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

A KLIPPAN PROGG SCENE SPECIAL – Tors Hammare / Heta Drömmar / Svenn Kruse / Christian Brandt

Klippan is a small mill town in the northwest part of the Skåne county in the south of Sweden. Way back in time, Klippan was known for their wool production, and later (and to this day) for their paper industry. But they did also leave an indelible mark on Swedish rock history in the late 70s and early 80s when local record label Svenska Pop Fabriken (and their various sublabels) began releasing singles and albums that gained nationwide attention from both media and record buyers. Responsible for the first ever Swedish punk single ”Vårdad klädsel” by Kriminella Gitarrer, they soon added bands like Torsson, Kommissarie Roy, Noise, The Push, and Wilmer X to their roster. Being a very Swedish label, none of the bands (mostly singing in Swedish) are known outside our borders, although Kriminella Gitarrer have indeed earned a belated international reputation as interest in local punk scenes has grown around the world. Most of Svenska Pop Fabriken's output may be called rural rock'n'roll with a strong sense of pop melodicity, but to someone like me who pretty much grew up with in their golden era 1978-1985, their legendary status is carved in stone.

However, Svenska Pop Fabriken's history goes further back in time to the music association Bombadill who took the homegrown music very seriously. Not only did Bombadill function as a local network for the bands, Bombadill also built their own studio. Plenty of recordings were made there from the mid 70s and on. One album and a couple of cassettes of Bombadill recordings were released at the time. Although Klippan is best known for the pop/rock of Svenska Pop Fabriken, a few of those early bands and artists represented a more progressive and experimental style. 

Tors Hammare: Ska du med på disco 

Tors Hammare went through several line-up changes, but important members in their fledgling days were Örjan Mjörnheden (guitars, vocals), Svenn Kruse (guitars, vocals) and Christian Brandt (percussion, violin). The so called Mk I only ever released one official track, ”Vägen till Valhall”, on the first Bombadill cassette. It's a surprisingly heavy, guitar infused, folk tinged instrumental, as was the five-part suite ”Ska du med på disco”. Among their true confessed heroes were Träd, Gräs Och Stenar and similar bands, plus the latin rock of most prominently Santana. There's strong psychedelic overtones with wailing wah-wah leads on the shambolic ”Hästen” as well as on their slightly revamped take on Träd, Gräs Och Stenar's ”Sommarlåten”.
 

Tors Hammare: Demo 1

The Santana influence grew stronger when Kruse and Brandt left the band, as proven by a surviving 1980 demo by Tors Hammare Mk II, but the demo also shows they developed a stronger grip of their progressive ambitions as on ”Myrornas flykt” and ”Nattens drottning”.

Meanwhile, Svenn Kruse and Christian Brandt made their own recordings in the Bombadill studio. Judging by those, they were the real avantgarde force of Tors Hammare Mk I. Their joint recording ”Kretsloppet” mixes field recordings, electronics and tiny slices of more organized music – it's almost like a nine minute condensate of Thomas Mera Gartz's ”Luftsånger”. ”Vernissagemusik del 1” (=”music for an exhibition”) is based around an extended organ drone before turning into a summery piece for acoustic guitar and synthesizer. A second part of ”Vernissagemusik” was recorded as Heta Drömmar (=”hot dreams”), which is pretty close to the lyricism of Anna Själv Tredje. The lyrical side also comes to the fore on ”Hjortronguld”, a 27 minute piece with guitar and violin, while their Träd, Gräs Och Stenar admiration is obvious on their very strange cover of ”Sanningens silverflod” with sped-up vocals similar to those on Kebnekajse's debut and Mikael Ramel's first album, a trick also used on Svenn Kruse's solo recording ”Tomtar på loftet”.

Christin Brandt & Svenn Kruse: Vernissagemusik 1

Other short Kruse tracks further emphasized his infatuation with Swedish folk progg and psychedelia – ”Svens psykedeliska ögonblick” (=”Sven's psychedelic moment”) gives it away already in the title, while ”Säkkijärven polka” (a Finnish tune popular in Sweden at the time) sounds like some lost demo for Kenny Håkansson's ”Springlekar och gånglåtar” album.

When Tors Hammare transformed into Mk 3 in the early 80s, they had lost just about all of their original underground charm. They got better at playing for sure, but their watered down takes on ska, funk and fusion simply suggest a band without a vision. They really could have used Brandt's and Kruse's experimental spirit.

There's also an 'all-star' recording of several Bombadill artists coming together as The Bombadill Chosen Few, "Latino Blasfemia" that mixes latin with Swedish folk.

All these recordings (and more) have thankfully been digitzed for the Bandcamp age. Although a lot of the music is admittedly sloppy, it has a youthful energy and explorative desire. More importantly, it reveals a part of the local Klippan scene that has previously been only fond memories in the minds of those who were there, but only tales and legends to those who weren't. It adds several fascinating pieces to the ever so nebulous jigsaw puzzle called Swedish progg. 

Bandcamp links:
Tors Hammare
Vägen till Valhall / Ska du med på disco - Svit i fem delar / Hästen / Sommarlåten / Vinternatt i Klagshamn / Demo 1 full album playlist 
Christian Brandt & Svenn Kruse
Vernissagemusik del 1 / Kretsloppet 
Heta Drömmar 
Vernissagemusik del 2 / Hjortronguld / Sanningens silverflod / Tomtar på loftet  
Svenn Kruse 
Hymn / Svens psykedeliska ögonblick / Säkkijärven polka / Långt ute 
The Bombadill Chosen Few 
Latino Blasfemia  

HOT SALSA – Hot Salsa (Montezuma, 1979)

English vocals, other languages
International relevance: *

Hot Salsa came together already in 1976 when a group of latinos living in Sweden met in a music pub in Stockholm. Among those were Sabu Martinez's sons Johnny and René, Wilfredo Stephenson of Aston Reymers Rivaler, and Rafael Sida of EGBA. Initially playing locally in small pubs and clubs, a live session for Tonkraft broke them to a nationwide audience (with one selection included on ”Tonkraft 1977-1978”). Their first album followed in 1979, released on the Montezuma label. Helping them out on the album were a few other noted names including oft-hired percussionist Malando Gassama and singer Susanne Nordin (later appearing on albums by Tomas Forssell and Occident).

As their name implies, the group played the Latin American salsa by way New York with some extra pinches of jazz and funk. I'm quite fond of the 70s New York salsa which can be hard swinging with rough edges, sometimes having almost militant overtones in a deep funk way. In short, it's entertainment with a meaning beyond sheer fun. Hot Salsa know the moves, but where New York salsa bears the message in its very sound, Hot Salsa's attempt comes off as too slick and proper. It's very competent, certainly tight, and I don't doubt they really meant it, but even though many of them have the right origins and influences, it still sounds like something out of a music academy. I hear their debut album with my ears, but I can't hear it with my heart and soul which is a must for this kind of music.

It's The Rhythm / Gulliver / Get In The Groove / Fishing In Funky Waters / Simbabele  

ÅKE "KRÅKAN" NILSSON - Måste man va' poet (CBS, 1979)

  
Swedish vocals
International relevance: **

There was quite some buzz around Åke ”Kråkan” Nilsson when he appeared in the spotlight in the late 70s. He earned his nickname Kråkan (=”the crow”) from his rough, gruff voice. Clearly inspired by early Ulf Lundell, Kråkan's lyrics were less romantic and dealt with the darker side of life. Speaking from his personal experience, Kråkan often sang about alcohol abuse and depression in a convincing manner, sometimes making me think of Kenta and Kaj R. Hansson (minus the criminal references). He was clearly a better singer than both of them with a strong powerful voice, somewhere between a smoother Rolf Wikström and a less foghornish Roger Chapman. Kråkan's full throttle approach to singing could surely have used some dynamics here and there, but his vocal urgency works in his favour now and then.

While his love for hard blues and stomping rock is perfectly obvious, he slows it down on a couple of tracks. ”Jag har spelat många roller” is a slow blues that captures the mood of the concrete city's murkier sides really well (a bit like Ulf Lundell's song ”Bente” does but from a different persepctive). ”Jag hoppas det inte är försent” (=”I hope it's not too late”) is another slow one, overflowing with remorse and contrition over what he's done to his friends and family when drowning in alcohol. While the music isn't straight up progg, the lyrics are – for those who can understand them – sincere and gripping on a personal level. Fans of the aforementioned Kenta and Kaj R. Hansson should listen up.

Kråkan made three more albums up to 1983 but they got gradually more commercial sounding, and it's really only this debut album that has enough no-frills proggish production to be of fringe interest to this blog. He's still active on a smaller scale level and is content with making his more recent efforts available on his website. It also has all his albums for streaming and download.

10 år sen sist / Jag vet hur du mår / Blunda och be / Jag har spelat många roller / Whisky och valium / Prestigeladdad kyla / 30-strecket / Jag hoppas det inte är försent / Rädd som fan

FIENDENS MUSIK – Complete singles 1978-1981

Fiendens Musik were one of the finest groups to bridge progg and punk in a time when genres blurred. Centered around singer Mats Zetterberg, they released two albums but also several singles with non-album tracks/takes.

 

En spark rätt i skallen / Du går aldrig säker (för Fiendens Musik) (Bellatrix, 1978)

Swedish vocals

International relevance: ***

”En spark rätt i skallen” appeared as one of the key tracks on the ”Fiendens Musik” LP in 1979, but this is an earlier, rawer take. It's more desperate than the album version which suits the song's lyrics against senseless street violence perfectly. A great song in its best version! The B side is a Swedish version of Iggy Pop's ”The Passenger”, not as great as the A side but amusing and charmingly semi-chaotic.

 

Pappa har alltid haft rätt... / Tredje tåget (Bellatrix, 1979)

Swedish vocals

International relevance: **

Recorded late 1978 and released early 1979. ”Pappa har alltid haft rätt” is co-written by Zetterberg and Lars ”Ferne” Fernebring (Risken Finns), and an early example of Zetterberg's knack for engaged storytelling (this time about the generation gap) with suitably pissed-off vocals and a great use of Mats Bäcker's sax -- always crucial to Fiendens Musik's trademark sound. ”Tredje tåget” is a straightforward rock track in a Stonesy pub rock vein with rough edges. The title was later recycled for Mats Zetterberg's record label Tredje Tåget.

 

A Boot Right In The Face / Goalgetter (Slyngel, 2014; rec. 1979)

English vocals

International relevance: **

English language versions of two tracks otherwise found on the debut album. ”A Boot Right In The Face” doesn't work quite as good as ”En spark rätt i skallen”, while ”Goalgetter” is actually better than the Swedish equivalent ”Kulan i luften”. Originally intended for a British release, the single got stuck in the archives until 2014 when finally released on Slyngel Rekords, a Swedish label specializing in 45s with unreleased material by domestic punk bands.

 

Moderata brudar / Slutna sällskap / Arabisk bonus (Bellatrix, 1979)

Swedish vocals
International relevance: **

A slightly more polished outing from Fiendens Musik compared to their earlier singles, with two pretty catchy tracks ”Moderata brudar” and ”Slutna sällskap” as the main attraction. The most interesting track though is the third one, the semi-instrumental ”Arabisk bonus”, an oddly jouncing number with loads of echoed sax. An atypical Fiendens track but an odd favourite of mine.
 

 

Musik mot gryningen / Stadsbo (Tredje Tåget, 1981)
Swedish vocals
International relevance: ***

”Musik mot gryningen” is probably the most sophisticated track by Fiendens Musik with a slightly snaky melody and an unsettling mood underscored by Bäcker's nervy sax. A great one and a pity it was their swansong (not counting reunions). B side ”Stadsbo” is a humorous upbeat track, more of a throwaway compared to the brilliant A side.

En spark rätt i skallen full single playlist 
Pappa har alltid haft rätt full single playlist 
A Boot Right In The Fave full single
Moderata brudar full single
Musik mot gryningen full single  

THE CORBIES – The Corbies (Four Leaf Clover, 1977) / Fire Raisers (Four Leaf Clover, 1979) / Härtappat (Four Leaf Clover, 1981)

 
English vocals, instrumental
International relevance: *

If you didn't know it, you could swear The Corbies were an authentic Scottish band. But they were only a bunch of Swedes that nail the Scottish folk moves right down to the accent (at least a lot of the time). They pick trad's greatest hits, go through both vocal and instrumental tracks like ”Cam Ye O'er Frae France”, ”Mason's Apron”, ”Johnnie I Hardly Knew Ye”, ”Loch Lomond”, ”The Blantyre Explosion”, ”High Germany” and, sigh, ”Whiskey In The Jar”. The instrumentation is traditional, i.e. mainly acoustic, and the arrangements are meticulously faithful to Scottish folk bands from the 60s and 70s. And that's the crux of the matter: They're so true to their role models it's ridiculous. I'm sure The Corbies were a hit with the beer soaked pub crowds of the day, but give me one good reason why I should listen to their albums when there are probably hundreds of genuine Scottish albums out there, ranging from the mediocre (and less) to the excellent, from the dead cheap to the absurdly expensive.

The Corbies are a skillful charade, but a charade just the same. They put on an act, and no matter how well they do it, it's an annoying fake.

They also released one 45 in 1982, and another one in 1983. In 1997 they reunited for another album, plus one further three-track EP in 2020. Which only makes them even more annoying -- did they really had to tell the same joke over and over again when it wasn't funny the first time around?

The cover art of the debut album is great though.

The Corbies full album playlist (Spotify) 
Fire Raisers full album playlist (Spotify)  
Härtappat full album playlist (Spotify)

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

TEMPELROCK – Det stora lyftet (Planet, 1979)

 
Swedish vocals
International relevance: **

A somewhat energetic hard rock band with former Solid Ground member Björn Uhr as the songwriting guitarist. I don't think Solid Ground's ”Made In Rock” deserves its standing as a classic. I find their Deep Purple approximations to be quite clumsy and unsatisfactory, but ”Made In Rock” is still at least seventy-four times better than ”Det Stora Lyftet”. It takes a lot more than chugging guitars and a boogie rhythm to make good hard rock, but that's just about everything Tempelrock had to offer. Oh, and some radio friendly pop rock with disco touches. Plus one of the most pointless covers of ”Ticket To Ride” imaginable.

Two album tracks were released as a single. Tempelrock reformed in the 2010s (but I can't imagine anyone actually asking them to). Bassist Peter Jägerhult appeared post Tempelrock on a debile single by Staffan Runius & Mia Alasjö in 1978 before joining the incredibly crappy band Attack (featuring Wasa Express drummer Åke Eriksson). Drummer Werner Lindström joined Råg I Ryggen singer Jonas Warnebring in the band Spray. Guitarist Sten Tempelman became a record producer. Björn Uhr followed suit with Jägerhult and joined Attack and also did lots of session work.

No links found 

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

   
Swedish vocals
International relevance: **

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

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

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

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

Full album playlist 

MYRBEIN – Radio Jämtland 1978 (no label, 2015: rec. 1978) / Live Tonkraft Sveriges Radio P3 1979 (no label, 2015; rec. 1979) / Live Borås 1981 (no label, 2015: rec. 1981)

Myrbein's only album ”Myrornas krig” is one of the worst albums I've heard on this blog. It's prog rock (with one 'g') at its most annoying, complex for the sake of complexity alone, but with a puerile lack of compositional logic that makes them sound like a kindergarten King Crimson on a bad day. It was released in 1981, shortly before Myrbein disbanded (with some members turning up in the un-proggy postpunk band Skallarna not long after). They formed in 1977, and a couple of early tapes were made available on the band's Soundcloud in 2015, plus one from their final year.

 

Radio Jämtland 1978 (no label, 2015; rec. 1978)
Instrumental, English vocals
International relevance: ***

The earliest tape is a three-song session made by local radio station Radio Jämtland (Jämtland being Myrbein's home county). If Myrbein were musically lost in their later years, they had absolutely no fucking clue what they were doing during the earliest days. Musically illiterate songwriting and blunderous playing but chock full of over-reaching ambition. With a playing time of only 16 minutes, this shouldn't be that hard to get through but it's really an endurance test. Last track ”Pucko vinner” is unbelievably terrible.

Live Tonkraft Sveriges Radio P3 1979 (no label, 2015; rec. 1979)
Swedish vocals, English vocals, instrumental
International relevance: ***

Recorded in their home town Östersund for the legendary Tonkraft series on Swedish national radio, and perhaps that fact made Myrbein nervous enough to shape up a bit. I'm not saying it's a good show, but it's not their worst effort. Despite some misguided attempts at Samla Mammas Manna styled musical humour, the track ”Hjälp släpp ut mig” is in fact almost listenable. Unfortunately, the tiny hope that track might inspire is quickly ruined by an embarrasing rock'n'roll pastiche called ”Ko”, and a disco parody named ”Disco Baby” that kicks in wide open doors. Wow, mocking disco in 1979! Did you really think that was a forefront thing to do? Come on, guys, please...

Live Borås 1981 (no label, 2015; rec. 1981)
Swedish vocals, instrumental
International relevance: ***

This reasonably good sounding audience recording opens with a cover of King Crimson's ”Larks' Tongues In Aspic, Part II”, showing they finally left their most of their Samla Mammas Manna/Gentle Giant hang-ups in favour of a Crimson hang-up. "Larks' Tongues" is fairly well performed, it suggests Myrbein could actually pull off a bit of garage level symph rock without making complete fools of themselves, and that their biggest problem perhaps was their insufficient understanding of composition. The rest of the gig features songs from their then recent album and some leftovers from their early repertoire including ”Ko”. Fans of ”Myrornas krig” will probably like this archival outpouring of theirs the best, but I still think it scores high on the international suckitude scale.

Radio Jämtland 1978 full EP playlist  
Live Tonkraft 1979 full album playlist 
Live Borås 1981 full album playlist