ASTON REYMERS RIVALER – Complete albums 1979-1981

While a first glance may not reveal any overt progg credentials, Aston Reymers Rivaler were in fact cut from the same cloth as Peps (especially in his later years), Ronny Åström and Dag Vag. Mixing African influences, reggae and other Caribbean styles with elements of both cajun music and old-timey Swedish dance tunes, it's no wonder that several Dag Vag members occasionally sat in with the band, and that the ever so open-minded Per Tjernberg, fresh from Archimedes Badkar and then known as Per Cussion, was a permanent member for a while. Also, their first two albums were released by Musiklaget, the very same label responsible for Bättre Lyss, Solen Skiner, Underground Failure and other certified proggsters.

Aston Reymers Rivaler were originally a street band, and a continuation of obscure rock outfit Rockslusk who subsequently had two tracks on a Sista Bussen tape compilation entitled ”Mediokra hjärnor” in 1982. Aston Reymers Rivaler released several albums in the 80's, but only the first three fit in with this blog's timeframe.

Från myggjagare till foträta (Musiklaget, 1979)
Swedish lyrics, instrumental
International relevance: *

The debut LP immediately defined Aston Reymers Rivaler's eclectic musical mix and demonstrated their penchant for exuberant tongue-in-cheek performances. But if the humourous element seemed fresh and catchy back in the day, it unfortunately sounds dated today, a bit like those 'funny' hats you see in 40 years old pictures of your parents at parties that seemed cheerful then but cringe-worthy today. Still it has a couple of OK tracks, namely ”Sambo” (although the possibly ironic jungle themed lyrics are relentlessly dated) and the bittersweet instrumental Russian traditional ”Metsäkukkia”. The track ”Bruno och Vera” was chosen for a single and gave the band a minor hit.

Kräål (Musiklaget, 1980)
Swedish lyrics, instrumental
International relevance: *

Second album ”Kräål” (= the word ”creole” with a made-up Swedish spelling) was a bit more polished than its predecessor, but similar in style. The track ”Stockholms ström” was never released as a single, but it quickly became a massive radio success nonetheless. A Swedish cover of Millie's early ska hit ”My Boy Lollipop” entitled ”(Min tjej) Sockertopp” is this album's cringe peak, while their first full-on foray into reggae ”(Vi bygger om) Hela Stockholm” is surprisingly credible with its mild use of dub effects. Fittingly enough, it features Peps on backing vocals, clavinet and tambourine. Thinking of it, it wouldn't have been out of place on Peps' own album ”Spår”.

A non-album single from around this time brought the band another hit, as the anti-nuclear power calypso ”Godis är gott” was released with the March 1980 nuclear power referendum in mind. ”Godis är gott” and ”Stockholms ström” are probably Aston Reymers Rivaler's still best known tracks.

Tvål (Metronome, 1981)
International relevance: *
Swedish vocals, instrumental

For their third album ”Tvål”, the band switched labels from the independent Musiklaget to major label Metronome which may partly explain why it suffers from a duller sound. Also, their patented gumbo of styles began wearing thin at this point. You may not like the first two albums, but they were nevertheless bubbling with joy whereas ”Tvål” sounds predictable and lacklustre. Album opener ”Jakten på amazonkvinnornas guld” is a decent stab at New Orleans rhythm & blues (with some nice harmonica work to boot), but again, the best track is another brooding extended reggae number called ”Det går”.

Från myggjagare till foträta full album playlist
Kräål full album playlist
Tvål 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 

ARCHIMEDES BADKAR – Badrock för barn i alla åldrar (MNW, 1975) / II (MNW, 1976)

It's hard to overrate Archimedes Badkar, probably not even possible. They understood the music they were playing, had a firm grip of the different elements they found all over the world, especially in Africa. They entwined traditions without ever sounding fake or coming off like tourists picking up mass-produced artefacts for cheap and then displaying them on a shelf to impress their friends. They were simply genuine with a sincere love for music, never out to dazzle or convince people of something they had read in a book somewhere. And that's why their albums stand up so well after such a long time, that's why they're still so exhilaratingly fresh, and that's why I count Archimedes Badkar as one of the finest bands ever to come out of the music movement.

Badrock för barn i alla åldrar (MNW, 1975)
Instrumental

International relevance: ***

After the self-financed 7” ”Rumpstek” released in one hundred now brutally rare copies in 1973 – the year after their formation – Archimedes Badkar got signed by MNW. Their first full length album was ”Badrock för barn i alla åldrar”, so rich with ideas but never pretentious or 'show-offy', not even when they jump head first into some intricate rhythms, 'foreign' but never foreign to Archimedes Badkar. Their sheer vitality and joy of musical discoveries save them from self-absorption; they always aimed their music outwards, towards the listener, inviting him or her to follow them along in the flow.

Archimedes Badkar style hadn't yet quite stabilised here; ”Badrock för barn i alla åldrar” is a bit sparser than their successive releases, but it's a brilliant album, one that make you feel a little more alive, a little more lighthearted, a little more encouraged and determined to get through whatever you need to get through. It's music in the best sense – and it's not even Archimedes Badkar's best album!

II (MNW, 1976)

Instrumental 

International relevance: ***

”II” shrinks the world down to a double album. Rarely have the continents been as close to each other as they are here. Africa, Asia, America and Europe gather in a reflective but splendurous meeting where minimalism, Eastern drones and Balkan rhythms are equal and fully compatible. As most Archimedes Badkar albums, ”II” is a genre defying achievement; Archimedes Badkar is their own genre, defined by their collective open mind and brilliant musicianship. Like all their albums, this is a must-have.

Badrock för barn i alla åldrar full album
II full album

BENGT BERGER – Bitter Funeral Beer (ECM, 1982)

Instrumental

International relevance: ***

It's impossible to imagine the 1970's music movement/progg/jazz scene without Bengt Berger, the drummer and percussionist who has added his magic touch to more albums than anyone can count (possibly including himself). He plays as if he has the whole world by his drum sticks and well, in a way he does. I doubt there's anything from anywhere that he can't play, or at least learn to play just by listening in. Much like saxophonist Roland Keijser, his name is a hallmark of quality. If Berger's name's on an album, it's something worth listening to.

”Bitter Funeral Beer” is different insofar Berger's not actually the drummer here, the equally exceptional Bo Skoglund is. Berger plays the Ghanaian xylophone ko-gyil, an instrument he first used on Archimedes Badkar/Afro 70's ”Bado Kidogo” from 1978. The music on ”Bitter Funeral Beer”, recorded in 1981, is based on actual Ghanaian funeral music and sounds like a natural extension of what Archimedes Badkar did. Several ex-Archimedes members also appear, such as Christer Bothén, Sigge Krantz, Tommy Adolfsson, and Jörgen Adolfsson. Plus Thomas Mera Gartz, Anita Livstrand, and the formidable Don Cherry who was living in Sweden at the time. The music is vibrating with beautiful vitality, it's a marvellous album, quite possibly the best on the ECM label post their most interesting early 70's period. This album is truly the work of masters.

There are several albums released as Bitter Funeral Beer Band. From 1987, there's the fabulous ”Praise Drumming” on Dragon (reissued on CD in 2017). In recent years, Bengt Berger has put out some Bitter Funeral Beer Band live recordings from the 80's on his Country & Eastern imprint. ”Live in Frankfurt 82” features several pieces from the ”Bitter Funeral Beer” album but very different in sound and mood with help from Indian sarod player Krishnamurti Sridhar. Also of interest in ”Live in Nürnberg 84”, a fine sounding concert originally recorded by Bavarian radio. Everything by Bitter Funeral Beer Band is essential listening, especially to fans of Archimedes Badkar and Bolon Bata.

Bitter Funeral Beer
Blekete
Chetu

Tongsi

Darafo/Funeral Dance (Dar Kpee) 

STEN BERGMAN – Lyckohjulet (Gump, 1974)

Swedish vocals, instrumental

International relevance: ***

Sixth album released on Metronome's highly collectable subsidiarylabel Gump. Sten Bergman had been in Atlantic Ocean and Fläsket Brinner and features former band colleagues Per Bruun on bass, guitarist Bengan Dahlén, plus Archimedes Badkar's Christer Bjernelind also on guitar, and Thomas Mera Gartz of Träd, Gräs Och Stenar on drums and violin. ”Lyckohjulet”, however, is a much more straightforward than any of the aforementioned bands. It shows Bergman well acquinted with the American music of the day – think of a more relaxed version of early 70's Jefferson Airplane, the Crosby, Stills & Nash family, The Band and ”Basement Tapes” Dylan, and you've nailed the album pretty well.

Among the weaker tracks are the country tinged title track and ”St. John”, the piano ballad ”Vinterdröm”, and ”Kommer hem” which borrows a little too much from Dylan's ”Like a Rolling Stone” (did Bergman really think no-one would notice?). But the good tracks are really good – ”Människofiskare”, ”Med dej här bredvid”, ”För mycket av ingenting” (”too much of nothing” in English – spot the Dylan reference?), floaty album closer "Sorti" and, to top it off, the marvellous ”Vägen är lång”. In short: It's uneven but good, with one great track. 

Full album playlist

ARCHIMEDES BADKAR & AFRO 70 – Bado Kidogo (MNW, 1978)

Instrumental, other languages

International relevance: **

Considering Archimedes Badkar's serious interest in African music, it was a logical step to work with Tanzanian band Afro 70 for their final outing in 1978. Afro 70 was centered around singer and guitarist Patrick Balisidya, and the band's popularity in and around Tanzania grew from regular touring and a number of 45's released in the early 70's.

Archimedes Badkar trumpeter Tommy Adolfsson sheds some light on how the two bands got in touch with each other:

– It was me who met Patrick Balisidaya in Dar es Salaam in 1978. I was a student at Tomelilla Folkhögskola [Tomelilla is a small town in Skåne in the south of Sweden] then. Krister Malm at Rikskonserter [Concerts Sweden] gave me the names of [Tanzanian] musicians, including Afro 70. I met Patrick and played him Archimedes Badkar's ”Tre” that was brand new at the time and he got all excited by what he heard. It was in February 1978, and Patrick told me he was invited to Sweden by Krister Malm, and that he would come over. I told him he had to get in touch with Archimedes. Upon my return to Stockholm, they had already recorded most of the Archimedes Badkar/Afro 70 album. I overdubbed some trumpet parts, got in touch with Sweden/Tanzania Friendship Association who granted us money, and then we went on a fun tour around Sweden!

The two bands blend well, although it's somewhat more of an Afro 70 album thanks to Patrick Balisidiya's vocals (plus backing vocals from Dick Unga and Sophie Nzuki-Balisidiya) – hardly a problem.

”Kila Mtu” makes for a strong opening but the very best moment is the album's final 12+ minutes of Ghanaian funeral music, ”Darafo/Darkpen” with saxophonists Jörgen Adolfsson and Christer Bothén blowing hard and free before the rest of the band works up an irrestistable groove around Bengt Berger's xylophone and Per Tjernberg's percussion.

”Bado Kidogo” isn't as stylistically sprawling as Archimedes Badkar's previous efforts, but it's a very fine effort rounding off their all too short discography in a most honorable way.

Although being outside the time span of this blog, I'd really like to mention two Archimedes Badkar related albums. The first of them i ”Trancedance” (Organic Music/Urspår) by Christer Bothén featuring Bolon Bata, released in 1984, with a massive line-up of former Archimedes Badkar members such as Bengt Berger, Jörgen Adolfsson and Tommy Adolfsson and numerous other progg luminaries. A fantastic, hard swinging, afro inspired feast of an album. The second album was released in 1987 by Bengt Berger lead Bitter Funeral Beer Band's ”Praise Drumming” (Dragon) and features several of the people who made ”Trancedance”, and follows along the same lines albeit broadening the stylistic range even more. Another must for Archimedes Badkar fans.

Special thanks to Tommy Adolfsson for kindly taking the time to straighten some things out!

 

Full album playlist

ARCHIMEDES BADKAR – Tre (MNW, 1977)

Instrumental

International relevance: ***

Ranked #11 on the blog's Top 25 list

A stellar act operating in the most open-minded area of the 70's jazz scene, with core member and percussionist Per Tjernberg (also known as Per Cussion) bringing strong afro influences to the table, thus making Archimedes Badkar an exhilirating ingredient of the progg movement.

Debuting in 1973 with the ridiculously rare self-released ”Rumpstek” 33/3 rpm single, they soon hooked up with flagship label MNW. Their first album for MNW was the magnificent ”Badrock för barn i alla åldrar” in 1975, followed by ”II” in 1976, finishing off their quartet of albums in 1979 with ”Bado Kidogo”, a joint venture with Tanzanians Afro 70. However, my personal favourite is ”Tre”, (”three” in English), an exuberant blend of afro rhythms, Balkan and Indian touches, and jazz. No wonder, as the line-up includes excellent sax player Christer Bothén (later to front the similarly styled Bolon Bata) and multifaceted drum wizard Bengt Berger.

With such prominent players and such a broad palette of musical traditions to choose from, ”Tre” just can't get boring even if it tried. It opens with the hard blowing jazz of ”Badidoom”, moves on to the soft-spoken ”Bhajan”, then by way of ”Världens liv” and ”Akombah” to the tender ”Slum” before heading for the lilting sounds of the mbira in ”Tumpianomusik” (”thumb piano music”), then bursting into the extatic three part suite ”Pharaoh/El Legend/Marrakech” where Bothén gets his chance to show off his free jazz credentials with versatile trumpeter and sometime Iskra member Tommy Adolfsson breathing down his neck, and then makes its way through the playful ”Desert Band” before closing the show with the reflective ”Tziaveri”.

Archimedes Badkar were never an orthodox band but they always paid respect to the traditions that offered source material to their eclectic and ever so captivating mix. All their albums are high carat nuggets, but this is their special musical brew at its most potent. ”Tre” stands out as one of the most inspiring and impressive achievements of the entire progg era.

Unfortunately, "Tre" is conspicuously underrepresented on Youtube, with, for instance, the jazziest tracks unavailable, but the three excerpts below will hopefully give you an idea of the album's delightfulness.

Full album playlist