, entitled ”Svenska Shakers”, accurately subtitled "R&B crunchers, Mod grooves, Freakbeat and Psych-pop from Sweden 1964-1968". There's some overlap with ”Searching for Shakes”, but the RPM release has several hard-to-find nuggets not on the Amigo artefact and vice versa, so if you like one of them, chances are you'll want the other one as well. The RPM set looks pretty nice too.

There are several minor acts that released utterly mindblowing one-off singles that are very rare and seldom comped. The six-volume series ”Who Will Buy These Wonderful Evils” does a brilliant job bringing several more psychedelic sides together. Well-known bands such as Tages, Shanes, Ola & The Janglers and Mascots rub shoulders with more obscure acts like The Outsiders ("On My Magic Carpet" is a killer track!), T-Boones (featuring a very young Kenny Håkansson, as on the devastating "I Want You"), the garage punk of The Other Side's "Out My Light", the brilliant Members Blues Band (whose ”P.S. Elic” is quite possibly the trippiest single ever released in Sweden), New Creation (Christian outfit whose ”He Is There” is a jawdropping slice of proto-progressive late night psych), The Junk's & The Angels, Älgarna etc etc etc. Reaching into the 70's, the ”Who Will Buy These Wonderful Evils” volumes are mandatory to readers of this blog. I'm not sure of their current availability but I assure you it's worth some effort to track them down, the first four volumes in particular.