AMANDLA – Amandla (A-Disc, 1980)

Other languages, English vocals, instrumental, spoken word
International relevance: -

Man, does the A-Disc curse go deep! Not only did they release train loads of emotionally debilitated rock music and pseudo progg, they also managed to sneak out this entirely redundant slab of ANC themed South African music.

Now, I'll readily admit I'm not a fan of South African music in general (I very much prefer the hard-boiled grooves of Northern Africa), but I can nevertheless discern when South African music is passionate. And this just isn't. It's amazing really how A-Disc could turn everything they touched into cosmic dullness.

If I am to say one nice thing about it (although I'm certainly not obliged to), ”Ngwaba Wanga” (=”my child”) is a half-decent slightly jazzy thing that could have been released on a lesser Black Jazz Records disc. But don't take that as an excuse to check this album out. I just said it to look kind. 

Welele Mandela
Ngwana Wanga 

BJÖRN ARAHB & MONICA NIELSEN – Sjunger Ture Nerman (A-Disc, 1979)

Swedish vocals
International relevance: *

Ture Nerman was a journalist, radical social democrat (sometimes communist), anti-militarist, dedicated teetotaller, and for his time something as unusual as a vegetarian (he was born in 1886 and died in 1969). He was also a poet, and harbouring such sentiments as the ones mentioned above, his poems were well equipped for being set to music in the progg era. Some of the songs use older melodies by for instance Joe Hill, while several were written specifically for this project by Björn Arahb.

Being released on the Social Democrats' in-house label A-Disc, this is every bit as boring as you can imagine. There's no doubting that the sentiments of Arahb and fellow singer (and actor) Monica Nielsen are honest and genuine, but once again, whatever emotional impact this could have had with less self-righteous performances, soulfulness is substituted with oversinging. The musical framework is also typical of the ilk; it's either semi-cabaret-like or it sounds like The Labour Day Marches Greatest Hits.

Full album playlist

MANTRA – Take It! (A-Disc, 1980)

Instrumental
International relevance: *

Latecomers to the A-Disc roster, Mantra's debut album showed more than a few commercial leanings towards the radio friendly pop rock of the day as well as dehydrated funk fusion and disco. One track, ”Swing Your Thing” suspiciously shares a few features with Toto's ”Hold The Line” which is revealing enough. ”I Sold My Soul (To Rock 'n' Roll?)” is – with a question mark or without it – one of the worst over-used song titles ever. It doesn't matter that it's probably used here as a tongue-in-cheek hint at the slight hard rock charasteristics sneaking into what's basically a mediocre jazz fusion track. Guitarist, songwriter and arranger Henrik Janson obviously had a taste for American FM hard rock, as his playing is soaked with it. The album is entirely instrumental, but whether that's for the better or for the worse is impossible to say since ”Take It” sucks harder than an anabolic Hoover anyway.

Mantra had a few 45s out and released their second album ”Mantraction” on the Hill label in 1982 before Janson turned to a prolific career as a studio guitarist. He was also a member of Mikael Ramel's backing band Harru Lust in the early 80s (appearing on ”Strömavbrott” from 1982 and ”Bra sak” from 1984), and Ramel also wrote the lyrics for one of Mantra's songs on ”Mantraction”.

Balladtime

THOMAS FRYKBERG – Väderkvarnsväder (A Disc, 1980)

 

Swedish vocals
International relevance: **

Most A-Disc albums are best described as 'just another A-Disc album'. A bitter few of them has anything to distinguish them; at best it's mediocre artists with mediocre talents to match the label's desire for mediocrity. ”Väderkvarnsväder” is no exception.

Thomas Frykberg was a decent songwriter, somewhere at the end of Mikael Ramel's spectrum with a dash of Blå Tåget's cabaret-like moments, but his qualities are dampened by a boring studio mafia sound. As a lyricist, Frykberg isn't even on the same planet as Ramel; the lyrics are a yawn, riddled with bland politics and the occassional toothless satirical edge. Frykberg vocal delivery is less than inspiring too. He's a dull singer with a rather weak and non-descriptive voice, and the semi-jazz fusion backing provided by fusion royalty like Jan Tolf (Häxmjölk, Resa) and Ulf Adåker (Egba) is obviously competent, or if you prefer a more honest phrasing: typically bloodless. Best song in the lot is the slightly melancholy title track with an appealing melody, laced with a fairly elegant string arrangement and a few amiable flugelhorn lines. Best song, yes, but not good enough to save the rest of the album from being destined for oblivion.

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