NYNNINGEN – 50 (Eggmusic, 2023; rec. 1972-2021)

   
Swedish vocals
International relevance: **

I never understood what the fuss with Nynningen was all about. I've always thought they were a more overtly political but less talented little brother to Nationalteatern. A couple of OK songs, most notably ”För full hals”, but mostly just mediocre Gothenburg progg rock. Furthermore, I think their canonized singer Totta Näslund was a bore. Still, Nynningen's music has such staying power to many that they reformed by the end of 2016, even releasing new music to this day (obviously without Näslund who passed away in 2005).

”50” is a compilation album released in 400 copies to celebrate their 50th anniversary in 2023 (which is odd as their first album came in 1972). It contains previously unreleased recordings, both old and new, with five out of the eleven songs being recorded between 1972 and 1979. Only one track has been available before albeit in a longer version, ”Ungkarlslåt” which was released on Nacksving comp ”Ett samlat grepp från Götet”.

The strange thing about ”50” is that I think it's much better than any of their proper albums. Even more surprising is that some of the tracks from 2016-2021 are among the better on the album, especially a vivid, extended live take of ”Atlantiska oceanen” (originally on ”För full hals”). But more interesting to this blog are of course the 70s tracks. We get a loose and unleashed ”För full hals”, and a much more urgent ”Balladernas konst” from a 1972 radio/TV simulcast, with hard lead guitar substituting the album version's flute. Also, an unexpected Swedish cover of Roy Harper's ”I Hate The White Man”, recorded in 1979 and named ”Jag hatar maktens herrar”.

Given the broad time frame, the sound variations, and the fact that new tracks are mixed in with old tracks, ”50” is pretty inconsistent and doesn't hold up as a cohesive album. But it was never meant as such to begin with but as an alternative overview of Nynningen's career. It's not intended as a substitute but as a complement. The jumbled chronology bothers me a bit, but with a few relevant and/or superior versions of some of their better tracks, it's still well worth hearing. 

Full album playlist 

KJELL ÖHMAN – Misturada (Sonet, 1975)

 
Instrumental
International relevance: *

Kjell Öhman was a keyboard player who cut his teeth with lightweight instro band The Telstars in the mid 60s shortly before releasing his first solo album in 1966. He later turned to studio work including Robert Broberg, Nailband and Bengt-Arne Wallin, but kept releasing albums under his own name off and on on the side. ”Misturada” is from 1975 and a marginal inclusion here as the style is too diverse, ranging from solo piano jazz to samba inflected numbers and muzak fusion. It's the fusion tracks that pushed ”Misturada” over the blog edge. They're unfortunately not good with the possible exception of the Alphonse Mouzon penned ”The Funky Waltz” which is slightly reminiscent of a lighter pre-Headhunters Herbie Hancock. The album features Mads Vinding and Ed Thigpen among others, and has a sleeve design by Lasse Åberg.

Full album

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

VARIOUS ARTISTS – Spanien 75: Solidaritet mot fascismen (YTF, 1976)

 
Featured artists: Malin Ek / Jeja Sundström / Eva-Lisa Lennartsson / Narren / Jan Malmsjö / Stefan Demert / Björn Ehrling / 27 Septembergruppen / José Barba / Monica Nielsen / Lasse Johansson / Stog Järrel / Kristina Adolphson, Grynet Molvig & Lis Nilheim
Swedish vocals, other languages, spoken word
International relevance: -

A charity album for Swedish Spanish Volunteers' Companions' Association Solidarity Fund (say that fast ten times) recorded live at an anti-fascist meeting against the Spanish Franco regime in 1975, the same year Franco died. The performers came from various genres. There's visa singers Jeja Sundström & Stefan Demert and Björn Ehrling, singing actors like Jan Malmsjö and Grynet Molvig, and a couple of acts closer to progg such as Monica Nielsen and Narren. Poetry recitals mix with Spanish and Swedish songs, and none of it is interesting to listen to fifty years on. As with basically every album such as this, it's a document frozen in time and it hasn't aged well at all. There's not one single track on this album worth hearing now. Once the proceeds from this album were transfered to the Swedish Spanish Volunteers' Companions' Association Solidarity Fund, ”Spanien 75” died just like artefacts of a purely temprary value die.

José Barba & 27 Septembergruppen - Julián Grimau 

PÄR LINDBLOM – OFTA ÄR DET MÅNDAGMORGON SÄLLAN LÖRDAGKVÄLL (Four Leaf, 1975)

   
Swedish vocals
International relevance: **

The amazing album title meaning ”It's often Monday morning, rarely Saturday night” was given to Pär Lindblom's second (and last) album. The first one ”I grönsakslandet” is previously reviewed here, and there you can learn a bit more about his background and other activities, so I go straight to the music this time.

This second time around, the songs reveals a little more assertiveness. Janne Schaffer and Ola Brunkert are still along for the ride, but several of the players on ”I grönsakslandet” has changed. Exit Björn J:son Lindh and Stefan Brolund, enter Rutger Gunnarsson on bass, Kjell Öhman on piano and Alain Leroux (John Holm, Anders F. Rönnblom, Nature et al) on accordeon and organ.

”Ofta är det måndagmorgon” is similar to ”I grönsakslandet”, but the album is a bit less tinkling than its predecessor, leaving me with an 'old hat' feeling. What's most thrilling about the album are the two short instrumental tracks where Lindholm demonstrates what a fine acoustic guitar player he is! ”Springlåt från Valbo köpcenter” displays some really dexterous fingerpicking while the slide laced ”Mors lilla islandströja” sounds like it's straight out of the easier chapters of John Fahey's book of tricks (and that is meant as praise). And those longing for some charmingly cheesy funk with a crazy-ass clavinet should lend an ear to the bubbling ”Amsterdam blues”.

Nice infrared photo of Lindblom on the back cover!

No links found 

VARIOUS ARTISTS – Så här är det... (Frihets Förlag, 1975)

 
Featured artists: Eld I Berget / De Nya Gesällerna / Trots Allt / Mats Fjanters / Röda Röster / Tabasco
Swedish vocals
International relevance: *

As if it wasn't bad enough with the torturous number of records on the Social Democrat label A Disc, their youth division had their own outlet in Frihets Förlag. Thankfully, their catalogue is slim with only two singles and two albums between 1974 and 1977. (At least that's all I've seen proof of, but I hope it's correct.) ”Så här är det” (=”this is how it is”) was their first full length release and features six acts, three of them coming together on the Victor Jara penned closing track ”Ett enat folk” (=”a united people”). Not that you could tell them apart, because they all sound just like the guitar strumming, bongo beating, slogan shouting typical to albums such as this. Formulaic songs with awkward melodies to lyrics insensitive to details such as singability and syllable amount. The only tracks that remotely recalls some actual musicality is ”Fantasi” by De Nya Gesällerna, an unusually toned-down track with soft guitar picking and flute. 

Eld I Berget - Det var längesen 
De Nya Gesällerna - Deltar oundvikligen
Trots Allt - SKUMLr eller Baude och 
Trots Allt - Rotlös 
Eld I Berget - Än är det inte för sent

A SEVEN INCH SPECIAL, VOL. 8: Various singles

 

BLUESET – Midnight Rambler / The Band (Efel, 1970)

English vocals

International relevance: ***

Second single from Södertälje's Blueset. ”Midnight Rambler” is a pointless cover of The Rolling Stones monolith while the 'B' side is an autobiographical revamp of Willie Cobbs' ”You Don't Love Me” (which in turn was a modification of Bo Diddley's ”She's Fine, She's Mine”). Not any of Blueset's best moments.
 

RÖDA KAPELLET & UNGA GARDET – EP (Arbetarkultur, 1974)
Swedish vocals
International relevance: **

Recorded in 1973 and released as a four-track EP the following year, this was Röda Kapellet's first release. Two of the songs are performed with vocal group Unga Gardet in a typical political leftwing style à la a less militant Freedom Singers/Knutna Nävar. Not good. The two remaining tracks are by the electric (and better) incarnation of Röda Kapellet. Not that neither ”Västeråsvisan” nor ”Rätt till ett meningsfullt jobb” is particularly good, but both have some drive to them that make them at least a little bit catchy. 

 

OKAY TEMIZ - Denizaltı Rüzgarları / Dokuz Sekiz (Yonca, 1975)

Instrumental

International relevance: ***

Something as unusual as a single from the magnificent Okay Temiz, released only in Turkey in the same year as the ”Turkish Folk Jazz” album but very different. It's actually rather different to most of Temiz did, especially in the 70s (although I do recognize the riff from somewhere). ”Denizaltı Rüzgarları” has a persistent, driving groove and is one of the funkiest tracks in his ouvre, and I could imagine someone remixing it for the dance floor unless it has already happened. ”Dokuz Sekiz” in turn is a freaky percussion workout with downright psychedelic shadings. An excellent non-album two-sider from both ends of the spectrum, thankfully reissued in 2017 by UK based label Arsivplak specialized on Turkish rarities – originals are rare and costly.

JAJJA BAND – Tårarna / Linda (MNW, 1979)
Swedish vocals
International relevance: *

A supergroup of sorts with members from November, Träd Gräs & Stenar, Eldkvarn, and Sigge Krantz from everyone from Bröderna Lönn to Archimedes Badkar. Not that it says much about how Jajja Band sounds – they were more of a standard period rock band with light strokes of punk and new wave. Interesting as a footnote to the abovementioned bands but nothing that stands up on its own merits.

 

MUSIC TEAM – Funny Way Of Livin' / Sweet Lorraine (no label, 1979)

English vocals

International relevance: -

The 'A' side is stupid horn rock boogie, the 'B' side is better but only just. And what's better about it is effectively ruined by Boel Peterson's intrusive back-up vocals anyway. Said to be a private release but the labels are suspiciously similar to the labels of Janne Goldmann's R & P Records so maybe there's a connection.

 

ACHILLEUS – Allt vi begär / Öbergs präster (Pang, 1982)
Swedish vocals
International relevance: **

One of many, many bands lured to the rogue label Pang Records by the dodgy Lars E. Carlsson who ran it between 1978 and 1984. The single was pressed, as often with Pang, in 500 copies and the band was gravely dissatisfied with the results. They were a hard rock band with some symphonic moves, and the inferior four track studio was not what they were promised and couldn't capture the sound they aimed for. They remixed the single in 2024 for streaming platforms, and while still an insufficient recording, it does sound better now. It's musically not very good though. Those who nevertheless want to hear more early Achilleus material can check out their streaming compilation ”The Sins Of Youth 1982-1984”.

 

TIEBREAK – Mina grannar (gillar inte rock'n'roll) / Balladen om Lotta Bengtsson (Pang, 1982)

Swedish vocals

International relevance: *

The singer's dialect suggests Tiebreak might have been from the Swedish West Coast. They sound very much like a Gothenburg version of Sydkraft, meaning irrelevant stupid rock'n'roll. Both songs are bad.

 

VICTIM – Framtid med hopp / Det var då han vann (Pang, 1982)

Swedish vocals

International relevance: *

Clumsy hard rock verging on heavy metal from Vimmerby in the county of Småland. Poorly rehearsed and with a horrible, insipid singer. The cover art is bad even for a Pang release. Very expensive these days, but that has definitely more to do with rarity grade than musical value.
 

 

HELIUM HEAD – In The Sky / Take Me Home (Pang, 1982)

English vocals

International relevance: **

One more Pang 45, and one of the better. The band was from the small town of Yxbo in the Hälsingland county in the middle of Sweden and might have taken their name from the Sir Lord Baltimore song. The guitars are a bit metallic but Helium Head is generally closer to good old fashioned hard rock. ”In The Sky” is really catchy, and while the 'B' side ”Take Me Home” is also very melodic, it's not as good as the other track – it's a little bit too poppy for the style. Still a pity they never released anything else, they had more talent than many other bands screwed over by Pang.

Released without a picture sleeve.
 

 

DREAD NOT – Reggae Inna Umeå (no label, 1982)

English vocals

International relevance: *

Reggae band of little significance. They came from Umeå as revealed by the single's title, and despite a prime time television appearance, nothing came of the band except this one self-released and self-produced 7”. The only member I recognize is drummer Jan Gavelin who was in Harald Hedning in the mid 70s. Closer to brit reggae acts like Aswad and Steel Pulse and not very close to Jamaica, the 'A' side ”This World” is OK albeit formulaic, while 'B' side ”Welcome Brother” is entirely forgettable.

Blueset no links found
Helium Head no links found
Okay Temiz full single playlist (Bandcamp)
Tiebreak full single
Victim full single
Röda Kapellet & Unga Gardet:
Västeråsvisan / Världsungdomssången (with Unga Gardet) / Unga gardet (with Unga Gardet) / Rätt till ett meningsfull artbete
Jajja Band:
Tårarna / Linda (Soundcloud)
Music Team:
Funny Way Of Livin'
Achilleus:
Allt vi begär / Öbergs präster
Full remixed single playlist
Dread Not:
This World / Welcome Brother 

AMBRA – Ambra (Symphilis, 2020; rec. 1975-1979)

 

Swedish vocals, instrumental

International relevance: ***

A symphonic quartet from Lidköping in the Western part of Sweden, existing from 1975 to 1979 but with only one single out, in 1977 on Anette, the same label Blåkulla were on. Both sides of the single ("Vandring" and "Scherzo") are here, but they obviously recorded a lot more than that – this archival disc is 80 minutes long.

Influenced by British symph rock bands, you can also spot traces from Kaipa. One blog reader described Ambra as a mix of Ragnarök and Atlas, and that's as accurate a definition as any. The synth sounds favoured by later symph bands are prevalent here supporting the fiddly guitars. They had a certain lyricism to their songs, but there's too much going on for any mood to properly settle – Ambra simply can't resist getting show-offy. I don't like the singer either; Michael Ellgren has a rather thin voice and sounds too much like a musicals reject.

Ambra indeed had ambitions and certainly some chops, but had they been a bit more economical about them, they wouldn't have become so overbearing.

Full album

THE ELEPHANT IN THE ROOM: PROGGLÅDAN

You've probably noticed I mention ”Progglådan” (="the progg box") every now and then. It might be a good idea to explain what it is for those who might not really know.

”Progglådan” is a 40 CD (!!!) box set released by the Swedish Radio in 2013, compiling tons of recordings mainly from their weekly Tonkraft show that ran for 11 years beginning in 1972. The show's forerunner was Midnight Hour in the late 60s. ”Progglådan” came in a slipcase containing four smaller boxes with 10 discs each housed in cardboard sleeves. The four smaller boxes are thematically organized. Box A has heavy rock and blues, box B features instrumental and experimental bands, original proggers and punk, box C is folk progg and singer/songwriters, and box D collects melodic rock. A fantastic testament to Swedish progg with the best recordings from Swedish Radio's vast archive of special sessions – or is it?

In reality, it's not as great as it looks at a first glance and nowhere near as great as it could have been. Compiled by Coste Apetrea who said he worked on it for three years as the project constantly grew. It's hard to believe he put three years into it. Had he said a month, I would take his word for it. It's so shoddily done that not only is it disrespectful to the people who forked out quite a sum for it when it was available, but also to the artists involved.

Several names are misspelt which is a big no-no for a credible presentation – don't you think so too, Cotse Arpetea? The liner notes are so littered with completely moronic spelling mistakes that it sometimes looks as if Cesto Paterea just hammered down his fingers on the computer keyboard at random. Did you know your computer has a spellcheck function? It's impossible to read them without getting furious at the carelessness, and some ”words” take some time to figure out what they're actually supposed to be. I know for a fact that at least one person offered his proof reading services for free before the the whole shebang went to print, but Swedish Radio ignored him and obviously thought that this exercise in aleatoric typing would suffice. (I've done some proof reading myself over the years, and I promise you I've never seen anything like this.) I once wrote a Facebook comment when some gala celebrating ”Progglådan” was to be held, complaining about the impetuous writing and I just got the response ”it's supposed to be like that”. Talk about adding insult to injury. I don't know if it was Secto Trepaea who replied, but NO, IT'S NOT FUCKING SUPPOSED TO BE LIKE THAT! Don't behave like a complete idiot who doesn't give a shit, and don't be proud of it! Thanks for your consideration.

The recording dates are too often wrong and insufficient. I thought Swedish Radio kept pedantic notes on session details, and if they do, then Tesco Repatae must have ignored them in favour of his own guessing game. I once did extensive research on the correct dates as far as possible, but I've unfortunately lost the document since and I just can't be arsed to do it all over again. Besides, it's not my bloody job to correct some ignorant fucker's deficient work. I don't get paid for it but I'm sure he did.

The editing of the recorded material is sometimes haphazard too. Several of the shows have songs cut from the original sessions and I can live with that even if its irritating, but sometimes a spoken intro to a missing song is left intact. It's like a glitch in the matrix. OK, it's a lot of material to listen through, but if you've worked on it for three years, then you should bloody well have the time to check if it's correct. Right, Tesco Eptarea? Otherwise, work on it one more year to make sure it's right.

 
You can always question the selection done for a compilation depending on your own taste, but some of the choices here are downright dubious. I know that Pugh Rogefeldt was asked to be included, but he failed to reply before deadline why the first disc is wasted on Cosmic Ray, a modern band recorded in Silence's studio in 2012 – not a Swedish Radio recording from the time ”Progglådan” covers, 1967-1985. I suspect this rushed decision has something to with Ocest Ptaaree being the producer of the Cosmic Ray recording... You see, he had a peculiar way of sneaking quite a few of his own recordings on here – De Gladas Kapell, Jukka Tolonen Band, Samla Mammas Manna (appear twice), Ramlösa Kvällar, and Cosmic Rays. It might not look much for a 40 CD box set, but no other musician is that extensively represented. And he never once spelled his own name wrong in the credits...

I don't know how royalties from the sales were shared, but I know – again for a fact – that less known bands weren't paid. And I know at least one musician who shall remain nameless was genuinely pissed off with the crappy presentation of the whole thing, telling me something to the effect of ”'Progglådan' will remain a kind of final statement but we'll have to live with this inferior release forever.' Exactly. This was a one-shot thing, and even though Eosct Aaeeprt at one point opened for a second volume, I doubt that will ever happen. This, I suspect, is what we'll get. A chance blown to produce something excellent and honorable for everyone involved. Including the fans, buyers and listeners.

This is why I've never reviewed ”Progglådan” in detail and never will. I don't think it deserves it. I will continue to mention individual shows in dedicated reviews when appropriate but I won't go through it disc by disc because it pisses me off every time I even look at it on my shelf. If you want to know what artists are included, check Discogs. Some of it is very good music, take your pick and check it on Youtube. Or borrow it from an unlucky friend who bought it and copy the stuff you like. Get it whichever way you prefer to get your stuff. It's your decision. Do what you will. Those responsible for it cared bugger all when it was compiled, so why would anyone care now what you do? If somebody objects, just tell them to send their written complaints to Octse Paertea, in two copies.

ZÜLFÜ LIVANELI – Complete Swedish albums 1975-1977

Turkish born but of Georgian descent, Zülfü Livaneli is a composer, author, poet and politican who made his album debut in 1973 with a selection of Turkish revolutionary songs. After being held in jail several times during the Turkish military memorandum in 1971, he went into exile in France, Greece, the U.S.A. and for a period in the mid 70s, also Stockholm, Sweden. Here he recorded two albums, plus contributing music for Bay Okan's 1975 movie ”The Bus” largely taking place in Sweden and featuring several Swedish actors.

 

Ballads Of The Thousand Bulls (YE.T, 1975)

Instrumental, other languages

International relevance: **

Recorded in the AV Elektronik studio in Stockholm, this album was also released in Turkey as ”Eşkiya Dünyaya Hükümdar Olmaz” with several artwork variations. Oddly enough, the original title has nothing to do with bulls but means ”bandits cannot rule the world” which is a much better title. Some songs are written by author Yaşar Kemal who later also became a Swedish resident for his political views. Most tracks are Livaneli compositions though, performed on various flutes and lutes and rooted in traditional Turkish music but with an intellectual bent. Livaneli has a rather mellow voice but a commanding delivery, and with the rich ring of the stringed instruments, the music is captivating and won't easily let go of your attention. ”Ballads Of A Thousand Bulls” is an elevated piece of work with a strong emotional vigour.

 

Merhaba (YE.T, 1977)

Other languages

International relevance: **

The second AV Elektronik session is similar to the first but has longer tracks and no instrumentals. The dominating piece is ”Şeyh Bedrettin Destanı”, the 14+ minutes track, almost symphonic in its construction, that takes up most of side 2 and ends the album. ”Ballads Of The Thousand Bulls/Eşkiya Dünyaya Hükümdar Olmaz” is an impressive work, but ”Merhaba” is even better. More stringent, more focused with Livaneli's voice really to the fore which can only be a wonderful thing. This music is humbling and affective on such a deep level. This music is enchanted.
 

Otobüs (Balet, 1977)
Instrumental, Swedish vocals
International relevance: **

The release date of Bay "Tunç" Okan's movie about Turkish immigrants illegaly immigrating to Sweden varies depending on where you look. Some sources say 1974, others 1975. According to IMDb, the Swedish premiere was delayed until 1980. The soundtrack was probably released in 1977 with a reissue following in 1978, both times in Turkey only. Livaneli appears by his two first names Ömer Zülfü only in the songwriter's credits, but he shares the score with one C. Vason. One of two vocal tracks was even co-penned by Rolf Hammarlund of Bättre Lyss and Göran Lagerberg!

The most out of place inclusion is a track by Maria Johansson, better known as Maria på torget (Maria in the square). She was a well-known and annoying character in Stockholm in the 70s and 80s, performing religious songs in the city centre on her electric organ and singing with a cracked and creaky voice to every passer-by not asking for it.

Being a soundtrack, it's not meant as a cohesively constructed album and so it isn't. Livaneli's parts are the best, but some of Vason's easy listening styled contributions detract too much from the experimental nature of the best bits. So very uneven as a whole, but not without merits.

Ballads Of The Thousand Bulls full album playlist
Merhaba full album playlist
Otobüs full album playlist 

EGBA – Live In 75 (no label, 2017; rec. 1975)

 Instrumental, Swedish vocals, other languages
International relevance: ***

A streaming-only release from EGBA's missing year between the first and second album. Professionally recorded at Bullerbyn, a music pub in the middle of Stockholm. with transitional line-up of Ulf Adåker, Ulf Andersson, Ahmadu Jarr, Bjarne Roupé, Harald Svensson, Göran Lagerberg and Åke Eriksson. It's closer in style to ”Live At Montmartre” from 1977, meaning a heavy African influence, but the kick-off track, the otherwise unavailable ”14 ton trotyl” is unusually heavy and the collection's high point. EGBA fans should really treat themselves to this obscure release.

Full album playlist (Spotify)

A SEVEN INCH SPECIAL, VOL. 5: Political and religious

THE VERGERS – Se dig för / Fader vår (Celesta, 1969)
Swedish vocals
International relevance: *

”Se dig för” is included on ”Frälst!” but B side ”Fader vår” remains uncomped. Not a very good one, weaker than the A side, so there's no need to look for this 45 if you have ”Frälst!”. This was the last of The Vergers' four singles.

 

FRIA PROTEATERN – Chile (Folksång, 1974)
Swedish vocals:
International relevance: *

Two tracks unique to this Chile solidarity single, although side one's ”Ett enat folk” is available in a live version on ”Koncert I København Okt. 1973”. Side B has ”IB, ÖB och SÄPO” about the political scandal described in some detail here. For Fria Proteatern fans only.

OPPONER – Alfa blues / Till min make (Opponer, 1975)
Swedish vocals
International relevance: *

Two tracks not on Opponer's full length album. ”Alfa blues” is exacrly that, a blues number of no particular merir, while ”Till min make” is a traditional tune with new lyrics by Opponer singer Anna Olofsson and bassist Mats Sönnfors. A much better song with that sweet melancholy typical to the best Swedish folk tunes. Released with the aid from the workers at pump facorty Alfa Laval.

ELEVER PÅ MUSIKLÄRARSKOLAN SÄMUS I GÖTEBORG / FRIA PROTEATERN – Vietnam Kambodja befriade (Befria Södern, 1975)
Swedish vocals
International relevance: *

As the Vietnam war ended in 1975, so did the stream of releases from De Förenade FNL-grupperna and their cohorts. This was the last of those, a three track EP split between Fria Proteatern and Elever på musiklärarskolan SÄMUS i Göteborg (students at the Gothenburg school for music teachers). Released to celebrate the war's end, it's typical political stuff very much in line with the other Vietnam albums and singles, and so best ignored. Fria Proteatern's ”Balladen om Rune Henry Johansson” is also on ”Sånger från ljugarbänken”.

BJÖRN AFZELIUS BAND / NATIONALTEATERN – Kamrater, Bodenarbetare / Rädda varven! (Nacksving, 1978)
Swedish vocals
International relevance: **

Two exclusive tracks, one by Björn Afzelius Band and one by Nationalteatern. Afzelius's ”Kamrater, Bodenarbetare” is in support of the strikers at Boden's car factory in 1978. It's a pretty good track with slight folk rock shadings, good especially for Björn Afzelius. Nationalteatern's ”Rädda varven!” is a call to save the Gothenburg boatyard threatened by shutdown which eventually happened. A weak track in an undistinguished Gothenburg/Nacksving rock style.

EN RÖD KÖR OCH SÅNGGRUPPEN DEN MÄNSKLIGA FAKTORN – Säj nej! (no label, EP 1980)
Swedish vocals
International relevance: *

A privately pressed single released in 1980, the year of the Swedish nuclear power referendum and has anti-nuclear message. It has two acts, the choir En Röd Kör and vocal folk group Den Mänskliga Faktorn, although it's hard to say if it all involves the same people. Acoustic as it is it could easily fall into the Fria Proteatern trap but there's something very charming and disarming about the unpretentious atmosphere. The rock & roll pastiche ”The Sysselsättning Rock” is pretty terrible but the other songs are in fact rather catchy. Well, perhaps I wouldn't call the title track exactly catchy, but it's a quite atmospheric adaptation of a Czech herding song. It's nothing I would particularly recommend, but I've heard far worse and way more self-important examples of political songs than these.

The Vergers:
Se dig för (Bandcamp)
Fader vår
Fria Proteatern:
Ett enat folk (El Pueblo Unido)
IB, ÖB och SÄPO
Opponer:
Alfa blues
Till min make
Vietnam Kambodja befriade:
SÄMUS - Vietnam är befriat
Fria Proteatern - Balladen om Rune Henry Johansson
SÄMUS - Kambodja är befriat 
Björn Afzelius/Nationalteatern:
Björn Afzelius Band - Kamrater, Bodenarbetare
Nationalteatern - Rädda varven!
En Röd Kör och sånggruppen Den Mänskliga Faktorn:
no links found

FLÄSKET BRINNER – The Swedish Radio Recordings 1970-1975 (Mellotronen, 2003)

 Instrumental, English vocals
International relevance: ***

The Mellotronen label has a long history of impressive reissues. Their ability to dig up forgotten recordings and unissued material of some of the most stellar Swedish 70s bands is almost unrivalled. But of all the great stuff they've released over the years, this is still their most impressive effort, in size as well as to content. Four CDs of radio shows from Fläsket Brinner's golden era, with some portions never even aired back in the day. One show from 1970, two from 1971, and one from 1975. The sound quality ranges from good to excellent and in both mono and stereo. Also several songs not available on any of their other albums. 

The 1970 disc was recorded two months before the earliest recordings on their eponymous milestone of a debut album and is brimming with all the youthful energy a newly formed band can offer. At this point, few had heard Fläsket Brinner, and even if only one song from the session was broadcast, it must have made a lasting impression on all who heard it on the radio. Their vision was clear in their minds already from the start, well structured, but they sound loose in a way they no longer do on the two 1971 sessions. That's not meant as criticism; on the contrary, the boldness of the performance is highly value in itself.

With the addition of Bo Hansson, Fläsket Brinner had become a tighter unit as proven by those 1971 dates. The October recording is as close as they ever got to 1968 The Mothers Of Invention, even on Bo Hansson's ”Sagan om ringen” medley and the three Maffy Falay compositions/arrangements.

The December set has again a different feel, less ”underground” and closer to jazz rock (in the most positive possible sense). If the other 1971 set is The Mothers 1968, this is much more ”Hot Rats” Zappa, but more open and spontaneously explorative. This show also has the greatest style span as exemplified by a very touching ”Gånglåten” being contrasted to a for-the-hell-of-it cover of ”Red River Rock”!

Fläsket Brinner didn't quit until 1981, but not too many post-1972 recordings have surfaced, why the last disc of the Mellotronen set is particularly revealing. ”Grasse” is definitely jazz fusion, but in the moodier moments, such as ”Kinaspel” and the reflective version of Mort Garson's ”Acquarius”, they have a lot in common with Ragnarök. It's my least favourite of the four CDs here but as a token of Fläsket Brinner's constant forward motion plus being a document of an underdocumentet period of the band, it's most valuable.

Taken together, ”The Swedish Radio Recordings” is a powerful testament to how Fläsket Brinner evolved over the years and what made them so great. Few bands were as adventurous and skilled without sacrificing passion and emotion as they were, and few could extract so much energy from their own music as they could. Needless to say, this is an absolutely essential collection.

Full album playlist

BJÖRN ARAHB – Björnspår (YTF, 1973) / Svantes visor (YTF, 1975) / Visor ur klyvnadens tid (YTF, 1980)

The remaining three Björn Arahb albums released under his own name up to 1980. His recorded output is fairly slim compared to others from the golden era of Swedish troubadours with only a handful of albums including a couple made with other artists. Feautured in ”The Encyclopedia of Swedish Progressive Music”, although only one of his albums has progg bearings, the previously reviewed ”Jag är en bekymrad socialist”.

Björnspår (YTF, 1973)
Swedish vocals
International relevance: -

Starting out as short film maker in the 60s, Arahb turned to a musical career in the early 70s. His debut album appeared in 1973, a collection of thirteen fairly short songs revealing a clear inspiration from highbrow troubadour Olle Adolphson. Very dated.

Svantes visor (YTF, 1975)
Swedish vocals

International relevance: -

A full album of songs written by Danish poet/songwriter Benny Andersen translated by top troubadour Cornelis Vreeswijk. The songs were originally performed by Povl Dissing, best known internationally for working with fellow Danes Beefeaters and Burnin Red Ivanhoe. Dissing's similarily titled original album isn't too great, but it still has a lot more character than Arahb's sterile version of it.
 

Visor ur klyvnadens tid (YTF, 1980)
Swedish vocals
International relevance: -

Following a collaborative album with Monica Nielsen, ”Visor ur klyvnadens tid” was Arahb's last album in almost two decades. This time with lyrics by proletatian author Ivar Lo-Johansson, but there's really nothing to set it apart from Arahb's other albums. The tone has the same kind of preciosity as ever before, and it hasn't become any less grating. Arranged by Thomas Frykberg.

Björnspår full album playlist
Svantes visor full album playlist
Visor ur klyvnadens tid full album playlist