ROTPULS – Rotpuls (Amalthea, MP 1981) / Rotpuls (Amalthea, 1982)

Swedish vocals, English vocals
International relevance: *

A reggae band from Lund in Skåne with a very hands-on Peps Persson involvement. They had released two singles before making their 12” debut with six-track mini LP ”Rotupuls” in 1981, produced by Peps and also featuring musical contributions from him. They had a few less likeable traits in common with  Peps as displayed on his albums with Ronny Åström and ”Fyra tunnland bedor om dan”, i.e. silly songs of a traditional Skånish type. Then again, there are a few good tracks on both the mini album and their first and only full-length, confusingly enough also entitled ”Rotpuls” and again with Peps producing and playing. ”Stig Andersson” from the 12” and ”Vik ut dig” from the LP are fine enough, but the best track is the spacious organ-laced reggae cover of John Coltrane's ”A Love Supreme” which works really well, not only as a cool idea but as a cool piece of music. Too uneven to be considered essential, but the good tracks would make a pretty OK short LP length compilation. Plus there were so few Swedish reggae bands from this period, and the Peps relation makes Rotpuls worth mentioning.

Rotpuls (1981) full album playlist
Rotpuls (1982) full album playlist

AMERINDIOS – Ditt skrik är min sång – Tu grito es mi canto (Amalthea, 1978)

Other languages
International relevance: *

Amerindios was a Chilean duo consisting of Julio Numhauser and Mario Salazar, the former a founding member of Quilapayún who also had a number of Swedish releases. ”Ditt skrik är min sång” was originally released in Chile in 1973 with full title ”Tu Sueño Es Mi Sueño, Tu Grito Es Mi Canto”. It is in the Nueva Cancion style -- protest songs with light dashes of sort-of-but-not-really folk rock. Often backed by acoustic guitar and a singer or two sounding both seriously pissed off (for good reasons) and at the same time curiously happy. 

Original Chilean cover

But there are moments of surprise here, such as the short organ-laced instrumental ”Valparaiso 4 A.M.” with a slightly hazy pseudo-psychedelic vibe, and the stinging fuzz guitar in ”Cueca Beat” like straight out of a primitive garage rock single from Nowhereburg, USA 1966. I didn't see that one coming! And whatever that bizarre instrument in ”La Cervecita” is I don't know, but it sounds like a zither recorded while the producer changed the speed of the tape while recording, making that cosmic zither go WHOOOP and WHEEESH. 

All in all, a pretty good album in its style.

Full album playlist

JAN HAMMARLUND & KJERSTIN NORÉN – Några här, några där... (Amalthea, 1981)

Swedish vocals
International relevance: *

I've already written about Jan Hammarlund's entire 1970's catalogue here, but he continued making records long after that, with a discography reaching well into the 2010's. Never foreign to working and performing with other (predominantly female) artists, there are several releases co-credited to others. This is one of them, made together with Kjerstin Norén. She was one of the original members of Röda Bönor, and subsequently had another band called Kjerstin Norén & Damorkestern with members from Husmoderns Bröst.

”Några här, några där” – with the unweildy subtitle ”Jan Hammarlund Och Kjerstin Norén Sjunger Sånger Av Il Nuovo Canzoniere Italiano: Ivan Della Mea - Giovanna Marini - Paolo Pietrangeli” – consists of songs by contemporary Italian songwriters (as the subtitle says) translated to Swedish. The vocals are split rather evenly beteween the two singers, and although Norén might not be the greatest voice ever heard, her songs are still a welcome break from Hammarlund's always annoying warbles.

The album as a whole has a somewhat different feel than many other Hammarlund albums which has a lot to do not only with Norén's involvement but also the arrangements. The most different-sounding track is ”Balladen om Ardizzone” with its renaissance-styled framework. A well seasoned line-up surely helps too; how about Kjell Westling, Fred Lane, Lena Ekman, Ale Möller and his mate from various constellations Dan ”Gisen” Malmquist to name but a few? Recorded in Copenhagen, a couple of Danish musicians get on the payroll too.

But all in all, this remains too much of a Jan Hammarlund album, and unless you're a fan of his, you may just as well pass on it.

Full album playlist

HUSMODERNS BRÖST – Där fruarna bor (Amalthea, 1979)

Swedish vocals, instrumental

International relevance: **

At a first glance, this looks just like your standard feminist pamphlet, but it's a lot better executed than most of the albums in that field. Vocals are way better, and the jazziness sometimes suggests inspiration coming from Joni Mitchell's elastic vocalisms.

Malmö's Husmoderns Bröst were formed as an instrumental combo already in 1974, and by the time their first and only album ”Där fruarna bor” (”where the wives live”) came out in 1979, they sure had gained their chops. The album displays tight and versatile playing, and just like the vocals it has some jazzy edges that thankfully never strays into fullblown fusion. The songs cover a lot of ground, ranging from the Latin moves of ”Samba allergi” and ”Kork o plast” to the semi-reggae of ”Husmoderns affär”, from the disco allusions of ”Husmoderns disk-o-bänk” to the Steely Dan-ish slickness of ”Husmoderns vals” (which despite the slickness stands out as the collection's best track).

While it is nice to hear an album once in a while where the players actually can play good enough to get their point across musically, I have to say that ”Där fruarna bor” is a bit too clinical. It was released in 1979, at the tail end of the progg era, and as confirmed by several albums from around the same time, the heart and soul of the Movement had pretty much gone out of it and become something different and not necessarily better. ”Där fruarna bor” is an OK album, but comes off as a bit pedantic at times, and while it has its moments songwise, I'm left with an unsatisfied feeling once its over. It's a lot more accomplished than (the more entertaining) Röda Bönor and a lot more gratifying than, say, ”Tjejclown”, but it simply goes a bit too far into the realms of perfection to engage.

Husmoderns Bröst also appear on Silence album ”Bara brudar”, as well as ”Min søsters stemme” on Danish label Demos, both albums released in 1978 and recorded live at feminist music festivals. They disbanded in 1980, with their most prolific songwriter Maria Lundström continuing in music, releasing several solo albums from the 80's and on.

Full album playlist

MIKAEL WIEHE – Complete solo albums 1977-1982

After the disbanding of Hoola Bandoola Band in 1976, Mikael Wiehe founded Kabaréorkestern with Hans Sjöström (Werup-Sjöströmgruppen), Arne Franck (Hoola Bandoola Band) and Ale Möller (allround folk musician) among others. They released only two albums but played on troubadour Finn Zetterholm's 1977 album ”Längtans blåa elefant” (with alternate spelling Kabaretorkestern).

Sjömansvisor (MNW/Amalthea, 1978) 
as Mikael Wiehe och Kabaréorkestern

Swedish vocals
International relevance: *

Mikael Wiehe's greatest achievement since Hoola Bandoola Band's ”Vem kan man lita på?” in 1972. Great songs, sharp lyrics and good playing. ”Titanic (Andraklasspassagerarens sista sång)” is one of his best known tracks, and an allegory of the music movement's post Tältprojektetcollapse (only that Wiehe himself didn't realized it when he wrote the song). One brilliant Dylan translation, ”Sakta lägger båten ut från land” (”It's All Over Now, Baby Blue”) and one good Dylan translation, ”Spanska stövlar” (”Boots of Spanish Leather”) are also notable. Also worthy of mention: ”När bolaget kom till byn”.

Elden är lös (Amalthea, 1979) 
as Kabaréorkestern

Swedish vocals, instrumental
International relevance: **

A four part suite that stands as Wiehe's musically most progressive achievement, sometimes even resembling Samla Mammas Manna (”Ouvertyr”, ”Krigsdans”) written by the versatile Ale Möller. Möller's a very important contributor to the album, providing bouzouki, accordion, trumpet, electric piano, organ, and percussion. A stylistically richer and more free-thinking album than usual when it comes to Mikael Wiehe. ”Elden är lös” is the Wiehe album for people who don't like Wiehe.

Kråksånger (Amalthea, 1981) 

as Mikael Wiehe, Nyberg, Franck & Fjellis

Swedish vocals

International relevance: *

New band, new sound. The mawkish hit ”Flickan och kråkan”, drenched in Greg FitzPatrick's synthesizers, isn't representative to the album which has a rougher sound. 

”Katarina”, the terrible Swedish language mock reggae version of ”All Along the Watchtower”, ”Strebersång” and ballad ”Kom hem till mej” are all dreadful, the funky ”Allt vad jag begär” and ”Som om ingenting har hänt” are OK, ”Gossekungen” is good. The album sounded better when it was new, but time certainly hasn't been kind to it.

De ensligas allé (Amalthea, 1982) 
as Mikael Wiehe, Nyberg, Franck & Fjellis

Swedish vocals

International relevance:*

One of the worst albums mentioned on this blog. Eight Dylan translations and a Wiehe completely lost in the land of synthesizers and dated gate reverb. 11 minute title track (”Desolation Row”, or at least what's left of it) is freaking Guantanamo.

Mikael Wiehe has released numerous albums since.

Sjömansvisor full album playlist
Elden är lös full album playlist
Kråksånger full album playlist
De ensligas allé full album playlist

FOLK & RACKARE – Complete albums 1974-1981

In the wake of the anti-imperialistic forces in the late 60's and 70's, several bands turned to traditional Swedish music, taking a stand against the American influence on Swedish culture. Most of those bands and artists based their repertoire on instrumental tunes rather than songs, but Folk & Rackare delved deep into the old domestic narrative music. Softly adding a rock touch, they became the Swedish equivalent to particularly UK folk rockers Steeleye Span, with harmony vocals and a softer sound than for instance, Fairport Convention. Their first release was actually a duo album by front couple Carin Kjellman and Ulf Gruvberg, but when expanding their line-up, they soon turned into a very popular band, releasing several albums up until 1985.

Med rötter i medeltiden (Sonet, 1974)
as Carin Kjellman & Ulf Gruvberg

Swedish vocals, instrumental, a cappella

International relevance: ***

The duo debut with acoustic guitars, fiddles, flutes and bagpipes and also a couple of a capella songs. I used to be a huge fan of this, but my infatuation has slowly worn off with time. ”Liten Kersti stalledräng” and ”Maj är välkommen” are still nice enough tracks, but the general mellowness of the album strikes me too rosy-cheeked these days. The album is simply too pretty and cozy for me to pull out anymore. I actually find it a bit hard to listen to now. 

Folk Och Rackare (YTF, 1976)

Swedish vocals, instrumental, a cappella

International relevance: ***

First album released as Folk Och Rackare, still largely acoustic but with more musicians participating to make it more o a band effort including the ocassional electric bass and drums. First Folk Och Rackare appearance from Jørn Jensen of Norway's #1 folk rock band Folque. Another album I used to play to death that doesn't quite do it for me anymore.

Rackarspel (YTF, 1978)

Swedish vocals, instrumental, a cappella

International relevance: ***

Fiddler Trond Villa did what Jørn Jensen already had done, he left Folque for an increasingly rock oriented Folk & Rackare. ”Rackarspel” is a fuller sounding album than any of their previous outings, more self-assured and with richer and punchier performances making for a smoother mix of band tracks and a capella numbers. Their best album. (An acoustic and inferior live version of ”Äggavisan” from ”Rackarspel” can be heard on the 1978 various artist album ”Ångbåtsmusik – Live ombord på S/S Blidösund” on the Roslagen label.)

Anno 1979 (Sonet, 1979)

Swedish vocals, instrumental, a cappella

International relevance: ***

 

After two albums for the YTF label, Folk & Rackare returned to Sonet who released ”Med rötterna i medeltiden” back in 1974, this time offering the band higher production values, resulting in their glossiest sounding 70's album. The use of reverb rounds off the sharper edges too much and that weakens the impact the album otherwise might have had. Too smooth for its own good.

Stjärnhästen (Sonet, 1981)
Swedish vocals, instrumental, a cappella

International relevance: ***

 

A Christmas album with songs exclusively dealing with the Staffan Stalledräng character of Swedish and Norweigan folklore. Christmas records are a scary concept but this is, after all, better than most (for what it's worth). But just like ”Anno 1979” it suffers from too much production sheen, plus much too much of those apple-cheeked vocals that have pushed me such a long way from even Folk & Rackare's early albums. 

Folk & Rackare returned in 1985 with "Rackbag" that has a couple of good songs and features a cameo performance from UK guitar slinger Richard Thompson, but suffers from a typical mid-80s production with compressors and aural sheen. Carin Kjellman released a horrendous solo album the same year, while Ulf Gruvberg became a host for Swedish Radio folk show Trender & Traditioner, presenting new and old folk sounds from around the world on a weekly basis.

Folk & Rackare appears with a 1976/77 radio concert (date uncertain) in ”Progglådan”. Those who so wish can also look around for other, unreleased radio sessions – there are plenty.

Med rötter i medeltiden full album playlist
Folk Och Rackare full album playlist
Rackarspel full album playlist
Anno 1979 full album playlist
Stjärnhästen full album playlist
Tonkraft 1976-1977 full album playlist

RAJ MONTANA BAND – Raj Montana Band (Amalthea, 1978) / Döende oskuld (Amalthea, 1979)

 Raj Montana Band (Amalthea, 1978)

International relevance: **

Swedish vocals

Raj Montana Band was a Malmö outfit in an adult rock vein. This debut album displays more progg attributes than any of their other albums, with some edgy guitar playing courtesy of Peter O. Ekberg. It's not worth the effort though.

Döende oskuld (Amalthea, 1979)

International relevance: *

Swedish vocals

The faint progg characteristics of the debut are gone with the wind here. ”Döende oskuld” points in the mainstream direction Dan Hylander and Raj Montana Band soon would go to become one of the most popular Swedish bands in the 80's. Very uninteresting album, and still it's better than what was about to come.

Raj Montana Band full album playlist
Döende oskuld full album playlist

GÖRAN SKYTTE & BIRFILARNA – Än svänger det... (Amalthea, 1978)

Instrumental, Swedish vocals

International relevance: *

Most Swedes probably remember Göran Skytte as a political journalist, but prior to his work for television and daily papers, and prior to turning to Christianity, he was an occasional Hoola Bandoola Band member and following their demise, he joined Mikael Wiehe in his then new band Kabaréorkestern. Skytte also performs on a couple of albums from the 70's and 80's. including this one with Birfilarna where he plays, accordion and nyckelharpa.

”Än svänger det” is an album recorded live at Restaurang Syd in Malmö. An unspectacular LP – there are far better examples of traditional Swedish music than this one.

No links found

MUSIKTEATERGRUPPEN OKTOBER – För släkt och vänner (Amalthea, 1977)

Swedish vocals, spoken word
International relevance: -

Musikteatergruppen Oktober was an integrated part of Tältprojektet, by many considered the zenith of the progg movement, a four hour travelling show telling the history of the working class through the ages. Like their Swedish name implies, Musikteatergruppen Oktober was a music theatre group, founded in Malmö in 1973. They relocated to Södertälje not far from Stockholm in 1978 and quickly became an important force in the city's cultural life (eventually changing their name to Oktoberteatern). Their plays were well recieved, and many (including me) specifically remember their acclaimed children's play”Prins Hatt under jorden” which also became their final record release in 1980. Prior to that, they had co-operated with Bruksteatern on Bertolt Brecht's ”Modern” 1974, and had made the 1976 Swedish movie classic ”Sven Klangs kvintett” about a struggling jazz quintet – an obvious subject for them to deal with, with famed saxophonist Christer Boustedt a prominent member of the ensemble.

”För släkt och vänner” was their third vinyl outing, released in Tältprojektet year 1977, with selections from a cabaret partially recorded at the legendary progg establishment Sprängkullen in Gothenburg. The word 'cabaret' is descriptive enough. The album features long spoken word sections, and the music is largely uninteresting showlike jazz tinged numbers with a socialist message. Musikteatergruppen Oktober certainly had more musical talent to offer than most other independent theatre groups from around the same time, but ”För släkt och vänner” just isn't very fun to listen to. With too many and too longspoken parts, international listeners are emphatically advised to avoid this one.

Eva Rameaus of Musikteatergruppen Oktober was also a much loved children's TV host along with Magnus Härenstam and Brasse Brännström on the much loved educational show ”Fem myror är fler än fyra elefanter” (”five ants are more than four elephants”). She passed away in 1993, not yet 41 years old. Henric Holmberg is also a well known former Oktober member, with for example several stage monologues to his credit.

No links found

MUSIKTRUPPEN GURAN – Musiktruppen Guran (MNW, 1976) / I sista minuten (Amalthea, 1979)

International relevance: ***/*

Swedish vocals

An interesting, very versatile but undersung group from Lund in the south of Sweden. Their first album was released by MNW, and is a multifaceted piece of work where all songs are different, with elements from blues (the band started out in the early 70's as a pure blues outfit called Blues Machine), jazz, funk, folk and progressive rock to mention only some of their inspirations. The lyrics are politically inclined and the songs infused with humour, but neither the message nor the humour get in the way of the songs. There's no doubt about it that Musiktruppen Guran had chops enough, but their technical skills are used to bring the best out of the songs and not to show off the musicians' brilliance. The twin vocals of Anne Winqvist and Roland Svensson work well and add further shades to Musiktruppen Guran's rather spectacular blend of ideas. ”Musiktruppen Guran” ranks among the best albums made during the second half of the progg era and is highly recommended.

After losing bass player Lars Franzén (the void was filled by Roland Svensson), Musiktruppen Guran signed with Malmö label Amalthea and changed musical direction to a more reggae based sound. Sorry to say, the switch of musical styles was artistically disappointing, especially since drummer P.H. Scott doesn't nail the reggae. Let's say he's not a Bosse Skoglund... Some of the songs on ”I sista minuten” are still quite good, but the arrangements can't live up to their promise. 

from Musiktruppen Guran

"Ekorrhjulet"

"Liten sång"

from I sista minuten

"I sista minuten"