A SEVEN INCH SPECIAL, VOL. 13: FRINGE PROGG

 
BRUNO WINTZELL
Idag sköt jag ihjäl en okänd man / Du och jag – en kärlekshistoria (Polydor, 1970)
Balladen om Joe Hill / Som en seglande mås (Polydor, 1971)
Swedish vocals
International relevance: *

Roger Cook's ”Today I Shot A Man I Didn't Know” proved very popular when translated by Hawkey Franzén. There are four Swedish versions from 1970, that I know of, but there might be even more hiding away somewhere. The antiwar message was of course perfectly in tune with the times with the mindless Vietnam war raging like a tameless beast so loud the entire world could hear it. Actor (known for his role in ”Hår”) and singer Bruno Wintzell must have found it irresistable to record it as it's a perfect song for his voice and rather haughty vocal style. Vocally speaking, the best Swedish version is probably Tommy Körberg's, but the arrangement and the production is more to my taste with Wintzell. Still, the calculated maudlinness of the song is always overbearing. The sound and arrangement is what's best with the flipside as well. ”Du och jag – en kärlekshistoria” isn't progg but nice (if you like that kind of stuff) albeit undistinguished orchestral pop lacking the necessary distinctive features.

"Balladen om Joe Hill" was originally known as "I Dreamed I Saw Joe Hill Last Night", and was first recorded in Swedish by Fred Åkerström. That one and "Som en seglande mås" (which is Leonard Cohen's "Bird On A Wire" in Swedish) are country tinged but both of them are pretty terrible, with Wintzell taking himself even more seriously than usual.
 

VARIOUS ARTISTS – Jukebox JSEP 5601 (Jukebox, EP, 1970)

Featured artists: Tommy Körberg / Mike Castle / November / Diddlers

 English vocals, Swedish vocals

International relevance: *

The so called Jukebox EPs were a long running series of budget compilation seven-inches known for mixing completely unrelated bands and artists, usually four at a time. They're in low demand as most of the tracks chosen for the EPs were taken from already existing releases. This one here is an exception, as blues artist Mike Castle's ”Walkin' Blues” was unavailable elsewhere at the time. It's a not very imaginative rendition of Robert Johnson's classic and was later added as a bonus to the digital reissue of Castle's lone (and Peps related) album ”Kaligyga Express”, also from 1970. But this is the only place to get it on vinyl, why I mention it here. The others are non-exclusive tracks by November, Diddlers and Tommy Körberg..
 

BJÖRN JANSON – Det är skönt / Sommar i en skärgård (no label, 1976)
Swedish vocals
International relevance: *

Apart from music, Björn Janson was a boat designer and a restaurant owner, and he released this single at his own expense. The B side is pure dross, a nondescript piano ballad I wish a long and painful death, but ”Det är skönt” has some nice features of which the soaking reverb isn't one. It's certainly on the commercial side, but the fake funky drive is pretty catchy, and it has some semicool and semiheavy guitar passages which unfortunately are too short. You could probably remix ”Det är skönt” and bring a better track out of it, but I suppose the master tapes are long gone. Probably very rare, but I suppose nobody wants it and that most likely includes you too.

ENVOYS – Kräv Bryggeriet kvar / Så svårt (Marilla, 1976)
Swedish vocals
International relevance: *

Envoys were more than anything a pop band, having started already in 1964 (then with future journalist and TV personality Robert Aschberg as a singer). Their first single appeared on MNW in 1969, a cover of The Beatles' ”I Saw Her Standing There”. Their best known track however is ”Almarna åt folket”, a translation of John Lennon's ”Power To The People” released in support of those who fought for the preservation of the elm trees in Stockholm in 1971. The next single had David Bowie cover ”Starman” on the 'A' side, which was followed by their second charity single ”Kräv Bryggeriet kvar” in 1976. Bryggeriet's full name was Münchenbryggeriet (=”the Munich brewery”) and was built in the 19th century. From the early 1970s, it was a node for various cultural activities, but the powers in charge wanted to tear it down and make room for a new housing area. It caused an outrage with the people, and the protesters against the teardown included several well-known musicians, actors and writers. As in the case of the elm battle, the authorities eventually backed down and Bryggeriet was spared. Envoys' call to arms isn't as powerful as their Lennon interpretation from five years earlier. ”Kräv Bryggeriet kvar” is fairly rocking, especially in the choruses, but it doesn't have the same punch, coming across like a mix of Björn Afzelius and Nationalteatern. The 'B' side is a sappy ballad that sounds more like teenybopper singer/songwriter Ted Gärdestad than a progg band, revealing Envoys' true commercial nature.

 

GOG – The Beatless E.P. (Magog, 1979)
Instrumental
International relevance: *

Not only fringe progg, but on the fringes of everything. Gog was a one man project by Gothenburg's visual artist and musician Dan Fröberg. Gog's self-released EP is basically an abstract sound sculpture in four parts with fractured musique concrète characteristics. It's not without artistic merits, but it's best suited for adventurous listeners accustomed to prototypical tape music and primitive EAM. Might interest those who consider Imp.Ink, Psynkopat and Friz Be too mainstream... Some, perhaps all, copies had extra, off-centre, hand-carved spindle holes so you could choose between a regular playback and a wowy one. 500 copies were pressed, some came with a picture sleeve and an insert. A rare item today, sometimes fetching €100 on the collectors market.

TOMAS BERGH – Upp till kamp / Oh... tryggare kan ingen vara (Frituna, 1979)
Swedish vocals
International relevance: ?

A very peculiar single with no clear target audience. Because who would possibly want a disco version of ”L'Internationale” in five different languages? Studio 54 strings, perky horns, cheesy basslines and a high BPM number – huh?! And a deconstructed punk version of the hymn ”Children of the Heavenly Father” on the B side?! I mean, what the hell is really going here??? It's obviously tongue-in-cheek but it's still so bizarre and absurd that I dare say that you've never heard anything quite like it before and never will again unless you play it a second time. And you might as well want to, just to figure it out.

I've no idea who Tomas Bergh was, if it even was his real name, but the guys backing him up were sessions musicians including Anders Eljas who thought up the concept. Eljas was a music conservatory graduate who worked with opera singers as well as pop stars (he played keyboards on ABBA's 1977 world tour for instance); he orchestrated the ”Chess” musical; produced stage shows for Povel Ramel (Mikael's dad), and conducted the London Symphony Orchestra during a Hyde Park show featuring guest stars like Kylie Minogue, Jamie Cullum, Lulu and Chaka Khan – to mention just a few things he's done. But I still think this very single must be the most askew thing he ever did. Do I like it? Not at all, but I'm intrigued by it. 

It was also issued as a 12” with an extended disco mix of the A side. Burn, baby, burn!

MAKE UP – Hot Love Street / My First Love (Wave, 1980)
Swedish vocals
International relevance: - 

Included here more as a warning. Make Up are often classified as a hard rock band, but there are not many features on this single to back up such an assertion. ”Hot Love Street” is a really terrible discofied pop rock track while ”My First Love” is a sappy ballad where the singer's linguistical and vocal shortcomings really come to the fore. A full length album followed in 1981.

DYNAMO VARBERG – Ayatollah Khomeini / Anwar Sadat (Nacksving, 1980)
Swedish vocals
International relevance: **

Dynamo Varberg made their debut with a very rare cassette-only album called ”Filiberts höna” in 1978. The 1980 single at hand is a fairly elusive Nacksving release with two songs taking a clear leftist stand against Middle Eastern dictatorship and oppression, with an additional stab at Sweden's then rightwing prime minister Gösta Bohman, like Rävjunk did on their legendary ”Bohman Bohman” single. The music itself has in fact a wee bit in common with Rävjunk's more rock oriented style. It's not as punkish, but Dynamo Varberg had a similar sleazy vibe. There's some biting guitar playing including wah-wah going on, and the songs are quite good – especially ”Anwar Sadat” where singer Björn Spåls also manage to sound a bit like Eldkvarn's singer Plura Jonsson. The worst element is the sitar on the A-side which sounds as if it was played by a stoned-out Edward Scissorhands. Apart from that, this quite appeals to me, and it's certainly one of the more vital releases on Nacksving.

CALCUTTA TRANSFER

Mannen (som på tunnelbanan sket) / Howrah Station (Mistlur, 1980)
India Waits (Mistlur, 1981)

Swedish vocals
International relevance: **

If Calcutta Transfer hoped for any radio play with their first single, they probably shouldn't have named it ”the man who shat in the subway”, so a lot of people probably missed the lyrics' environmental worries. Like almost everything coming from the Transfers, ”Mannen (som på tunnelbanan sket) is outlined from Dag Vag, more precisely ”Ogräs” from their debut album. It's still one of the Transfers' best songs. The clavinet sounds like a spider tapdancing on a hot hob. It's either bloody annoying or oddly effective depending on your mood. ”Howrah Station” isn't their typical reggae but closer to disco. It was a live favourite apparantely, and I can imagine they could stretch it out with plenty of Kenny Håkansson styled guitar soloing on stage, but here it's as dull as yesterday's pasta leftovers.

Their second single is called ”India Waits”, but there's no track here by that title. Both songs are non-album tracks, and the Dag Vag influence is intact. The 'A' side ”Plus minus noll” is a fast paced ska track with a debt to pay to Dag Vag's ”Glappkontakt” but the 'B' side ”Fet guru” shows more originality. It's a slightly spacey track with a rock beat, thick layers of tasty organ and soaring guitars. The band whips up quite some energy the longer it goes on, and it stands out not only as one of their proggiest efforts but also one of their very best.

PAJ VAJ – Med hacka och spade / Flum e dum (Bums, 1980)
Swedish vocals
International relevance: *

It's actually rare that I hear something that leaves me stumped, but this eccentric 45 knocks me off course. What on earth am I listening to? Is it for real or is it a joke?

I've no idea who's behind it because I can't find any valuable info on it anywhere. The songs were written by Bask (who?) and Lindström (which one?), and the Bums label mostly released commercial artists. Paj Vaj were anything but. The singer sounds like Blå Tåget's Torkel Rasmusson trying to cure a hangover from hell by eating three pounds of chalk. He remains hungover but with a demolished voice. Ot maybe he sounds like a Kenta with a rubber ball stuffed down his throat? Is he fucking around or does he need a doctor? Is he immaculately groggy? Deranged? Is he, at all, for real? His idea of enunciation is, er, unusual but it's obvious that the singer (or lyricist, or both) holds a grudge against... parents, teachers, the police, the authorities, actually the entire society. Kill them and bury them. Problem solved.

The music is pretty straightforward with a certain lilt; it's standard rock setting plus harmonica, but thanks to the off-kilter vocals, it has some bizarre gravity. It's too straight qualifying as outsider music, and it's way too odd for any mainstream appeal. I can't really recommend it, but I can't not recommend it either. I'll probably play it a lot more, if only to find out what the hell is going on here. If the discofied "L'Internationale" was puzzling, then this is completely bewildering.

ROCKTEATERGRUPPEN SMÅFOLKET – Nu drar vi ner på stan (Rainbow, EP, 1980)
Swedish vocals
International relevance: *

Little known four track E.P. by a self-appointed 'rock theatre group' which immediately makes you think of Nationalteatern. Which is perfectly true because it's hard to imagine this would exist without the source inspiration from said group, But it lacks the sharpness of the Ulf Dageby's and Anders Melander's songwriting, and the instrumental prowess that Nationalteatern developed is surely lacking here. Småfolket sounds like a local group (more precisely from Malmö) performing at youth clubs to a less than excited underage audience. The drummer is rudimentary, the guitarist is far from experienced, but the the two singers – male and female – are especially amateurish. Esther Nordenbrink in particular sounds shrill and shouty which suggests a punk awareness in a Mörbyligan way.

The four songs were featured in the play that gave the E.P. it's title, roughly meaning ”let's go downtown”, and while the B side is a wee bit better with ”Nu är jag ung” (=”now I'm young”) being the best song of all, none of them is up to snuff. A 'B' grade effort that time rightly forgot.

HS3 BOYS – Fel tåg / Hon är ett lik / Pia Love (no label, 1983; rec. 1981)
Swedish vocals
International relevance: *

Little information availabe for this one as well. There's no print on the colour-coded labels and only the members' first names are stated on the cover. However, HS3 Boys might originate from Östersund as Myrbein's bass player Johan Von Sydow is featured here, and both bands used the Tommys Musiklab studio. While this three-track EP wasn't released until 1983, it was recorded already in 1981 according to information presented to Swedish Radio. With no drummer present, the rhythm is provided by a drum machine which defines their original sound. It's hard to pinpoint it, but there's definitely a Latin influence there. I also sense a touch of Mikael Ramel, but that's possibly only in my head. Still, it's not a very good disc, so not worth the effort hunting it down. 

LJUDLÖST ÖS – Jerry / USA (Natty Records, 1981)
Swedish vocals
International relevance: *

Reggae has always been pretty popular in Sweden after Peps Persson introduced the style in the mid 70s, and we had a few quite good or at least decent reggae bands already back in the day. Not only were there high profile names as Dag Vag, Rotpuls and to some extent Rockamöllan following Peps in his footsteps, but there was also a pretty widespread undergrowth of local bands. Ljudlöst Ös was one of the unknowns trying to adapt to the Jamaican backbeat, but thay had certain problems succeeding. If anything, reggae demands a drummer who can forget everything he learnt about the standard rock beat, and Matte Pettersson of Ljudlöst Ös struggles a bit. I've heard far worse examples of drummers losing the concept when switching to reggae, but a Bosse Skoglund he is not. Both songs on their lone, privately released single speak out against racism and cultural colonialism. With female singer Maria Johansson, Ljudlöst Ös sound like I imagine Nationalteatern would sound like if they attempted to be a reggae band. It all sounds a bit chunky and awkward proving that good intentions won't always come out as good results. 

MANTRA – Made In Japan / Här är jag (Mercury, 1981)
Swedish vocals
International relevance: -

This is probably Mantra's biggest claim to fame being released on major label Mercury, produced by Janne Schaffer and with lyrics for both tracks written by Mikael Ramel. It's not Mantra's typical test tube jazz fusion but it still sucks. ”Made In Japan” is some misguided attempt at synth pop an while ”Här är jag” is a bit better, the quasi-punkish rock falls on its feet just the same. 

ZVENSKA MUSKLER – Fyra årstider / När elden har brunnit... (no label, 1981)

Swedish vocals

International relevance: **

One-off single from a band that grew out of probably unrecorded band Dr Rockford, and with a name would translate into "Zwedish Muscles, featuring singer/guitarist Tobbe Rüsslander. ”Fyra årstider” isn't that great and not too proggish either, while the slower ”När elden har brunnit” is OK with some extended guitar workouts, electric piano and a peculiar, almost ghostly atmosphere – perhaps due to the decidedly non-professional mix. It's not as good Rüsslander's 1978 solo cassette, but it's still worth hearing once for "När elden har brunnit".

JSMB – Låt fler forma... / Håll mej varm (JSMB, 1982)
Swedish vocals
International relevance: *

More progg in the socially concerned lyrics than in the actual music. The lyrics are unusual in the sense that singer Magnus Sjögren declares he's a liberal (i.e. not a leftist), but he proclaims care for your fellowman whoever and wherever he or she is, so the fundamental tone is that of humanism rather than politics. Sjögren's phrasing suggests he's an Ulf Lundell fan although I wouldn't call the vocals exactly epigonic. ”Låt fler forma...” is decent enough in a rock singer/songwriter style, and certainly much better than the other track. ”Håll mej varm” is totally terrible, a rheumatic rockabilly pastiche which is entirely embarrassing complete with a bathroom reverb to make it sound 'authentic' which it of course does not.

Sjögren later reappeared in Örebro band Big Deal who had some success in the late 80s and is still active. I know nothing about the other members' whereabouts – there are no credits on the label and the single came in a plain white sleeve when originally released.

COREY – Havet / Livet är en dröm (GAT, 1982)
Swedish vocal
International relevance: *

A Gothenburg band apparently with some connections to the Social Democratic Youth Association SSU. Corey's lone single was a private release and features two pop/rock tracks with some semi-heavy and progressive elements. It's quite OK for what it is, especially ”Havet” which is actually rather good, but although it has some nice touches of the right kind, there may not be enough prog/progg here for most blog readers. Two versions of it exists, one in black vinyl and one in red.

Bruno Wintzell
Du och jag - en kärlekshistoria / Balladen om Joe Hill / Som en seglande mås  
Jukebox EP
November - Cinderella / Mike Castle - Walkin' Blues  
Björn Janson
Det är skönt (poor sound)
Envoys
Kräv Bryggeriet kvar  
Gog
Full single 
Tomas Bergh
Upp till kamp / Oh... tryggare kan ingen vara  
Make Up
Hot Love Street  
Calcutta Transfer
Howrah Station / Plus minus noll  
Paj Vaj
Med hacka och spade  
Rockteatergruppen Småfolket
Nu drar vi ner på stan  
Ljudlöst Ös
Jerry / USA 
Corey
Havet 
 
HS3 Boys, Dynamo Varberg, Mantra and JSMB no links found

BJÖRN EHRLING – Utan gräns (YTF, 1976)

  
Swedish vocals, a cappella
International relevance: *

Visa singer Björn Ehrling is previously represented here with his second and final album ”Frihetens fantomer” from 1978. ”Utan gräns” is highly political as shown by Swedish versions of the anti-fascist ”Los Gallos” and the oft-recorded ”Venceremos”. The album has a Spanish and Chilean slant, but there are also songs of Soviet, East German and Swedish origins. The best song however is ”Till Allende” written by Troels Trier from Danish agitprop band Røde Mor.

”Utan gräns” is mostly a singer/songwriter (or visa) album but it has a few proggish features thanks to Björn J:son Lindh's and session drummer Claes Wang's presence. Final track ”Uppmuntran” even has some spacey electric piano effects. It's a tolerable album overall, especially coming from the overtly political side, but it's a long, long way from essential.

Full album playlist 

VARIOUS ARTISTS – JAZZ- OCH ROCKSTIPENDIATER 1976 (Caprice, 1976)

 

Featured artists: Text & Musik / Krokus / Sonant Space
Instrumental, Swedish vocals, other languages
International relevance: **

These three bands were all awarded a Swedish Concert Institute grant that included a nationwide live tour, sessions for the Tonkraft live radio series; and an LP release split between the bands. The concert institute's own label Caprice Records were responsible for the album release.

Krokus were improvisation jazz, Sonant Space fusion, and Gothenburgers Text & Musik had rock leanings. Of the three grant holders, only Text & Musik went on to a recording career, including two albums for the Nacksving imprint. Krokus however had a trombone player that later became very famous in both the national and international fields of soul, pop, funk and jazz, namely Nils Landgren. Krokus appear with one long track that moves from spiritual jazz to 'organized free jazz' before ending in an almost folkish, lyrical fashion slightly reminiscent of Arbete & Fritid. Their portion is the best on the disc.

Sonant Space (later known as just Sonant) played a complex mix of prog rock and funk, and clearly ambitious, they were a bit too ambitious. Their two tracks are unnecessary complicated, and Sonant Space sounds like a young band (which they were) that really wants to prove something. Obviously technically skilled but like too many bands in that ilk, they go so hard at it the results become messy and unfocused. Some sections are just fine, but with so much nervously going on, their contributions sound more like exercises in high level mathematics than focused music. (A third track from the same Tonkraft session as these selections is available on Youtube.)

The three songs by Text & Musik are very different to each other. ”Ibo-Le-Le” is a Haitian voodoo song, ”Ljusen har slocknat i Shanghai” (co-written by Andreas Aarflot) is like a mini-play featuring spoken bits, fusion jazz and Latin infused cocktail jazz, while ”Det måste gå” features lyrics by poet Göran Sonnevi. They're not very smooth to sing. But while the lyrics are too unweildy for vocals, the track features some nice, fluent guitar work from Thomas Carlsson. All three tracks were recycled for the band's debut album "Jaguaren".

With two otherwise undocumented bands, ”Jazz- och rockstipendiater 1976” is all in all more interesting from an academic perspective than a musical one.

Sonant Space
Nogleckt (from bassist Tommy Riboe's website)
Tapto (from bassist Tommy Riboe's website) 

GRUS I DOJJAN – Friska grustag (Sonet, 1976) / Efter kaffet (Amalthea, 1981)

 
Swedish vocals, English vocals, a cappella, instrumental
International relevance: *

Grus I Dojjan were a band of surprising longevity. Formed in 1970, their album debut came the following year which kicked off a ten year long career on record. They existed much longer than that but didn't release another album until 2002. Also, they backed Thomas Wiehe on his 1980 album ”Fågeln i mej” under the moniker Hullimullan Band.

I've reviewed Grus I Dojjan's other albums before, and these two LPs are the last remaining to appear on Swedish Progg Blog (unless they release a 10 CD box set of previously unreleased private tapes...). There's nothing I can say about them I haven't already said before. It's goodtime music, a cheerful mix of old Swedish dance tunes, various country music styles including bluegrass, and Irish folk. All their albums are basically interchangeable; they remained true to their style over the years, and if you like it you like it, but I don't.

I can just add that ”Friska grustag” (with a nice looking sleeve) was recorded live which was the perfect setting possible for the band, and that ”Efter kaffet” was their last album from the original era. ”Efter kaffet” actually has the best track I've ever heard from them, ”Rakkniven”. It's a genuinely great track; dark, doomlaiden and paranoid – completely unexpected coming from Grus I Dojjan! Too bad it took them ten years to come up with something on that level.

No links found 

A SEVEN INCH SPECIAL, VOL. 12: Various

DEN TRETTIONDE FEBRUARI – Den trettionde februari / Harley Davidson (Ljudspår, 1976)
Swedish vocals
International relevance: ***

I wanted to hear this one-off 45 for a very long time, but it proved elusive. I had no idea what to expect from it but I still had the feeling it might be good.

The lyrics were written by later on awarded radio journalist Olle Hägg while an unidentified Hungarian keyboardist using the pseudonym David Oliver was responsible for the music. The two songs were recorded in Acke & Gurra's studio providing a not too flashy but adequate, slightly spacious underground-ish sound. That comes in particularly handy on the track sharing its name with the band itself. ”Den trettionde februari” is a faintly funky track with a very effective, flanged and nervy guitar. The flanger adds an electric sitar quality to the solos, and a persistent moog adds to the semi-psychedelic quality. It's a really enjoyable piece that somehow seems a bit overlooked. ”Harley Davidson” is more of a singer/songwriter styled half-ballad that fails to make the same impression as the main track, but it's well worth seeking out for the A side!

DOM SMUTSIGA HUNDARNA – För din nakenhets skull / Visa i Molom (MNW, 1977)
Swedish vocals
International relevance: **

Released to generate interest for the then forthcoming debut ”Vårdsjuk blågul fanblues” by this Gothenburg band, but only the A side ”För din nakenhets skull” is on the album. The B side is exclusive to this single, a cover of visa singer Alf Hambe's best known song, the folksy and mystical ”Visa i Molom”. It's vastly different in the hands of Dom Smutsiga Hundarna. Gone is the fragility of the original. It's definitely rock, with a peculiarly pulsating rhythm underlined by a watery organ, an odd drum section and a wailing fuzz guitar taking the lead. ”Visa i Molom” would have been out of place on the album, but as a quirky B side it's really quite great. If you're a fan of ”Vårdsjuk blågul fanblues”, this is an excellent addition to your collection.

RONNY ÅSTRÖM – Maskin nr. 1 / PEPS PERSSON – Maskin nr. 2 (Sonet, 1979)
Swedish vocals
International relevance: **

The two friends Ronny Åström and Peps Persson on a split single, with the B side being Peps's wellknown track from the ”Spår” album. The sentiment is the same on both tracks, with lyrics addressing the mindless mass production of superfluous things, two statements against the consumerist society. Åström's side is unique to this 45, and it's one of his very best tracks. Set to the monotonous rhythm of a book packing machine, a monophonic synthesizer fill in with a naive, plastic melody behind Åström's gruff voice singing an almost circular melody that could go on forever, just like the sameness of the boring work in a soul-destroying factory. The minimal synth framework makes the point perfectly – beneath the alluring surface of childlike charm, there's a heartfelt critique against the modern, commercialized Western world. 

RIGHT BAND – Keep On Wailing / Natural Vibes (Liphone, 1978)
English vocals
International relevance: **

A not very sought-after single on the long running and increasingly unpredictable West Coast based Liphone label. The band had Per Giöbel on vocals and guitar, and he also wrote ”Keep On Wailing” for the A side. Giöbel is known from Hausswolff and Claes Ekenstam & Sista Bandet, as well as ”Snacka går ju”, one of Motvind's later albums. Pretty far removed from Right Band's 7” which is more in a funk rock style. ”Keep On Wailing” is the better song, revealing some inspiration from Little Feat and late 70s Zappa. Very competent for a local band that only released one single but still not very interesting
.

STETSON CODY GROUP – Eyes / Det var du (SCG, 1979)
Swedish vocals, English vocals
International relevance: **

Best known for having guitarist Kjell Lövbom in their line-up years before he became Kee Marcello in multi-million selling hair metal band Europe. Which says nothing about Stetson Cody Group, as everyone who's heard the various artists album ”Jazz & Rock” will know. That particular album featured four Stetson Cody tracks, but this self-financed single was the only outpouring under their own name. The style is similar, a test tube blend of funk rock, jazz fusion and a bit of prog rock. It's competent and tight but not fun to listen to. At all. 

ULF PETTERSSON – Summershores / This Kinda Shit (no label, 1979)
Instrumental
International relevance: **

With a dude looking like the entire Blue Öyster Cult on a bad hair day, one could easily think this would be a hard rock one man band, but nothing could be further from the truth. This is a very rare predominantly electronic DIY effort with hints at sequencer krautrock, Giorgio Moroder and French cosmic disco. ”Summershores” is a relaxed, laidback piece that comes with Pettersson's listening instructions ”Sit down in your favourite armchair and light your pipe”. And as he promises you that ”This Kinda Shit” can help you ”fly away to an alien planet”, you know this is really some guy. The kitsch level is high.

Both tracks were recorded in Mora Träsk's studio in Gävle, and most of the 500 copies were sold at Pettersson's dad's work, a local shipping company! The last remaining copies went in 2024 when there was a sudden outburst of interest in it among DJ's and collectors. Subliminal Sounds reissued it digitally in 2026.

INJECTION – Mountain Side / Mozarts 40:e (Liphone, 1979)

English vocals

International relevance: **

A symphonic band of only one single, released on the aleatoric Liphone label. They try hard but can't live up to their ambitions. The singer sounds strained and flat on ”Mountain Side”, the time changes are underrehearsed and the synth licks have a tremulous glissando that's very irritating. The B side is an adaption of Mozart's Symphony No. 40. With a perky country & western beat and ending with ”I Wanna Be Like You” from ”The Jungle Book”, it's just corny. It might be funny if you think that a drunk Emerson, Lake & Palmer twisting their legs in a serious need of pee is funny. What the hell were Injection thinking?!

MOBILE – Swedish Magazines / Truck (MOB, 1980)
English vocals
International relevance: ***

A rather unusual sounding band (from Kivik in the south) that makes me think of a basement version of British art rockers Cardiacs. Very tight performances which can possibly be explained by the fact that three of the four members were brothers with a tight connection. Dan, Sven and Jörgen Bornemark were sons of Gullan Bornemark who wrote a large number of extremely annoying children's songs in the 60s. I wouldn't say it's a very good single but it's nevertheless interesting as so few Swedish bands actually sounded like this. Worth hearing but perhaps not buying. On the other hand, it's not a very expensive item – it seems to be rather unknown.

LUFTGROUP – Pornografi / Det kostar på... (Musikkällan, 1981)

Swedish vocals
International relevance: **

This Värnamo seven-piece had hopes for the future. The short liner notes on the back of the cover read: ”This single is an exclusive amateur release documenting that 1980 musically moved at all air bearings, also on basement level. With the next disc, we'll move into the light.” That never happened – this was the only thing they ever released. Most of the members seem to have disappeared without any further musical traces at all which seems a bit odd as Luftgroup sounded rather good. Especially for being a local underground band. Anti-porn A side ”Pornografi” is rather catchy, a bit like Fiendens Musik although not as hard-edged. ”Det kostar på...” reminds be a bit of ”Knockin' On Heaven's Door” with a rich Hammond organ fleshing out the sound and a fat fuzz guitar in the short solos. It's not a 'lost masterpiece' but I kind of like this 7”. It has some urgency to it, and I'd be interested hearing more of Luftgroup. I suspect they ought to have been a pretty good live band. 

NORRSKENET – Sången om Norrskensflamman / Norrbottenssången (Flame, 1981)
Swedish vocals, spoken word
International relevance: -

This is abysmal even for a political record. Northern communist news magazine Norrskensflamman (today known as Flamman) released this in 1981 celebrating themselves with A side ”Sången om Norrskensflamman”, an incredibly cringy track with a long spoken intro so deadly serious that it turns into full-blown parody. It's so embarrassing that it makes Fria Proteatern sound like a really nifty rock'n'roll combo. And when the choir enters with their local patriotism I just want to sink through the floor never to rise again to the realm of the living. The only good thing I have to say about the equally ”Norrbottenssången” on the second side is that it at least lacks the recital. The singing is debile and the backing music is so twee a teddy bear could be mistaken for Charles Manson in comparison. Bloody amazing really how appalling music can actually be!

ROCKVINDAR – Lys upp mitt mörker / Ann-Louie (Metronome, 1982)
Swedish vocals
International relevance: *

Last release from actor Thorsten Flinck's band following two years after their only album. The album wasn't too impressive, and the same goes for the two sides here. Energetic performances but still plain standard rock with mild new wave aspirations and Clarence Clemons styled sax on both tracks. No need to bother.

Ulf Pettersson full single playlist (Bandcamp) 
Injection full single playlist (Spotify)
Gog full single
Rockvindar full single
Ronny Åström / Peps Persson
Maskin nr. 1 (poor sound) / Maskin nr. 2
Dom Smutsiga Hundarna
För din nakenhets skull
Luftgroup 
Det kostar på...  
Norrskenet
Sången om Norrskensflamman / Norrbottenssången

Den Trettionde Februari / Right Band / Stetson Cody Group / Mobile no links found

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 

SANSARA MUSIC BAND – Plays The Music Of Lars Färnlöf (Mirrors, 2008; rec. 1976)

  
Instrumental
International relevance: ***

I'm not too impressed by Sansara Music Band's only other release, an eponymous album recorded in 1977. This archival disc is taken from a radio session the previous year with a largely different line-up, but the style is roughly the same, meaning funky soul jazz with light fusion touches. Although I'm not amazingly thrilled by it, it's still a more vivid performance with especially pianist Bobo Stenson leaving an indeliable mark on the recording. If I had to choose one of Sansara's now two albums, I'd go with this one.

Full album playlist

RÄVJUNK – The Freaky Guitar Album (no label, 2002; rec. 1976-1979) / Jamsession (Bogus, 2022; rec. 1970s) / Live At Rackis 1979 (Bogus, 2002; rec. 1979)

The Freaky Guitar Album (no label, 2002; rec. 1976-1979)
Instrumental
International relevance: ***

There exist several unofficial (or semi official?) Rävjunk releases of indeterminate origin. Three albums appeared in 2002, ”Collage”, ”Never Played” and ”The Freaky Guitar Album”, with material recorded in the late 70s. ”Collage” is a compilation of their singles with previously unreleased bonus tracks (since then largely superseded by ”Uppsala Stadshotellbrinner igen”). ”Never Played” consists of tapes from 1976-1979, and appears to be a sister volume to ”The Freaky Guitar Album” covering the same period. It's quite possible, even likely, that Rävjunk themselves were behind those elusive discs.

Parts of what's on ”The Freaky Guitar Album” sound very similar to what's on ”Uppsala Stadshotell brinner”, while some of it is available elsewhere as bonus tracks. Even if Rävjunk's discography originally only extended to one full length album and a handful of singles, it's a total mess of bonus material, archival releases and what-not. There are a couple of things here I don't immediately recognize from elsewhere, but most of it appears to have been released in form or another since ”The Freaky Guitar Album” was sneaked out.

Jamsession (Bogus, 2022; rec. 1970s)
Instrumental, Swedish vocals
International relevance: ***

This is only available for streaming on platforms such as Spotify and Youtube, and it's a much more rewarding and coherent outing than ”The Freaky Guitar Album”. It should be mentioned that all of it is also available as bonus material on Transubstans's digital reissue of ”Uppsala Stadshotell brinner” along with a couple of songs not released on ”Jamsession”. The sound is great with a bearable dip in quality only on the final 20+ minute track ”Naturbarn”. My guess is that most of it was recorded on the same occasion, possibly during the sessions for ”Uppsala Stadshotell brinner”. All tracks are instrumental except for a few (improvised?) lines in ”Tro på livet”. For those into Rävjunk's jammy side, this is essential.

Live At Rackis, Uppsala, Sweden 1979 May 26 (Bogus, 2002; rec. 1979)
Swedish vocals, English vocals
International relevance: **

Another streaming-only release, this time representing Rävjunk's punkier side with four tracks recorded live at Rackarbergspuben (commonly referred to as Rackis) in the band's hometown Uppsala on 26th of May, 1979. The sound is generally good although the vocals sound a bit muffled. It's a short but tight and very inspired set including two songs not available elsewhere, the decent but not excellent ”Redneck” and a great, revved-up cover of Gudibrallan's ”Sprutan”. This is every bit as good as their singles, if not better. If you prefer this side of the band, this is something to check out.

One further track, a so called "raw version" of the track "Delerium" off "Uppsala Stadshotell brinner" was included on the V/A CD "Tänd mörkret", a compilation of experimental postpunk and fringe progg artists released in conjunction with an art exhibition in Gothenburg 2007. 

The Freaky Guitar Album full album
Jamsession full album playlist
Live At Rackis 1979 full EP playlist 
"Delirium (Raw version)" from "Tänd mörkret" 

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

SHEKINA – On Our Way To Love (Transubstans, 2024; rec. 1976)

 

English vocals, instrumental

International relevance: ***

After the demise of Änglabarn, his participation in ”Hair” and ”Jesus Christ Superstar” but before his solo career, Dan Tillberg teamed up with the band Solen Strålar (not to be confused with Solen Skiner) who had been around since the early 70s but only played a few gigs. The band asked Tillberg if he wanted to be their lead vocalist, and after only one rehearsal, he agreed to it. They changed their name to Shekina, new songs were written, and soon they found themselves recording a full album in Tillberg's newly built Bellatrix studio when it wasn't booked by other artists. However, running the studio and the label attached to it, Tillberg realized he didn't have the time to head a band too. The recordings ended up unreleased until Transubstans got their hands on them, finally releasing them as ”On Our Way To Love” in 2024.

One can only wonder what would have happened if the album had been released as originally intended. Because the thing is, it's a quite beautiful album of progressive pop with symphonic touches. The songs are really lovely and well-composed, the arrangements are lucid and Tillberg's vocals are the best I've heard, sincere but relaxed and respectful to the melodies. I sense a light touches of Moody Blues in Shekina's music and lyrics but without the Moodies' strains of self-pity.

I didn't know what to expect from Shekina on beforehand, but I was pleasantly surprised. The album has a mellow sweetness and melodic care that I find rather irresistable. As a matter of fact, it's a little gem that really should have been released already 50 years ago.

No links found

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.

TRETTIOÅRIGA KRIGET – Archival releases 1998-2020 (rec. 1970-1981)

Trettioåriga Kriget's archives have been trawled through several times over the years by mainly Mellotronen. Together these releases make up a parallell history of the band, with both live tapes and other sorts of material, covering Trettioåriga Kriget's entire lifespan, also including the years following their reformations in the 90s and the 00s. 

Glorious War (Mellotronen, 2004: rec. 1970-1971)
English vocals, instrumental
International relevance: ***

The most interesting of those archive clear-outs is ”Glorious War”, for the sole reason it doesn't sound much like we know Trettioåriga Kriget's style. Consisting of tapes from the very earliest days of their existence, they hadn't yet taken to the adolescent philosophical rants of their later Swedish lyrics, and they were still too sloppy performers to live up to their own musical pretentions that make most of their records sound so constipated. They try hard, but fail which is relieving to hear. Not that ”Glorious War” is very good – parts of ”Konserten”, overlong at its ridiculous 18 minutes are OK – but it's amusing to hear them make such fools out of themselves. The bass solo of ”Assimilation” is the worst I've heard since Malaria. The track ”Thirty Years War” sounds like a nod to the early Mothers Of Invention but without Zappa's brain. ”Gloriwas War” is 53 minutes of pure spiteful fun.

War Years (Mellotronen, 2008; rec. 1971-2007)
Swedish vocals, instrumental
International relevance: ***

The entire second disc of this double CD is dedicated to the 00's so I leave that aside. Disc 1 covers the band's original ten years. It starts off with a crappy sounding 1971 live recording in the same klutzy vein as ”Glorious War” before moving on to a couple of 1974 selections. The Trettioåriga Kriget sound is beginning to fall into place but the recordings are unbalanced and out of tune which hardly makes the band a favour. Remaining recordings on disc 1 are from '76-'77 amd '79-'81 and tell us what we already knew, that the band went from ostentatious prog rock stuck up on its own holiness to bad new wave.

War Memories (Mellotronen 1998, rec. 1972-1981)
Swedish vocals, English vocals, wordless vocals, instrumental
International relevance: ***

The first compilation of Trettioåriga Kriget's unreleased material appeared already in 1998 and is a mish-mash of studio recordings, radio sessions, live tapes and what have you. So inconsistent and haphazard it's hard to make any sense of it. An early stab at hard rock, later era synth pop and yodeling. (Literally, that is – I'm not talking about Robert Zima's twisted scrotum falsetto.) It does however have early song ”I've Got No Time” which sounds like at least a half decent late 60s/early 70s American rural rock band.

Konserten -73 / King Eric (no label, 2010; rec. 1972-1973)
Instrumental
International relevance: ***

A CD-r single released in 100 copies. ”Konserten” is a trimmed down 1973 recording of the piece from ”Glorious War”, slightly better because it's shorter. ”King Eric” is a crap-fi 1972 recording which starts out as bad jazz before ending in a complete unlistenable mess.

War Diaries, Vol. 1 (no label, 2018; rec. 1974)
War Diaries, Vol. 2 (no label, 2020; rec. 1976)
Swedish vocals, English vocals, wordless vocals
International relevance: ***

Two volumes released through Trettioåriga Kriget's Bandcamp only. The cover for volume 1 says 1974 but some of it is actually from 1975. The four tracks from ”Progglådan” are here too which means that ”Progglådan's” 1973 date is wrong (as is a lot of info in that mess of a box set). Mostly live recordings in good radio sound, plus one demo in OK rehearsal space fidelity.

The second volume is a complete concert recorded Swedish Radio's Tonkraft series in November 1976. The dreaded yodel reappears, but it's still quite possibly the best ever live document of Trettioåriga Kriget, even to my ears, with a focused performance and a well-rounded sound. It's certainly the best to surface officially, head and shoulders above any of the Mellotronen releases. Why this wasn't released first of all is a mystery.

Glorious War full album playlist
War Years disc 1 full album playlist (Bandcamp)
War Memories full album playlist (Bandcamp)
Konserten -73 (first track only)
War Diaries, Vol. 1 full album playlist (Bandcamp)
War Diaries, Vol. 2 full album playlist (Bandcamp)