VARIOUS ARTISTS – Bara brudar (Silence, 1978)

 

Featured artists: Tösabeat / Søsterrock / Husmoderns Bröst / Anita Livstrand / Feminist Improvising Group / Reis Kjerringa / Tintomara
Swedish vocals, other languages, instrumental
International relevance: **

Recorded live at the Women Festival in Stockholm in August 1978 with the profits going to the Women House Fund. Musicians came from Sweden, Denmark and the UK – one of the Brits is Henry Cow's Lindsay Cooper here appearing with the Feminist Improvising Group. It's a wide array of styles, spanning from acoustic folk to free jazz. Anita Livstrand's ”Dervishen”, otiginally on her fantastic album ”Mötet”, is intense and the high point of the LP, but ”Bara brudar” is overall one of the best feminist albums of the era. Also features contributions from Husmoderns Bröst and Tintomara.

Full album playlist

VARIOUS ARTISTS – Alternative Instrumental Music (Caprice, 1980; rec. 1970-1978)

Featured artists: Kebnekaise / Arbete & Fritid / Bo Hansson / Fläsket Brinner / Tillsammans / Samla Mammas Manna / Spjärnsvallet / Iskra / Archimedes Badkar / Anita Livstrand / Ramlösa Kvällar

Instrumental 

International relevance: ***

An excellent if redundant compilation in Caprice Records' ”Music In Sweden” series. This is volume 7 and just like the title says, focusing on instrumental progg. All tracks are taken from previously released albums so there's nothing exclusive here. But, as a cream-of-the-crop overview, it's carefully selected and sequenced, with great numbers from the likes of Kebnekaise (from their second, invincible album and before their changed their spelling to Kebnekajse), Arbete & Fritid, Fläsket Brinner, Archimedes Badkar, Anita Livstrand, Spjärnsvallet and Bo Hansson. Pretty much the go-to album for a progg newbie interested in the non-vocal side of Swedish progg, as well as a thoroughly enjoyable disc to the ears of the already converted.

An LP sized multilingual booklet with short pieces on the participating groups as well as a introduction to the Swedish progg scene is included.

Kebnekajse - Barkbrödslåten
Arbete & Fritid - Två grekiska låtar
Bo Hansson - De svarta ryttarna/Flykten till vadstället
Fläsket Brinner - Gunnars dilemma
Samla Mammas Manna - Oförutsedd förlossning
Spjärnsvallet - Pojkarna
Archimedes Badkar - Darkpen
Anita Livstrand - Didjeridoo/Kulning
Ramlösa Kvällar - Maskulina mystiken 

VARGAVINTER – Vargavinter (Silence, 1976) / Röster från alla land (Ett Minne För Livet/MNW, 1980)

Vargavinter (Silence, 1976)

Swedish vocals, English vocals, other languages, instrumental
International relevance: ***

After the demise of Låt & Trall, singer Marie Selander became part of 'super group' Vargavinter, featuring members from Archimedes Badkar, Iskra, Södra Bergens Balalaikor, Spjärnsvallet and, through Kjell Westling, Blå Tåget/Arbete & Fritid and others. And not to be forgotten, the brilliant Anita Livstrand.

The title of Vargavinter's second album is ”Röster från alla land”, ”voices from all countries”, and that's a good description even of their live recorded eponymous debut. Vargavinter performed music from just about all around the globe. They were a bit in your face politically but the multitudinous music is often great. It is a bit uneven, with two or three of the songs sounding as if they're there mainly to fill the geographic quota, but  ”Snart” and the atmospheric ”Rumänsk dansmelodi” for instance are very good.

Röster från alla land (Ett Minne För Livet/MNW, 1980)

Swedish vocals, other languages, instrumental
International relevance: ***

”Röster från alla land” appeared four years after ”Vargavinter” and despite being recorded in the studio, the music sounds looser, or if you will, less focused. Still some good tracks such as ”Bågskytten”, ”Dans från Zalongou” and ”Det omöjliga”, but ”Röster från alla land” lacks a lot of the debut's freshness.

”Progglådan” has a 1980 Vargavinter Tonkraft session, and a mid-70's live version, also made for Tonkraft, can be heard on the double LP ”Tonkraft 1975-76: Levande musik från Sverige”.

Vargavinter full album playlist
Röster från alla land full album playlist
Tonkraft 1980 full album playlist

VARIOUS ARTISTS - 3 FEMINIST ALBUMS

It's no wonder that the feminist movement gained momentum in the politically charged 70's. The fight for social equality between men and women connected well with the struggle for working class liberation. It paved way for #1 feminist band Röda Bönor, and later Andra Bullar, but prior to that, several feminist projects had already received attention.

SÅNGER OM KVINNOR (MNW, 1971)

International relevance: *

Swedish vocals

The first album entirely devoted to the topic of feminisim was ”Sånger om kvinnor” in 1971 with its origins in a stage play called ”Tjejsnack” written by Suzanne Osten and Margareta Garpe for Stockholms Stadsteater (Stockholm City Theatre). MNW wanted to release an album with the music used in the play, but as there wasn't enough material for a full LP, additional songs were written specifically for the release.

Much appreciated upon its release ”Sånger om kvinnor” was also questioned. While the lyrics were written by women, the music was composed by Gunnar Edander (formerly active in independent theatre group Fickteatern), and the backing musicians were an all male cast of Bengt Berger, Urban Yman, Kjell Westling, Roland Keijser, Tord Bengtsson, Leif Nylén and others. Ironically enough, it's the musical backing that impresses the most, with several fine efforts from the musicians involved. The album sports a massive lot of singers including the aforementioned Suzanne Osten and Margareta Garpe, but also Ulla Sjöblom, Lise-Lotte Nilsson, Lena Söderblom, Louise Waldén, author Sonja Åkesson and the excellent Marie Selander. Not all of them are as good singers as Selander. Also, the music is annoyingly silly and yippee jolly from time to time, but it has a couple of good moments – ”Innerst inne är du en riktig kvinna, Louise”, and Leif Nylén's excellent ”Törnrosa” (sung by Marie Selander). ”Vi måste höja våra röster” became an instant classic feminist anthem.

TJEJCLOWN - MED LIVMODER I STRÄNGARNA (MNW, 1974)

Swedish vocals, spoken word

International relevance: *

 

In response to ”Sånger om kvinnor”, ”Tjejclown” was made with only women writing and performing the songs, some of them spilling over from ”Sånger om kvinnor”, but also including such well-known names as Anita Livstrand, Turid, Hélène Bohman (of Stenblomma) and Lena Ekman. Obviously of greater symbolic value than ”Sånger om kvinnor”, but if you don't want to listen to political symbols just for the sake of it, it's a bad and largely amateurish album. There's not one track here of the same stature as ”Innerst inne är du en riktig kvinna, Louise” and ”Törnrosa”, but ”Flugsvampens visa” is passable.

JÖSSES FLICKOR - BEFRIELSEN ÄR NÄRA (YTF, 1975)

Swedish vocals

International relevance: *

”Jösses flickor – befrielsen är nära” was originally highly successful musical/play premiered at Stockholms Stadsteater in 1974, depicting the evolution of the women's liberation movement (three years before ”Tältprojektet” did a similar thing with the working rights movement). Again the music was written by Gunnar Edander, meaning it was a little more carved out than ”Tjejclown”. Unfortunately, he borrowed so much from the pamphlet progg style so fashionable among the communist crowd at the time that the best thing I can say about the album is that the songs at least are short...

To sum it up, all this is (mostly) bad music for a good cause. For more enduring, digestible and entertaining feminist progg, please turn to Röda Bönor.

 

Sånger om kvinnor full album playlist

Tjejclown full album playlist

Jösses flickor - befrielsen är nära full album playlist

THOMAS MERA GARTZ – Sånger (Silence, 1976)

Swedish vocals

International relevance: ***

 

As with Thomas Tidholm, Thomas Mera Gartz was much better when he was in charge of his own album and not only a part of Träd, Gräs Och Stenar. Only two Träd, Gräs Och Stenar members appear prominently on ”Sånger”, guitarist Jakob Sjöholm and bassist Torbjörn Abelli. Instead, Gartz wisely opted for a set of musicians with a good instrumental grasp; Bo Skoglund, Roland Keijser, Bengt Berger, Anita Livstrand and Nikke Ström to name most of the participants.

Gartz may not have been the world's greatest singer, but ”Sånger's” intimacy, melancholy and the musicians' interplay are so much more important to the outcome. The entire album has a tender delicacy to it, it's both fragile and frail, heartfelt and sincere, with an openendedness inviting the listener to come closer and closer until you can't help embracing the music. The stellar cast of performers helps immensely of course. They listen with in the songs and within themselves, enter musical openings, bring elusive spiritual overtones to the songs, move the music and their fellow players forward. Gartz leads but ”Sånger” is a collective effort, an example of what might happen if vision and skills meet.

Full album playlist

THOMAS WIEHE – The 1970's albums

Thomas Wiehe has always been overshadowed by his more successful brother Mikael who rose to fame with Hoola Bandoola Band before launching a much applauded solo career. While it can be argued that Mikael Wiehe was the most melodically talented of the two, Thomas made a couple of interesting album in the 70's. The Wiehe brothers originally played in the 60's band The Moccers, and Mikael has appeared on some of Thomas's albums.

I rummet intill (Silence, 1973)

Swedish vocals

International relevance: ***

Housed in an eye-catching cover sporting a Channa Bankier painting, Thomas Wiehe immediately appeared as someone well acquainted with Incredible String Band (more Mike Heron than Robin Williamson). Side two of ”I rummet intill” is better than side one, including ”Vargen”, the spiritually inclined ”Skapelsen”, and ”Landskap”. Overall, a decent album.

Drömskugga (Silence, 1974)

as Thomas Wiehe:s Första Förband
Swedish vocals, instrumental 

International relevance: *** 

”Drömskugga” is a better album than ”I rummet intill”, much thanks to Wiehe's band on the album, Första Förband. The electric backing provides the songs with a greater stability even during the spacier parts and improvisational passages of ”Raga vid det relativas nollpunkt”. The weakest moment is the thankfully short fusion track ”Leve de vilda strejkerna”. 

Vilse i pannkakan (Silence, 1975)

with Staffan Westerberg
Swedish vocals, spoken word 

International relevance: *

 

Wiehe's third consists of music from children's television series ”Vilse i pannkakan”, made by Staffan Westerberg. Any kid that grew up in the 70's watched it but few liked it. A strong sense of eerie unease ran through the series with Westerberg speaking in a creepy hush and playing with dolls made of socks. He was subsequently accused of ruining the childhood of a generation (that is MY generation!) and what can I say... It didn't do me particularly good. In an attempt to conquer my childhood traumas, I tried watching the series again as an adult but that only instilled new life in my elusive fear provoked by the fears of my younger days... It all came back to me with fangs and glowing eyes. So the album's a hard listen for me. Each time I hear Staffan Westerberg's voice during the spoken parts, I throw the album to the wall and hide under the bed. Sort of. Wiehe's songs aren't very good either, too silly even for a children's album.

Mögel (Silence, 1975)

International relevance: **

Swedish vocals

The proper follow-up to ”Drömskugga” and again with a full band backing on some tracks. ”Mögel” isn't as good though, too intangible due to diffuse songwriting. A largely forgettable album.

Tårta och raketer (Silence, 1977)

International relevance: ***

Swedish vocals

A huge improvement over ”Mögel” and hands down Thomas Wiehe's best album. The arrangements are meticulous, substituting the rock band with baroque pop viola and violin, adding bass saxophone, English horn, bongos and congas and thanks to Anita Livstrand, tamboura on ”Längtan”. A beautifully crafted album of reflective and thoroughly composed songs, dissimilar to most other progg albums – if not all progg albums. A minor masterpiece and a should-be classic. This largely forgotten album deserves proper discovery and love.

Två vindar (Silence, 1978)

International relevance: *

Swedish vocals

Just about any album following the splendorous ”Tårta och raketer” would be a disappointment, but ”Två vindar” is disappointing every which way you look at it. Dull songs, dull sound, dull playing surely make for a – you guessed it – dull album with too many pop mainstream ambitions that should leave most progg fans cold.

Thomas Wiehe made several albums after ”Två vindar” including one featuring Turid in 1982. He's also continued working with children's music. He's also featured in ”Progglådan”.

I rummet intill full album playlist
Vilse i pannkakan full album playlist

Mögel full album playlist

Tårta och raketer full album playlist
Tonkraft 1977 full album playlist (tracks 5-8)

from Drömskugga

Drömskugga

Raga vid det relativas nollpunkt 

Leve de vilda strejkerna

Huvet upp - benen ner

Två vindar no links found

ANITA LIVSTRAND – Mötet (MNW, 1978)

Vocals in various languages

International relevance: ***

 

Ranked #12 on the blog's Top 25 list

A highly intriguing album, from the music itself right down to the cover sporting a painting by the excellent Channa Bankier who is still active as a painter, having exhibitions from time to time. (The painting itself is titled ”Mötet”, ”The Meeting”, just like the album.)

Anita Livstrand has a colourful history. As a 16 year old, she started playing in the streets 1969, performing songs by the likes of Bob Dylan, the Rolling Stones, Joni Mitchell and, oddly enough, Träd, Gräs Och Stenar. She got turned on to ethnic music when she bought the Turkish saz to which she started making up songs without words. For a short while she was part of the all-female band Luftbolagets Aftonstuvning who sadly enough never released any music. Another member of shortlived outfit was Helene Bohman who later recorded an album under the alias Stenblomma, now considered a classic by progg aficionados.

In 1974, Livstrand expanded her knowledge in foreign instruments as she acquired a tamboura, on which she accompanied several Indian musicians on their visits to Sweden. She teamed up with plenty of prominent Swedish musicians for recording sessions, such as Jan Hammarlund, Turid Lundqvist, Archimedes Badkar and Thomas Mera Gartz on his underrated ”Sånger” album from 1976. She also contributed to a couple of various artists compilations before she made her solo debut with ”Mötet” in 1978, to this day the only album to bear her full name on the front cover.

Long before the term ”world music” was coined, she weaved together an array of musical threads from around the world. ”Mötet” exposes you to blues, Bulgarian and Hungarian folk singing and Indian and Turkish influences, as well as Scandinavian traditions. All blends together to a remarkably eclectic mix that modern day world music yet has to rival. ”Mötet” is profound, spiritual, earthy and serene, most of the time all at once. The album features contributions from several stellar progg musicians with a flair for multifaceted music. Samla Mammas Manna offered Lars Hollmer and Coste Apetrea to the album's lineup, while the late Thomas Mera Gartz of Träd, Gräs Och Stenar also joined in. Not to mention Turid, Bill Öhrström, Ulf Wallander and astonishing drummer Bengt Berger. All making sure to bring the very best out of the music. If there's a single reason for inventing the word ”organic”, then this album is it. The music flows effortlessly, like a curiously effervescent stream. The music may be acoustic, but the experience is electrifying.

Given the amounts of excellent progg albums released during the first half of the 70's, it's sometimes easy to forget the nuggets from the later progg days, but ”Mötet” is one of those latter period gems. It easily stands out as one of the most inventive and exhilarating releases during the entire progg era!

After ”Mötet”, Livstrand joined forces with another one of the most broadminded singers Sweden had to offer in those days, Marie Selander. With Vargavinter, they released two albums of similar excellence, following the direction pointed out by ”Mötet”. The 80's saw Livstrand participate in recordings by Bengt Berger's Bitter Funeral Beer Band, Bolon Bata (on the mindblowing ”Trance Dance” album) and Barrikadorkestern. In the early 90's she turned into band leader herself in Anitas Livs. Live shows and albums by Anitas Livs proved that she never lost touch with music from all over the world; I saw them back then and it was a truly vitalising experience.

Surprisingly enough, and for some mysterious reason, ”Mötet” was released as a music cassette in Australia 1980. Thankfully, it was also graced with a CD release in the mid 00's, with a slightly altered sleeve.

Full album playlist