A SEVEN INCH SPECIAL, VOL. 6: Pop progg

 MIKAEL RAMEL – Förvånansvärt (Knäppupp, EP 1967)
Swedish vocals
International relevance: **

Mikael Ramel's first proper solo release is an EP with four tracks released while he was still in Steampacket. His melodic style was already there albeit a little but undeveloped at this early stage. The best song is ”Bara ett par dar”, an acoustic version of a Steampacket track released the same year. A very charming EP but not on the level of his later masterpieces.

 

ROWING GAMBLERS
A World Of Roses / My Very Special Dream (Parlophone, 1969)
A Present For Tonight / Taken For A Ride (Toniton, 1970)
English vocals
International relevance: **

A Stockholm band that already had three singles out before ”A World Of Roses”. They were really a commercial pop band covering Neil Sedaka and a bad Yardbirds song but got a wee bit psychedelic on their last two 45s. ”A World Of Roses” is a Göran Lagerberg composition not released by Tages and a rather good track at that with some nice guitar work. Both tracks on their final outing are Rowing Gamblers originals, and especially ”Taken For A Ride” has obvious psychedelic overtones with a drowsy beat and Paul McCartney styled bass. 

SOMMARFILOSOFERNA – På en sommardag / På en sommarnatt (Mercury, 1970)
Swedish vocals

International relevance: *

”På en sommardag” is a Swedish version of Mungo Jerry's ”In The Summertime”, a song I've tried to escape for my entire life. The slightly jazzy ”På en sommarnatt” is better but still not good. The single is mainly notable for having Björn Töpel and Göran Lagerberg from Tages, along with Björn J:son Lindh. and Jan Bandel on banjo, surprisingly enough. Sommarfilosoferna were a project put together by producer Anders "Henkan" Henriksson.

KENT-MORGANS – Balladen om Kalle / Brother Hood Feeling (Marilla, 1971)
Swedish vocals
International relevance: *

One of the strangest inclusions in the ”The Encyclopedia Of Swedish Progressive Music” as Kent-Morgans were nothing but a typical Swedish dance band in the vein of Sven-Ingvars. Tobias Peterson calls ”Brother Hood Feeling” ”basement psychedelia” but I don't know where he got that from. Bengt Dahlberg's fuzz guitar isn't enough. Dahlberg was later in Acke & Gurra.

TOM ZACHARIAS – Josephine / Roller (Green Light, 1971)
Swedish vocals
International relevance: **

This was years before his infamous ”Belinda” album, and there are no traces of the pornographic lyrics of that album here. Instead, this is debile folk pop and decrepit rock. Interesting only because of the Green Light label, MNW's early 70s subsidiary. 

XTRA – Vatten / Kaffepannan (CBS, 1971)
Swedish vocals
International relevance: **

The first of two Xtra 45s, a band best known for their album ”Oh! 10-15” from which the 'A' side was taken. ”Kaffepannan” is the interesting one here as it's a non-album track. It's not essential though, an instrumental sounding like a theme song to an imaginary drama documentary on royal life in the Middle Ages.

HASSE PERMBO
Soliga minnen / Nu piskar regnet (Playback, 1972)
Balladen om Karl Hubert / Satir i moll (Playback, 1973)
Swedish vocals
International relevance: */**

A singer/songwriter of sorts with peculiar lyrics. Something about him reminds of Kjell Höglund but without his talent for exact and well-phrased words. The second single is the better of the two thanks to ”Satir i moll” which is an entirely unexpected heavy track with an strange loop melody contrasting the lighter chorus. 

PERSONS BAND – Miljö-låt / När vi fått det för bra (Euphonic, 1973)
Swedish vocals
International relevance: *

Only recording from this Tranås band on local label Euphonic. The vocal credits are split between the two songwriters Lennart Ljungdahl and Peter Ljungkvist. Both sides are rather poppy with apple-cheeked vocals but with OK guitar playing. Ljungdahl's ”Miljö-låt” is a little better. Both songs have a diluted political message. A privately released CDr of rehearsal recordings from 1973-1974 also exists.

JACONNE – Earth / Polisen (TOR, 1977)
Swedish vocals, English vocals
International relevance:

TOR was a commercial pop and dance band label, and Jaconne falls in the first category. ”Earth” reveals a light Beatles and E.L.O. influence. ”Polisen” has an irritating melody and lyrics against police violence. The odd thing about it all is that the trigger happy guitar player who sounds as if he believes he's in a heavy metal band which he clearly isn't.

Mikael Ramel full EP
Sommarfilosoferna full single playlist
Kent-Morgans full single playlist
Persons Band full single playlist
Rowing Gamblers: 
A World Of Roses 
My Very Special Dream
A Present For Tonig
Taken For A Ride
Tom Zacharias:
Josephine
Roller
Xtra:
Vatten
Kaffepannan
Hasse Permbo:
Soliga minnen
Nu piskar regnet
Balladen om Karl Hubert
Satir i moll
Jaconne:
Earth
Polisten

JAMES HOLLINGWORTH & KARIN LIUNGMAN – Complete albums 1974-1976... plus

James Hollingworth – a Swede by birth despite his British sounding name – made several singles already in the mid-60s. The first one featured one song each by Phil Ochs and Bob Dylan and he pretty much continued in this vein covering American folk- and country-based artists in the following years.

Vem, var och när / Persson är lös (CBS, 1969)
released as James
Swedish vocals
International relevance: ***

The first single of interest here is this one, released simply as James. It's a Swedish version of a then brand new Cliff Richard song released as Cliff & Hank (with Hank being Marvin of The Shadows and also the song's author). That surely doesn't raise much interest, but truth is that it's a really good even bettered by James. The original, ”Throw Down A Line”, suffers from a rather cowardly performance, but James instills a certain restless drama into it. He also makes better use of the string arrangement which further elevates the song. The B side is a Hollingworth original not quite on the level of the A side but still good. It's noteworthy for having Blond as backing band giving the track a spirited performance with spacey sound effects and great guitar playing.

Medvind (CBS, 1974)
released as Hollingworth/Liungman
Swedish vocals
International relevance: **

Let's make a jump to 1974 and Hollingworth's first full length album. Recorded in 1973/74 and released with partner Karin Liungman, it's a real duo work with songwriting and vocal duties shared between the two. It's a pretty varied effort ranging from Liungman's lovely folkish ”Det borde varit vildros” to funky workouts such as ”Elden är lös”. Some lyrics touch on environmental concerns, a recurring theme on their following albums. It's an OK album overall but I generally prefer Liungman's tracks delivered in her very appealing veiled voice.

Barnlåtar (CBS, 1974)
released as James & Karin
Swedish vocals, spoken word
International relevance: **

The duo began recording their next album only a couple of months after their first one was finished, and it's a rather different kind of album. The title means ”children's songs” in English and that's exactly what it is. Not a massive hit upon release, its reputation grew steadily. Today it's heralded as one of the finest children's album ever released in Sweden. Their idea was to make an album both pedagogical and entertaining to children but also possible for grown-ups to enjoy, and they certainly succeeded. An album such as Jojje Wadenius's ”Goda' goda'” immediately leaps to mind. As on the previous album, some songs are inspired by the couple's travels in Morocco. Disguised in the easy-going, crazy fun songs are again environmental concerns, as in the still wildly popular and evocative ”Älgarna demonstrerar”, about a gang of elks' protest meeting against pollution and deforestation. Similar sentiments can be sensed in the excellent ”Har du grävt någon grop idag?”. There are also moments of sheer whackiness, most notably the totally bonkers ”Jag vill ha vitaminer” that sounds almost like Philemon Arthur impersonating Donald Duck.

What really contitues ”Barnlåtar” is James & Karin's care for songwriting and attention to arrangements. It truly is an album that can be enjoyed by children and grown-ups alike. You could take several songs from the album and only tweak the lyrical subjects, and no-one would notice it's a children's record – just like ”Goda', goda'”.

Djurens brevlåda (CBS, 1976)
released as James & Karin
Swedish vocals, spoken word
International relevance: **

Released two years later, ”Djurens brevlåda” is essentially ”Barnlåtar Vol. 2”. The songs were originally written for a radio series of 18 episodes. It features Hollingworth's best known song of all, ”Hur ska jag göra för att komma över vägen?” which subject-wise follows in the footsteps of ”Älgarna demonstrerar”, not to mention ”Älgarna säger” which is a direct reference back to ”Älgarna demonstrerar”. A personal favourite in this collection is ”När vintern är över” which is as baroque pop a children's song will ever get. But there are so many good songs here to choose from.

The main difference between this album and ”Barnlåtar” is that the songs here are shorter, most of them around the one minute mark, some even shorter than that. But it's actually not that distracting, and everything I said about the previous album can also be said about this. If you have one album, you'll want the other one as well. They belong together.

One more great track appeared under the James & Karin banner before they parted ways. ”Den sista vargen” (backed with ”Rödluvan ljug”) appeared in 1977 through the Swedish Society for Nature Conservation. The A side was later included on Hollingworth 1979 solo album named after the song.

Ärliga blå ögon / Morgon på Kungsholmen (CBS, 1977)
released as James Hollingworth 
Swedish vocals
International relevance: ***

James first post-Karin outing was this soundtrack 45 from a very popular heist drama series for Swedish Television in 1977. The song might very well be Berndt Egerbladh's crowning achievement as a songwriter, and I'm not kidding you if I say it's one of the best Swedish songs ever. Curiously enough it's the same song as Doris's ”You Never Come Closer” from 1970 with the Swedish lyrics written by director Leif Krantz to fit the series's plot. Annoyingly enough, it was never included on any of Hollingworth's albums, and the single is quite rare these days. If that Record Store Day nonsense was of any proper use to mankind, that would be something to re-release. Suggested reissue flipside: Doris's original version.

The B side is a track from ”Medvind”.

Karin Liungman released a couple of albums under her own name following the separation from James Hollingworth while he had a more prolific career. As of June 2025, he's 77 years old and still active as a performer although his last album to date came in 2006, most fittingly a children's album with Jojje Wadenius.

James 7":
Vem var och när
Persson är lös

Medvind full album playlist
Barnlåtar full album playlist
Djurens brevlåda full album playlist

James Hollingworth 7"
Ärliga blå ögon

STEN ASGER-JENSEN – Clown (CBS, 1973)

 Swedish vocals
International relevance: **

Little known singer/songwriter (information is scarce), but he was assumably of Danish descendance judging by his name. He released only one album in 1973 plus one single the following year. Only Janne Schaffer and Jojje Wadenius get musicians credit on the cover but it must be Björn J:son Lindh on flute.

Asger-Jensen was a rather talented songwriter with a clear inspiration from folk rock as evident on ”Färden” and the title track. He supposedly had a couple of Jethro Tull albums in his record collection too as some tracks have tastefully proggy touches. More generally speaking, ”Clown” falls roughly between ”Lagt kort ligger” John Holm and B.L. Magnell meaning this is actually quite good. Whoever plays on it, they all seem to have enjoyed their session work too because the backing sounds genuinely inspired. Try for instance ”Den femte visionen” which keeps building until it gets rather heavy with Schaffer (presumably) going stringbending crazy towards the end. 

Not a too common find but apparently rather cheap and well worth picking up if you find it. I do like it quite a bit.

BERNDT EGERBLADH - Nybyggarland (Sonet, 1973) / Kristallen den fina (CBS, 1975) / African Suite (Sonet, 1976)

Swedes of certain generations probably remember Bernt Egerbladh hosting a couple of TV series in the 70's and 80's, in which he interviewed other people and remembered his own past. Perhaps it would surprise those that Egerbladh makes an appearance here on this blog.

He was a noted jazz pianist long before the TV series with a discography going back to the early 60's. His debut on record came in 1962 with ”Fanfar!”, an album split with Lasse Lystedt Quintet. Egerbladh favoured a lyrical tone in the Jan Johansson tradition, but he also harboured pronounced modernist leanings early on, as demonstrated on the 1965 title track from ”Schizo”, his first album of his own. His solo output is surprisingly slim, but he was a beloved session musicians, playing on records by and/or writing music for Doris, Gimmicks, Heta Linjen, Ann-Kristin Hedmark, Rune Andersson, James Hollingworth, and Lill Lindfors. Some of these names may not mean much to a non-Swede, but they present a wide span of musical styles and interests. One of his best known tracks is ”You Never Come Closer” on Doris's sole album, a magnificent slice of uneasy fringe psychedelia. Considering his variety as songwriter as well as performer, this progg blog feature may not be that surprising at all. Egerbladh – who died in 2004 – was a curious explorer happy to take part in projects way outside the jazz world that fostered him.

Nybyggarland (Sonet, 1973)
Instrumental
International relevance: **

With all the tracks adapted from folk tunes of Northern Sweden, it's easy to see ”Nybyggarland” as a modernization of sorts of Jan Johansson's massively successful ”Jazz på svenska” released almost ten years earlier. But ”Nybyggarland” has a wider sound palette with Ulf Andersson (EGBA, Feta Heta Linjen) and Ahmadu Jarr on congas. The album starts out cunningly straight, but by the third track ”Vaggvisa från Norrbotten”, things are getting slightly strange. A foreboding organ creeps into one channel, a cembalo sounding instrument searches tinkling for a home in the other. About halfway in, the piano goes off into unpredicted terrain, as if it breaks free from the melodic centre and breaks up into modal streams. 

The melody of the title track is more like a suggestion of what to come, and soon gives way for a bass riff that establishes a strange moving rhythm building up to a mysterious, almost Arbete & Fritid-like bounce. The albums really goes off the rails with the next track ”Ja, kom då!” where Ulf Andersson's flute leads the way into a gurgling, pulsating and flat out trippy haze deepened by Egerbladh's druggy organ competing with his almost Mwandishi-styled electric piano. The album sort of withdraws a bit after that, but it has one surprise left, ”Hjortronmyren”, with a simple and persistent horn riff fleshing out Ahmadu Jarr's conga beat.

There's nothing bad on this album, but had the entire disc been like those three tracks I've singled out, this would have been a full-on masterpiece. Now, it's a good, maybe even great, album with some truly out-of-the-ordinary moments.

Kristallen den fina (CBS, 1975)
Instrumental
International relevance: **

”Kristallen den fina” works as a sister volume to ”Nybyggarland” insofar it's built around Swedish traditional tunes; only two tracks are original compositions but they retain a very folky feel and thus slip seamlessly into the program. The title track will be familiar to some readers as both Harvester and Made In Sweden used the melodic theme to their own ends. This version features what may sound like Jojje Wadenius singing along with his guitar in his typical fashion, but the guitarists here are Jan Schaffer and Jan Tolf (Egba, Häxmjölk). ”Barkbrödlåten” in turn is one of the high points on Kebnekaise's second album, and it's a stand-out also in this collection, largely because of Schaffer's really freaky guitar work. (Or is it Tolf messing about? Hard to tell, but it sounds more like something Schaffer would do.) It's also the track in this collection most likely to appeal to the average progg listener. Apart from that track, this album isn't as bonkers as the best stuff on ”Nybyggarland”, but it's a highly enjoyable album with very fine solo and ensemble playing. The folk material is strong and typically melancholic, and well suited for the careful jazz treatment represented here.

African Suite (Sonet, 1976)
Instrumental
International relevance: ***

Anyone expecting more of that bittersweet wistfulness of the two previous albums will be sorely disappointed with ”African Suite”. As the title say, this time Egerbladh looked to Africa for inspiration. It's a far more rousing experience than any of the preceding albums, and it's also the one overall closest to progg if you by progg mean Archimedes Badkar, Bitter Funeral Beer Band and Spjärnsvallet. (Christer Bothén's 1983 ”Trancedance” album with Bolon Bata also leaps to mind.) This demanded a larger ensemble, so Egerbladh drummed up an all-star line-up including several progg celebrities such as Ahmadu Jarr (again), Stefan Brolund (Egba, Oriental Wind, Pop Workshop), Lennart Åberg (Rena Rama, Häxmjölk, Bengt-Arne Wallin), and Malando Gassama (Ablution/Baltik, Häxmjölk). ”African Suite” is, for some reason, more cohesive than the other two in this trio of albums, which isn't to say it's at all samey -- on the contrary, it's a varied collection of tracks. The two I like the most are also the two most jubilant ones, ”Welcome To The Gambia” and ”Fire Dance”. Well, maybe I should mention the forceful ”Worksong” too, with its compelling beat constantly pushing forward relentlessly. But there really aren't any weak moments here. It helps though if you already like the African leanings of the abovementioned bands. If you do, this will be a nice discovery if you haven't heard it already.

Nybyggarland full album playlist
Kristallen den fina full album playlist 
African Suite full album playlist

GIN & GRAPPO – Gin & Grappo (CBS, 1975)

Swedish vocals
International relevance: **

Featured on ”Who Will Buy These Wonderful Evils Volume 4,” 1974 single 'A' side ”Förståelse” is Gin & Grappo's best known song. It's a catchy little track, taking cues from The Rolling Stones classic ”Sympathy for the Devil”. Gin & Grappo released two more singles plus two full length albums, the first one being self released in 1973.

For their second LP, they scored a deal with CBS, confusingly enough eponymous just like their debut. The 1975 albu features eleven tracks, nine of them written by Janne Goldman (the Gin half of the duo, with Bo Johansson being Grappo), with a couple of lyrics penned by Anders Klintevall, at the time host for Swedish radio show Tonkraft. The songs are half decent, not particularly good, not particularly bad but not particularly exciting either. Most of them are in a 'soft-rock with an edge' mould with a couple of them displaying a slight country tinge thanks to steel guitarist Jan Lindgren. The performances are competent utilizing the talents of well-known studio musicians and seasoned performers such as skilled piano player Per-Erik Hallin (the Swedish Christian Elton John of the 70's), percussionist Malando Gassama and back-up singer Agneta Gilstig whose main claim to fame is releasing an album with Vatten's Thomas Ernvik in 1980. The best track is probably album closer ”Så många människor” (ironically one of the two non-Goldmann compositions).

Goldmann later embarked on a solo career releasing a couple of albums and several 45's, occassionally with his backing band Rock Und Roll Gruppe. Bo Johansson appeared on a couple of Goldman albums and wrote ”Christine” for Swedish Traveling Wilburys styled supergroup Grymlings (featuring among others Pugh Rogefeldt, Mats Ronander and Göran Lagerberg formerly of Tages, Kebnekajse et al).

Full album playlist

JANNE SCHAFFER – Complete 1970's solo albums

I often mention Jan "Janne" Schaffer on this blog, simply because he's heard on a massive amount of albums by a massive amount of artists. Schaffer was a popular session musician thanks to his versatility, equally at ease with rough and rowdy workouts (see Pop Workshop) and soft and lyrical shadings.

Schaffer's first instrument was the piano, but that changed as soon as he had built his first guitar in school in 1957. He founded 60's band Sleepstones who released a couple of 45's and supported as different international acts as Cliff Richard and Pink Floyd on their visits to Sweden (the Floyd at their legendary performance at Gyllene Cirkeln/The Golden Circle in Stockholm). His studio musician career began with session work for ex-Slam Creepers singer Björn Skifs on his first solo album in 1970, and then he went on to play for just about everybody from ABBA down. Schaffer was often seen and heard in tandem with his buddy Björn J:son Lindh, performing on several of the noted flute player's albums through the years, and Lindh appearing on Schaffer's.

Janne Schaffer (Four Leaf, 1973)
Instrumental

International relevance: ***

Schaffer's first album is as expected an all instrumental effort with lots of melodic soloing with both prog and jazz characteristics. The heavy opening track ”Halkans affär” is classic Schaffer, while the acoustic ”Kulan” is light and delicate. The best track though is ”Titus” (featuring Björn J:son Lindh's flute).

It's a pity that the quirky ”The Chinese” wasn't on the Swedish version of the album – it substituted B.B. King cover ”Did You Ever Love a Woman” when released on Vertigo in the UK, even becoming the title track of the international release. This version gets the nod over the Swedish edition. And the new cover (below) is breathtaking!

All in all, a pleasant album in the light fusion vein.

Janne Schaffers andra LP (Four Leaf, 1974)

Instrumental
International relevance: ***

”Ugglor i mossen” is a nice track, but Schaffer ventured too close to jazz rock and funk fusion with his second album (appropriately enough called ”Second LP” for its international launch). The last track ”Vilda drömmar” is pretty wild but still too fusion infested. (Already the Jukka Tolonen vibe of the cover is suspicious.) His solo debut may have been a bit too calculated, but it still sounded rather spontaneous and fresh. This however sounds as if Schaffer had become more self-confident as a solo artist, knowing he could reach dull perfection and striving for it. 

Katharsis (CBS, 1976)

Instrumental

International relevance: ***

Schaffer's albums grew continuously stiff, getting more and more wrapped up in studio slickness in both sound and performances. Album opener ”Bromma Struttin'” is OK compared to the rest of the album, but ”Katharsis” is really a full on fusion sleeping pill. 

Earmeal (CBS, 1978)
Instrumental

International relevance: **

Just when you thought it couldn't get any worse, Schaffer went to the States to record with studio zombies Toto. I can't think of anything much worse than Toto in terms of soulless, bloodless and lifeless cold test tube music – I even prefer the antiseptic adult lab rock of Steely Dan. So you can imagine what happens when you bring the increasingly overcompetent Schaffer together with Toto's rhythm section Mike and Jeff Porcaro – you get ”Earmeal”. It's not the meal I ordered but if it's all I get, I prefer to let my ears starve.

Released internationally with a much uglier cover art (below).

Janne Schaffer full album playlist
Janne Schaffers andra LP full album playlist
Katharsis full album playlist
Earmeal full album playlist

XTRA – Oh! 10-15 (CBS, 1971)

English vocals, Swedish vocals, instrumental

International relevance: *** 

Björn Isfält had already composed soundtrack music for ”En kärlekshistoria” (”A Swedish Love Story”) in 1970, but his true movie score career was still a few years away when he recorded this album with another future soundtrack writer, Lasse Dahlberg.

Given the high demand for distantly related Atlantic Ocean's ”Tranquillity Bay”, it's surprising that the peculiarly entitled ”Oh! 10-15” isn't better known than it is. (Although the album cover hardly does much to attract.) It should appeal to the same audience – it's melodic in a similar late 60's vein, only more sparsely arranged with piano and/or acoustic guitar, a string section, tablas and flute to make enough space for the otherworldy, sometimes Leslie treated melodies. The feel is that of baroque pop psych. Both Jason Fleece, and ”Odessey & Oracle” period Zombies occasionally leap to mind. The album's full of promise, but it's not quite there. The perfomances could have done with a little more punch, a little push to the melodies here and there. The translucent arrangements are sometimes too transparent, as if they're high budget demos waiting for something more to help the songs gel. It's pleasant and enjoyable if you don't expect too much of it.

Full album playlist

TRETTIOÅRIGA KRIGET – Complete albums 1974-1981

Prog and symph fan favourites Trettioåriga Kriget were founded in the Stockholm suburb Saltsjöbaden in 1970 as a clumsy gang with ambitions higher than a skyscraper and a competence level sometimes not higher than a newly mowed lawn. But if their band beginnings were humble, their social origins were not – Saltsjöbaden was and is one of Stockholm's wealthiest areas. 

Trettioåriga Kriget (Epic, 1974)

Swedish vocals

International relevance: ***

Trettioåriga Kriget's eponymous album debut came in 1974 and until then they had had the time to rehearse enough for their music to gel. Which unfortunately doesn't make the music better, only terrible in a different way. The ”Glorious War” recordings are largely instrumental, without long standing singer Robert Zima . Once he's present, there's someone to sing the impossibly pretentious lyrics. Really, they're unbearable, hopeless boy's room existentialism. Sad to say, the music has the same swanky feel. This is intellectually constipated arty-farty adolescent dross in a black polo shirt. Still, their best.

Krigssång (CBS, 1975)

Swedish vocals

International relevance: ***

 

Same thing over again, only with a breathier production. The vocals are highly-strung and egocentric, and worse still, they're occasionally 'augmented' by Zima's Uriah Heep falsetto. This album is like a yoga position known as 'head up your arse'. Strenous and full of itself.

Hej på er! (Mistlur, 1978)

Swedish vocals

International relevance: ***

 

Three years later and a new label. Trettioåriga Kriget stayed with Mistlur until disbanding in 1981. For ”Hej på er!” they downplayed their pretentiousness a little bit which could have been a good thing hadn't it turned them into some kind of proto new wave ”Solo” era Kaipa instead. And Robert Zima still annoys me to the verge of breakdown – and lets out his tortured cat falsetto in ”Natten som alltid”. The title track is a decent pop tune of sorts though.

Mot alla odds (Mistlur, 1979)
Swedish vocals 

International relevance: *

 

The 'proto new wave' reference above wasn't chosen at random, as Trettioåriga Kriget moved closer towards a contemporary late 70's style with each Mistlur album. Diehard fans usually dismiss the later albums, and I can see why – Trettioåriga Kriget's new found new wave influences didn't sit well with the expectations of fans of their former style. It worked for Van der Graaf Generator on ”Vital Live”, but it only makes Trettioåriga Kriget sound ridiculous. I mean, more ridiculous than before. Just look at the album cover – who did they suddenly want you to believe they were? The Ramones? Pathetic.

Kriget (Mistlur, 1981)

as Kriget

International relevance: *

Swedish lyrics

Following the release of ”Mot alla odds”, internal conflicts arose which led to Trettioåriga Kriget's demise in 1980. Very soon after some of the members reunited. Most importantly Robert Zima was gone, leaving the vocal duties to bassist Stefan Fredin. He's not a great singer, mediocre, but at least he isn't as nerve-grating as Zima was. Not being the same band anymore, neither in line-up nor style, they shortened their name to Kriget. As such, they released their final album in 1981. It's not very good, mostly standard fare turn of the decade pop/rock that other bands did so much better, but a little irritating than their other pompous drivel.

Trettioåriga Kriget full album playlist
Krigssång full album playlist
Hej på er! full album playlist
Mot alla odds full album
Kriget full album playlist

BALTIK – Baltik (CBS, 1973) / ABLUTION – Ablution (CBS, 1974)

Instrumental, English vocals

International relevance: ** / ***

One of several studio bands to feature buddies Jan Schaffer and Björn J:son Lindh, but the Baltik album credits include a number of celebrities such as Anders Nordh, Malando Gassama, Göran Lagerberg and Bengan Dahlén. Swedish pop star Tomas Ledin also makes one of his earliest appearances here. The album isn't very good, at times sounding like a post ”Hair” musical. The best track is Janne Schaffer's ferocious intro song ”Leslie Briggs”, but some people will probably warm to ”Round and Round” and ”No Registration, Please” as well.

Following a year after Baltik, Ablution's eponymous album is sometimes described as an informal follow-up. It's true insofar J:son Lindh, Schaffer, Gassama, drummer Ola Brunkert and British bass player John Gustafson (Quatermass, Hard Stuff, John Du Cann et al) can be heard on both albums. But it's also misleading as they're different beasts altogether, with the all instrumental ”Ablution” being closer to prog and fusion. Ten minute closing track "The Visitor" revels in an unnerving, creeping atmosphere that's very unusual to albums in this genre. The album seems a bit overlooked to me, which is a pity as it's good and way more vital and imaginative than your average stale air jazz rock. These guys enjoy their work and let it show. Well worth hearing, although vinyl copies are getting scarce and a reissue is long overdue.

Baltik full album playlist

Ablution full album playlist

HORIZONT – Horizont (CBS, 1977) / Andra vyer (CBS, 1979)

Swedish vocals

International relevance: ***/**

Horizont followed a similar path as Nebulosa, insofar they played more or less symphonic rock before their lead singers went on to being stars in their own right. Nebulosa had Roger Pontare, née Johansson, and Horizont had Tommy Nilsson who embarked on a very successful solo career including a couple of appearances in the Eurovision Song Contest (like Johansson/Pontare).

Horizont made two full length album, both issued by CBS in 1977 and 1979 respectively. Their eponmymous debut is in a radio friendly and simplified symphonic vein with cheesy synths and uninspired guitar work. Nilsson's vocals are habile but dull, just like the music overall. Some have spotted a Kaipa touch to the album and I guess you could agree to that.

Their second album ”Andra vyer” is even worse than their first, 'enhancing' their sound with elements from both disco and mainstream hard rock. I couldn't find anything worthwhile here even with a gun pointing to one side of my head and somebody beating me with a garden gnome on the other. I couldn't even recommend these albums to a die-hard symph completist for academical purposes. Horizont were absolutely terrible and their albums are uniformly horrendous.

Horizont full album playlist
Andra vyer full album playlist

MENDOZA – Mendoza (CBS, 1972)

English vocals 

International relevance: **

Poor Mendoza got away. Released a couple of years too late, when music and aesthetics were already beginning to change, ”Mendoza” never really got much of attention. Today, it's a largely forgotten album. The fact that one track was included in the ”Pregnant Rainbows for Colourblind Dreamers” box set hasn't done much for establishing a Mendoza buzz among fans and collectors. Perhaps its reputation of being a Latin flavoured, Santana inspired record stands in the way as well. Perhaps the name Mendoza inspired this reputation; Mendoza is a very common family name in Latin America. Perhaps the album cover simply put people off, being one of the ugliest to ever come out of a Swedish printing press.

Now, the Latin influence has been vastly overstated, so anyone allergic to Santana rhythms can stop worry. I really don't know who started that rumour, but it seems that those who have actually heard the album rather stick to hearsay rthan listen to how the music actually sounds. While it does have some Latin influences, most of the album is heavy pop rock with strong melodies, excellent playing and soulful (but never overwrought) vocals. There's flute, a bit of Lesley vocals, driving guitars, wah wahs and loud pounding bass. Had it been released in the US or in perhaps more fittingly in the UK in 1969, this would have been heralded as an undisputed classic. But, as things went, this came out in Sweden where Pugh had changed the language of rock lyrics to Swedish, Fläsket Brinner pointed out new directions with their debut album the previous year, and Mendoza were two years behind on Arbete & Fritid's innovative blend of jazz, drone, folk and rock. Why would anyone care about an album so blatantly advocating the sounds of yesterday?

Forty years later, those things don't matter. Today it stands out as an excellent piece of work. Hadn't it been for the braindead cover of ”Jambalaya”, the only non original track, there wouldn't have been a single inferior track on this album. It might be that choosing ”Jambalaya” as the only 45 from ”Mendoza” killed the album completely. Very bad career move.

Opening cut ”Jojk” boils with energy and enthusiasm, adding a folk element to the lush and splendorous mix. ”Steamship” has a beautiful, catchy melody that wouldn't have been out of place on a late 60's UK pop album classic. ”Hello, Hello” has the band in a slight progressive blues mood. ”A Sinful Man” is guitar heavy prog-ish rock with vague hints at Spencer Davis chestnut ”Gimme Some Lovin'”. ”Pregnant Rainbows” selection ”The Grateful Salesman & Co” take fine use of the flute to lace an already wonderful melody. And on it goes, with one brilliant track after the other. Exclude ”Jambalaya” and you have an album that's a genuine pleasure to listen to all through.

Based miles away from the big cities of Sweden, in Linköping, Mendoza toured all the Nordic countries, Great Britain and the Netherlands, to no avail. The album sank without a trace. Whatever happened to the members is beyond my knowledge. Some of them had been in bands prior to Mendoza, such as Magazine Story which even had a single out, but as far as I know, none of them turned up on another album after Mendoza. It's a sad story for such a hugely talented band. This is a classic, it's just that no-one seems to know it yet. 

Full album

FIGARO – Figaro (CBS, 1976)

Swedish vocals

International relevance: **

It's fair to call Figaro a supergroup. Members Anders Nordh and Palle Sundlin had previously been in Life, Resan, King George Discovery and Baltik. Nordh was also part of, for instance, Tages extension Blond. Sundlin also played bass on Lasse Tennander's 1974 debut album ”Lars Vegas”. Singer and guitarist Peter Lundbladh had done session work for several artists and would continue doing so long after Figaro split up. He had a successful solo career, and most Swedes remember him for his painfully annoying summer hit ”Ta mig till havet”. He was also in Nailband alongside Figaro drummer Tommy Andersson, who, like Sundlin and Lundbladh, also had done stints with Lasse Tennander. The same goes for Torbjörn Eklund who had been in the obscure outfit Opponer, and later went on to play on a couple of Bo Hansson albums, as well as the second solo album from Kebnekajse's Mats Glenngård. So it's easy to see that when Figaro got together as Duga (a pun on a Swedish expression that's impossible to translate), it was a pretty seasoned lot. In time for recording sessions for their only album, they changed their name to Figaro. It was recorded in the end of 1975, and released the following year by CBS.

The CBS label gives a clue to what they sound like. This isn't a hardboiled progg album filled to the brim with leftwing social criticism. On the contrary, it's a rather commercial sounding effort, and the band did in fact score a hit with ”Framåt” culled from the album as their only single (backed with ”DJ”, also taken from the album). The sound isn't far removed from other commercial acts of the times such as Landslaget, and sometimes there are even slight hints at teen idol Ted Gärdestad. To be honest, it's an album that I don't really want to like.

But I can help but doing so. The songs are incredibly well crafted with some imaginative chord changes. The melodies may be on the smooth side but they are simply irresistable. The playing is, as you can imagine, on the top of the heap, with Nordh in good shape. The production is dense and rich; especially the acoustic guitars have a full, ringing sound. Songs range from the mellow, Crosby Stills Nash & Young-like ”Fjärilen och katten” full of shimmering, to the heavy(ish) ”Hem” which is as far as the album ventures into progg territory.

It does have some real clunkers too though. The social commentary on cannabis use in ”Harry Brass” (translates to ”Harry Pot”) is naïve and the song is simply moronic. Equally idiotic is ”En hypokondrikers bekännelse”, but that one is short at leasta, clocking in on just over one minute. Hit single ”Framåt” might not be the best example of the album's qualities but it still has some odd appeal. The lesser tracks are in a minority, and it's tracks like the previously mentioned ”Fjärilen och katten” and ”Hem”, along with the beautiful ”Höst”, the rocking ”Hjältars hjältar”, and the lush ballad ”Egen kvinna” that defines the album.

Commercial or not, I can't help but give in to ”Figaro”.

Full album playlist