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 prmoise 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 payed. 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

GÖSTA LINDERHOLM – In kommer Gösta (Metronome, 1973) / Göstas skiva (Metronome, 1975)

Anyone familiar with Gösta Linderholm (and that includes just about every Swede of a certain age or inclination) surely wonders if I've lost it completely by including him here. He's something of a laughing stock found in every charity shop bin across the nation. I doubt many people take him seriously, and he actually has himself to blame after the dreadful mega hit ”Rulla in en boll och låt den rulla”, a 1978 faux cajun song that plagued the airwaves here for an eternity. And me, I never once thought he'd be something I'd offer any progg blog space. Until I took a closer look at his first two albums, that is.

In kommer Gösta (Metronome, 1973)
Swedish vocals
International relevance: *

After an early career with trad jazz band Sveriges Jazzband (best known for their 1970 song ”Brittas restaurang”), Gösta Linderholm made his solo debut with an album taking its title from a Philemon Arthur & The Dung song. He immediately established himself as a happy-go-lucky troubadour with a warbly voice. But, hang on – is that tablas in opening track, the droning ”Herr Fantasi”? It is indeed, played by Jan Bandel. And there's Björn J:son Lindh in his best ”Ramadan” mode. ”Påtalåten”? Yes, an Ola Magnell cover recorded the same year as Magnell's own 45 version. And that bassist Stefan Brolund, wasn't he in Pop Workshop and later EGBA and Oriental Wind? He was.

”In kommer Gösta” isn't a great album and rather typical Metronome label singer/songwriter fare along the lines of the aforementioned Ola Magnell and, for better or for worse, Marie Bergman.
But it nevertheless shows that there was a wee bit more to Gösta Linderholm than he gets cred for. 

Göstas skiva (Metronome, 1975)
Swedish vocals
International relevance: *

Not surprisingly, both Magnell and Bergman pop up on Linderholm's second album along with Thommie Fransson and, again, Björn J:son Lindh. The style is similar to the debut but with a few better songs and slightly darker shades, as on ”I natten” and the Magnell/Linderholm co-composition ”Kom liv”. I remember "Herr Fantasi” from my radio listening childhood days, so I have a certain nostalgic relation to that particular track. But the best track here is the album's most unexpected inclusion.

Guitarist Finn Sjöberg appears prominently on the album and that might explain Kvartetten Som Sprängde cover ”Gånglåt från Valhallavägen”. Originally an instrumental track but here with added Linderholm lyrics, and I can promise there's nothing else in his ouvre to prepare you for this. It's a bleak, actually apocalyptic depiction of a winter's day in Stockholm, soaked in alienation, internal turmoil and impending chaos. Junkies are dying in the streets and a hysterical Lady Luck screams out in agony. This track is truly a lost progg gem hidden in plain sight.

Linderholm made many albums after these two, some of them with credible musicians helping him out such as Kebnekajse's Mats Glenngård on ”Blå ballader & gröna demoner” from 1977. Some of them even have a half OK track or two, but there's really no point in getting into them in detail. A thumb rule is that the later it gets, the more Linderholm lived up to his own caricature.

In kommer Gösta full album playlist
Göstas skiva full album playlist

LEE SCHIPPER – Phunky Physicist (CAM, 1975)

Instrumental
International relevance: **

Now here are some peculiar turn of events! Lee Schipper was an American physicist specializing in energy efficency research and considered something of a pioneer on climate issues. He was also a vibraphonist and recorded an album in 1973 with Swedish musicians Stefan Brolund, Ola Brunkert, Christer Eklund, and thick-as-thieves couple Schaffer & J:son, plus Americans Art Lande on piano and Ted Curson on trumpet, and produced by Swedish big band leader Lasse Samuelsson. The album, appropriately entitled ”Phunky Physicist” was originally only released on Italian library music label CAM in 1975 before eventually getting a Swedish reissue on Four Leaf Clover two years later with new title ”Jazz Meeting 1”. Later yet it appeared as a digital release expanded with two bonus tracks, one with the eyebrow raising title ”LSD Takes A Holiday”.

I'm not a fan of the vibraphone; it's too close in sound to steel pans and there's something about it that makes me restless. A personal thing for sure, but even without the vibraphone, the album isn't too thrilling. It's all very competent but also very dutiful, going through the motions without much excitement. It leans towards fusion jazz but without becoming a fully fledged fusion album of the most formulaic kind. The track ”Still Life” moves in a silent way (if you get the drift) and is one of the best ones on the album. Apart from that, it's Jan Schaffer who gets to shine the most here, going crazy in opening number ”Phunky Physicist” and ”Harvest Machine” (also found on Schaffer's debut LP in a tamer version). ”LSD Takes A Holiday” is unfortunately not as strange as the title might lead you to believe.

So the album has some OK moments, but the somewhat odd story behind it is much more interesting than the album itself.

Full album playlist with bonus tracks

RENA RAMA – Live (Organic Music, 1983; rec. 1975)

 
Instrumental
International relevance: ***

Recorded with the second Rena Rama line-up with American Leroy Lowe on drums instead of Bengt Berger who left after their first album. Not released until 1983 on Urspår's sublabel Organic Music, but taped live at Stockholm's premiere jazz club Fasching one winter's evening in 1975. The other Rena Rama albums are mostly OK but not really top shelf material to my ears; it always sounds to me as if they hold something back. That's not the case here. Housed in a beautiful cover, ”Live” bursts with free jazz energy, especially Lennart Åberg who blows his saxophone harder than I think I've ever heard him blow before while Bobo Stenson attacks his piano with a fervour that from time to time makes me think of Cecil Taylor. Leroy Lowe is everywhere but bassist Palle Danielsson follows his every step. There's a sizzling energy even in the softer passages, as if they just wait for the next blowout that will come any moment. Some might think ”Live” is just a complement to the regular Rena Rama albums, but I think this is their absolutely finest moment on record. Essential!

Full album playlist

OKAY TEMIZ TRIO – Turkish Folk Jazz (Sonet, 1975) / ORIENTAL WIND – Zikir (Sun, 1979) ORIENTAL WIND – Live In Bremen (JARO, 1982) / OKAY TEMIZ'S ORIENTAL WIND – Live At Montreux Jazz Festival 1982 (Caz Plak, 2022)

Okay Temiz's albums are sprinkled all over this blog, but this post fills in the gaps in his discography up to 1982. It's a rather voluminous body of work, and if you count the albums with him only as a sideman, it becomes unfathomable. But I always take a closer look on an album with his name on it. His name is a stamp of approval. If he's there, it can't be all that bad.

OKAY TEMIZ TRIO – Turkish Folk Jazz (Sonet, 1975)
Instrumental
International relevance: ***

What could possibly go wrong with a title like that? Nothing, and nothing does either. It's recorded as a trio with Swedish jazz legend Björn Alke on bass and Temiz's fellow countryman Saffet Gündeger on clarinet (plus multiple arrangements signed Maffy Falay although he doesn't appear on the album in person). Temiz's Turkish roots have an even stronger emphasis here than on several of his other albums, and the melodies and harmonies get to fly high and free within the smaller trio format. It also means there's more room for Temiz's drumming, and he's really going for it here. He plays in all directions at once, wide and deep, high and low, and right at you. Truly musical drumming, and Gündeger finds his way around the drummer's thunderous tumble. He blows his instrument so hard as if his life depended on it, making wild runs like the clarinet's Coltrane. Even Björn Alke, anything but a bass bungler, gets overshadowed by the Turkish typhoon of sound. It's as if he knows he better stay out of the way and keep the pulse going elaborately but without trying to show off. A one hundred percent stunning album.

ORIENTAL WIND – Zikir (Sun, 1979)
Instrumental
International relevance: ***

The release history of ”Zikir” is a bit complicated and I'm not going to get all tangled up in trying to explain which release is which and what songs are on which edition, as the CD reissue on Ada Müzik sets everything straight in terms of songs included. The picture above shows the album cover used for most early European releases.

This is a very different beast to ”Turkish Folk Jazz”. With more musicians involved, the arrangements are more rigid. There are still room for improvisation of course, but there's nothing here that can match the fury of ”Turkish Folk Jazz”. There's also something about the sound that breathes jazz fusion air, a sort of smoothness that I think is too much out of place for this music. I can just imagine what a smaller band and a more sympathetic production would have done to the outcome. Still there are entertaining moments, such as the wacky ”Kabak Tatlısı” which sounds as if they played a jew's harp through a wah-wah and then added drunken ducks on top of it. But as a whole, ”Zikir” stands as one of the weaker Temiz efforts.

ORIENTAL WIND – Live In Bremen (JARO, 1982)
Instrumental
International relevance: ***

This 1981 recording from the Packhaus Theater in Bremen opens with ”Batum”, a throwback to Temiz's Sevda days although Lelle Kullgrens electric guitar gives it a very different vibe. I don't like his playing at all. But to be honest, I don't think Oriental Wind had a good evening back then in late October 1981. The music sounds strained (very unusual for a Temiz album!) and tense in a bad way. It's almost as if there was something worrying them, as is they had something else on their mind and tried to make up for the missing spark with force. Some moments here are better than others, but I miss the natural flow and telepathy between the musicians most of the time. And flow and telepathy are crucial for this music to work.

OKAY TEMIZ'S ORIENTAL WIND – Live At Montreux Jazz Festival 1982 (Caz Plak, 2022)
Instrumental
International relevance: ***

Ah, now we're talking! Forty minutes of top range Turk jazz action! Still guitar in the mix, but Lelle Kullgren is out and Stefan Osterberg is in and he's much more responsive to the moment, firing off some almost Terje Rypdal-like salvos that hit exactly where they should, But everybody's on the same page here, effortlessly striving in the same direction, thinking with one unified mind. This Montreux show, left in the vaults for a baffling forty years, is the exact opposite of the stifled Bremen date. It's all about the collective efforts, but every musician needs to be mentioned by name as they all play on their absolut top. Lennart Åberg moves like a panther in his death defying guerilla sax solos. Palle Danielsson is freaking insane on the bass, playing stuff that I thought was humanly impossible. He's almost like an orchestra in itself! Bobo Stenson's piano and keyboards might seem a bit tame in comparison, but although he fires away some dazzling keyboard runs, his main role is being the glue that keeps it all together, filling out whatever musical spaces need to be filled The ensemble play is out of this world, it's more than telepathy – they're tight as siamese quintuplets. No need to hold it back: Of every album I've written about here – and we're talking thousands of albums – this album is among the very, very, very best.

Turkish Folk Jazz full album
Zikir full album playlist (CD version)
Live In Bremen full album playlist
Live At Montreux full album playlist (Bandcamp)

KLARA EXPRESS – 1975 (no label, 1975) / WASA EXPRESS – Live At Jarlateatern 1976 (no label, 1976)

Instrumental
International relevance ***/***

The seeds of Wasa Express were already in the ground by 1975, although their debut album wasn't released until 1977. They recorded an LP's worth of material as Klara Express in 1975 in the legendary Decibel studio in Stockholm where myriads of albums have been recorded. If these recordings were made as demos or if they were in fact intended for release I don't know, but they remained locked away for decades before getting a digital-only release.

Klara Express was a very different-sounding band than when turning into Wasa Express, and this incarnation featured EGBA trumpeter Ulf Adåker and trombone player Nils Landgren who both left early on. They were obviously a balancing force in the band, as those Klara Express tapes top everything made after their departure. Instead of the daredevil gymnastics that make Wasa Express such an overbearing band, Klara Express focused on the groove. Åke Eriksson is a drummer well-known for his skills, and here he pulls out every funky trick in the book to great success. The syncopes blare away with precision but also all of the feel it takes to make it swing, groove and funk. It's fusion music alright, but it's in the higher legion of jazz funk, much better than most albums in the same mould. It's a pity these recordings weren't released back in the day, and even greater pity what the loss of Adåker and Landgren did to the band.

”Live at Jarlateatern 1976” is an early document of Wasa Express, and while it still has remnants from their early Klara characteristics, they were already heading for their typical style where it was more important to dazzle and baffle the audience with instrumental acrobatics than to present something with emotional substance. And even in those moments where they emphasize the funk bits left over from the Klara Express days, it sounds dull and calculated. ”Jarlateatern” isn't quite as terrible as their later properly released albums, but it's still dead boring and clinical.

None of these albums have been released physically. Both of them were originally available for free download from Åke Eriksson's website, but are now available for streaming on the regular platforms.

Klara Express full album playlist (Spotify)
Live At Jarlateatern full album playlist (Spotify)

LARS ”LACH'N” JONSSON & MATS JONSSON – Asken Yggdrasil (Bauta, 2012; rec. 1974-76)

Instrumental
International relevance: ***

A really lovely album recorded in the mid-70's but not mixed and finished until 2020. Not only is it a wonderful and unexpected blast from the past, it's also a missing piece of the Zut Un Feu Rouge and Ur Kaos puzzle. Both bands featured/features prime mover Lars ”Lach'n” Jonsson, a multi-instrumentalist but most of all drummer who also released a series of art rock solo albums in the Rē Records ilk.

Those familiar with the postpunkish RIO stylings of Zut Un Feu Rouge or the Zeuhlish assault of Ur Kaos will probably be surprised by the relative pastorality of ”Asken Yggdrasil”. I can't put it any better than what Lach'n Jonsson does himself: ”The music was created under the influence of records such as Bo Hansson – 'Lord Of The Rings'; instrumental, melodic music with a touch of old folk traditions and a Nordic atmosphere. Old Norse mythology became the theme for a musical suite, where the predictions of the Voluspa gave the motifs to form an instrumental tale.” That's exactly it!

Some tracks, all of them instrumental, are even downright romantic, such as the short piano piece ”Soluppgång” (”Sunrise”) and ”Urd, Skuld och Verdandi” (”Urd, Skuld and Verdandi”, the names of the norns that control the fate of humans in the Norse mythology). The Bo Hansson influence comes sweetly to the fore in ”Midgårdsormen” (”the snake of Midgard”) and ”Valhall” (”Valhalla”). A track like ”Ragnarök” (the twilight of the gods) in turn points toward Lach'n Jonsson's future in the abovementioned bands, with quirky rhythms and almost symphonic epicity.

Why it took until the early 10's to see this album mixed, edited and mastered is beyond me. Had it been released shortly after it was recorded, this would be heralded as a fullblown classic of the era. Well, it still is – it's just that very few people know it. Instead of wasting immodest sums of money on so called 'collectable albums” of inferior symph rock, you could get ”Asken Yggdrasil” for basically small change, and get a wonderful little album too.

Full album playlist (Bandcamp)

BERNDT EGERBLADH - Nybyggarland (Sonet, 1973) / Kristallen den fina (CBS, 1975) / African Suite (Sonet, 1976)

Swedes of certain generations probably remember Bernt Egerbladh hosting a couple of TV series in the 70's and 80's, in which he interviewed other people and remembered his own past. Perhaps it would surprise those that Egerbladh makes an appearance here on this blog.

He was a noted jazz pianist long before the TV series with a discography going back to the early 60's. His debut on record came in 1962 with ”Fanfar!”, an album split with Lasse Lystedt Quintet. Egerbladh favoured a lyrical tone in the Jan Johansson tradition, but he also harboured pronounced modernist leanings early on, as demonstrated on the 1965 title track from ”Schizo”, his first album of his own. His solo output is surprisingly slim, but he was a beloved session musicians, playing on records by and/or writing music for Doris, Gimmicks, Heta Linjen, Ann-Kristin Hedmark, Rune Andersson, James Hollingworth, and Lill Lindfors. Some of these names may not mean much to a non-Swede, but they present a wide span of musical styles and interests. One of his best known tracks is ”You Never Come Closer” on Doris's sole album, a magnificent slice of uneasy fringe psychedelia. Considering his variety as songwriter as well as performer, this progg blog feature may not be that surprising at all. Egerbladh – who died in 2004 – was a curious explorer happy to take part in projects way outside the jazz world that fostered him.

Nybyggarland (Sonet, 1973)
Instrumental
International relevance: **

With all the tracks adapted from folk tunes of Northern Sweden, it's easy to see ”Nybyggarland” as a modernization of sorts of Jan Johansson's massively successful ”Jazz på svenska” released almost ten years earlier. But ”Nybyggarland” has a wider sound palette with Ulf Andersson (EGBA, Feta Heta Linjen) and Ahmadu Jarr on congas. The album starts out cunningly straight, but by the third track ”Vaggvisa från Norrbotten”, things are getting slightly strange. A foreboding organ creeps into one channel, a cembalo sounding instrument searches tinkling for a home in the other. About halfway in, the piano goes off into unpredicted terrain, as if it breaks free from the melodic centre and breaks up into modal streams. 

The melody of the title track is more like a suggestion of what to come, and soon gives way for a bass riff that establishes a strange moving rhythm building up to a mysterious, almost Arbete & Fritid-like bounce. The albums really goes off the rails with the next track ”Ja, kom då!” where Ulf Andersson's flute leads the way into a gurgling, pulsating and flat out trippy haze deepened by Egerbladh's druggy organ competing with his almost Mwandishi-styled electric piano. The album sort of withdraws a bit after that, but it has one surprise left, ”Hjortronmyren”, with a simple and persistent horn riff fleshing out Ahmadu Jarr's conga beat.

There's nothing bad on this album, but had the entire disc been like those three tracks I've singled out, this would have been a full-on masterpiece. Now, it's a good, maybe even great, album with some truly out-of-the-ordinary moments.

Kristallen den fina (CBS, 1975)
Instrumental
International relevance: **

”Kristallen den fina” works as a sister volume to ”Nybyggarland” insofar it's built around Swedish traditional tunes; only two tracks are original compositions but they retain a very folky feel and thus slip seamlessly into the program. The title track will be familiar to some readers as both Harvester and Made In Sweden used the melodic theme to their own ends. This version features what may sound like Jojje Wadenius singing along with his guitar in his typical fashion, but the guitarists here are Jan Schaffer and Jan Tolf (Egba, Häxmjölk). ”Barkbrödlåten” in turn is one of the high points on Kebnekaise's second album, and it's a stand-out also in this collection, largely because of Schaffer's really freaky guitar work. (Or is it Tolf messing about? Hard to tell, but it sounds more like something Schaffer would do.) It's also the track in this collection most likely to appeal to the average progg listener. Apart from that track, this album isn't as bonkers as the best stuff on ”Nybyggarland”, but it's a highly enjoyable album with very fine solo and ensemble playing. The folk material is strong and typically melancholic, and well suited for the careful jazz treatment represented here.

African Suite (Sonet, 1976)
Instrumental
International relevance: ***

Anyone expecting more of that bittersweet wistfulness of the two previous albums will be sorely disappointed with ”African Suite”. As the title say, this time Egerbladh looked to Africa for inspiration. It's a far more rousing experience than any of the preceding albums, and it's also the one overall closest to progg if you by progg mean Archimedes Badkar, Bitter Funeral Beer Band and Spjärnsvallet. (Christer Bothén's 1983 ”Trancedance” album with Bolon Bata also leaps to mind.) This demanded a larger ensemble, so Egerbladh drummed up an all-star line-up including several progg celebrities such as Ahmadu Jarr (again), Stefan Brolund (Egba, Oriental Wind, Pop Workshop), Lennart Åberg (Rena Rama, Häxmjölk, Bengt-Arne Wallin), and Malando Gassama (Ablution/Baltik, Häxmjölk). ”African Suite” is, for some reason, more cohesive than the other two in this trio of albums, which isn't to say it's at all samey -- on the contrary, it's a varied collection of tracks. The two I like the most are also the two most jubilant ones, ”Welcome To The Gambia” and ”Fire Dance”. Well, maybe I should mention the forceful ”Worksong” too, with its compelling beat constantly pushing forward relentlessly. But there really aren't any weak moments here. It helps though if you already like the African leanings of the abovementioned bands. If you do, this will be a nice discovery if you haven't heard it already.

Nybyggarland full album playlist
Kristallen den fina full album playlist 
African Suite full album playlist