BLÖDARNA – Diggar ditt hål (Heartwork, 7” 1979)

 
English vocals, Swedish vocals
International relevance: ***

I thought long and hard about how and where to fit this one in. There's no album to link it to as a postscript, and lumping it in with other singles seemed awkward too as it's such a solitary beast. So finally I decided it deserves a post of its own. But first, a little history lesson.

Stry Terrarie (née Anders Sjöholm) roared his way into music with punk band Kriminella Gitarrer (=”criminal guitars”) in 1978. Often heralded as the first Swedish punk band, they made an immediate impression with their debut single ”Vårdad klädsel”, which to this day remain perhaps the most violent and abrasive assault on your eardrums ever recorded in Sweden – it's so explosive that it has earned international recognition through its inclusion on one of the volumes of the ”Bloodstains” punk compilation series. Several acclaimed singles followed (although none had quite the same ballistic impact as ”Vårdad klädsel”), but it was a track off 1979 various artists compilation ”Svensk pop” that draw ”normal people's” attention to them. When ”Knugen skuk” was played on radio show ”Ny våg” it was immediately banned, contemplating as it did the nature of the reproductive organ belonging to the King of Sweden.

Following the disbanding of Kriminella Gitarrer in 1979, the musically restless Stry Terrarie initiated several different bands, all of them excellent: Besökarna (”the visitors”), Stry & Stripparna (”Stry & the strippers”), Garbochock and – Blödarna (”the bleeders”). It's often hard to discern where one band ended and the next one began; it's not unfair to say their line-ups are in a continuous fluxus state. What can be determined though, is that Terrarie gravitated towards a much darker sound in many of those bands, far removed from the foundations-rattling ferocity of Kriminella Gitarrer. You can for instance sense an air of The Doors in Garbochock, but his psychedelic leanings never manifested themselves as succesfully and profoundly as in Blödarna (which really was the seed for Garbochock)..

With only one single released plus a lo-fi contribution to the exquisitely rare V/A cassette-only release "Eldbegängelse", Blödarna are an almost mythological parenthesis. At least until you hear ”Diggar ditt hål” (="digging your hole"). Recorded live on stage, the twelve minute track moves slowly like menacing shadows in the dark. The lyrics switch between Swedish and English, but the vocals are barely audible anyway, and often come through like paranoid yelps among the persistent, droning organ and the piercing guitars zig-zagging their way between Television's brothers-in-arms Tom Verlaine & Richard Lloyd and a malicious Robbie Krieger. The creeping mood won't change until two minutes before the end when the song slowly speeds up to an almost ”Psychotic Reaction”-like frenzy with Terrarie definitely going over the edge vocally.

It still sounds sick, twisted and bizarre: a true gem, a classic, a masterpiece, a milestone. Is it progg? Is it psych? I don't know, but it grew out of the very same soil as once Älgarnas Trädgård, Träd Gräs & Stenar, and Arbete & Fritid's ”Petrokemi”, it only flourished differently.

Full single playlist (Bandcamp)

A SEVEN INCH SPECIAL, VOL. 8: Various singles

 

BLUESET – Midnight Rambler / The Band (Efel, 1970)

English vocals

International relevance: ***

Second single from Södertälje's Blueset. ”Midnight Rambler” is a pointless cover of The Rolling Stones monolith while the 'B' side is an autobiographical revamp of Willie Cobbs' ”You Don't Love Me” (which in turn was a modification of Bo Diddley's ”She's Fine, She's Mine”). Not any of Blueset's best moments.
 

RÖDA KAPELLET & UNGA GARDET – EP (Arbetarkultur, 1974)
Swedish vocals
International relevance: **

Recorded in 1973 and released as a four-track EP the following year, this was Röda Kapellet's first release. Two of the songs are performed with vocal group Unga Gardet in a typical political leftwing style à la a less militant Freedom Singers/Knutna Nävar. Not good. The two remaining tracks are by the electric (and better) incarnation of Röda Kapellet. Not that neither ”Västeråsvisan” nor ”Rätt till ett meningsfullt jobb” is particularly good, but both have some drive to them that make them at least a little bit catchy. 

 

OKAY TEMIZ - Denizaltı Rüzgarları / Dokuz Sekiz (Yonca, 1975)

Instrumental

International relevance: ***

Something as unusual as a single from the magnificent Okay Temiz, released only in Turkey in the same year as the ”Turkish Folk Jazz” album but very different. It's actually rather different to most of Temiz did, especially in the 70s (although I do recognize the riff from somewhere). ”Denizaltı Rüzgarları” has a persistent, driving groove and is one of the funkiest tracks in his ouvre, and I could imagine someone remixing it for the dance floor unless it has already happened. ”Dokuz Sekiz” in turn is a freaky percussion workout with downright psychedelic shadings. An excellent non-album two-sider from both ends of the spectrum, thankfully reissued in 2017 by UK based label Arsivplak specialized on Turkish rarities – originals are rare and costly.

JAJJA BAND – Tårarna / Linda (MNW, 1979)
Swedish vocals
International relevance: *

A supergroup of sorts with members from November, Träd Gräs & Stenar, Eldkvarn, and Sigge Krantz from everyone from Bröderna Lönn to Archimedes Badkar. Not that it says much about how Jajja Band sounds – they were more of a standard period rock band with light strokes of punk and new wave. Interesting as a footnote to the abovementioned bands but nothing that stands up on its own merits.

 

MUSIC TEAM – Funny Way Of Livin' / Sweet Lorraine (no label, 1979)

English vocals

International relevance: -

The 'A' side is stupid horn rock boogie, the 'B' side is better but only just. And what's better about it is effectively ruined by Boel Peterson's intrusive back-up vocals anyway. Said to be a private release but the labels are suspiciously similar to the labels of Janne Goldmann's R & P Records so maybe there's a connection.

 

ACHILLEUS – Allt vi begär / Öbergs präster (Pang, 1982)
Swedish vocals
International relevance: **

One of many, many bands lured to the rogue label Pang Records by the dodgy Lars E. Carlsson who ran it between 1978 and 1984. The single was pressed, as often with Pang, in 500 copies and the band was gravely dissatisfied with the results. They were a hard rock band with some symphonic moves, and the inferior four track studio was not what they were promised and couldn't capture the sound they aimed for. They remixed the single in 2024 for streaming platforms, and while still an insufficient recording, it does sound better now. It's musically not very good though. Those who nevertheless want to hear more early Achilleus material can check out their streaming compilation ”The Sins Of Youth 1982-1984”.

 

TIEBREAK – Mina grannar (gillar inte rock'n'roll) / Balladen om Lotta Bengtsson (Pang, 1982)

Swedish vocals

International relevance: *

The singer's dialect suggests Tiebreak might have been from the Swedish West Coast. They sound very much like a Gothenburg version of Sydkraft, meaning irrelevant stupid rock'n'roll. Both songs are bad.

 

VICTIM – Framtid med hopp / Det var då han vann (Pang, 1982)

Swedish vocals

International relevance: *

Clumsy hard rock verging on heavy metal from Vimmerby in the county of Småland. Poorly rehearsed and with a horrible, insipid singer. The cover art is bad even for a Pang release. Very expensive these days, but that has definitely more to do with rarity grade than musical value.
 

 

HELIUM HEAD – In The Sky / Take Me Home (Pang, 1982)

English vocals

International relevance: **

One more Pang 45, and one of the better. The band was from the small town of Yxbo in the Hälsingland county in the middle of Sweden and might have taken their name from the Sir Lord Baltimore song. The guitars are a bit metallic but Helium Head is generally closer to good old fashioned hard rock. ”In The Sky” is really catchy, and while the 'B' side ”Take Me Home” is also very melodic, it's not as good as the other track – it's a little bit too poppy for the style. Still a pity they never released anything else, they had more talent than many other bands screwed over by Pang.

Released without a picture sleeve.
 

 

DREAD NOT – Reggae Inna Umeå (no label, 1982)

English vocals

International relevance: *

Reggae band of little significance. They came from Umeå as revealed by the single's title, and despite a prime time television appearance, nothing came of the band except this one self-released and self-produced 7”. The only member I recognize is drummer Jan Gavelin who was in Harald Hedning in the mid 70s. Closer to brit reggae acts like Aswad and Steel Pulse and not very close to Jamaica, the 'A' side ”This World” is OK albeit formulaic, while 'B' side ”Welcome Brother” is entirely forgettable.

Blueset no links found
Helium Head no links found
Okay Temiz full single playlist (Bandcamp)
Tiebreak full single
Victim full single
Röda Kapellet & Unga Gardet:
Västeråsvisan / Världsungdomssången (with Unga Gardet) / Unga gardet (with Unga Gardet) / Rätt till ett meningsfull artbete
Jajja Band:
Tårarna / Linda (Soundcloud)
Music Team:
Funny Way Of Livin'
Achilleus:
Allt vi begär / Öbergs präster
Full remixed single playlist
Dread Not:
This World / Welcome Brother 

FREEDOM – Freedom (Bellatrix, 1978)

 

 Swedish vocals, English vocals

International relevance: *

Dan Tillberg's Bellatrix label was a confusing one. Anything could come out on the label – punk, progg, jazz, garage rock, polka (!), choirs and religious music. This one fits the last two categories.

Released as Freedom but actually performed by Kyrkans Ungdom I Finja Pastorat (=”the church youth of the Finja pastorate”, Finja being a small town in Skåne in the south) to the benefit of the Church of Sweden International Aid. Seemingly appealing to collectors of Jesus pop, it does have some progg characteristics. A few tracks would actually have been quite good hadn't it been a youth choir singing. The best track by far is album opener ”Vem var han?” which wouldn't have been out of place on Obadja's great album ”Testa”. However, it was resurrected on the "Frälst!" compilation – a good choice making "Freedom" redundant. As it stands, it is a youth choir album sounding like one.

Vem var han? (Bandcamp)

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

DICE – Live (Belle Antique, 1993; rec. 1978-1979)

 

English vocals, instrumental
International relevance: **

The second of two live Dice discs on the Japanese Belle Antique label, the other being ”Live 1977”, and this the weakest of all available Dice albums. Compiled from four different sources, the sound quality varies. Only the last four cuts, billed as bonus tracks, are of studio quality but they're also the musically worst. No specific date is given, late 70s I guess, but the band sounds like a faceless FM radio band on these demos, like a mix between Kansas and Steely Dan.

The live portions are audience tapes of so-so quality, and Belle Antique has tried to cover up their limitations with added reverb. It still sounds like audience tapes though, I've heard worse, but the tinny sound soon gets fatiguing.

”Live 1977” was a motivated release, but ”Live” looks more like an attempt to squeeze water out of a stone. For Dice completists only.

No links found

GERD – Radio Ellen Special (Radio Ellen, 1982)

 

 Swedish vocals, English vocals

International relevance: **

Radio Ellen was an important feminist show on Swedish national radio aired between 1981 and 1995. They did interviews with unknown women at ordinary jobs, and the content was sometimes controversial for its time. The program broadcast from three cities originally, Luleå, Umeå and Gothenburg, and presented female artists in special studio sessions. The first of those was Gerd Sjöblom-Ulander who appeared on the very first episode, from Umeå in September 1981. A full album of songs she performed on the show was eventually released on Radio Ellen's one-shot label, according to some sources in 1982 although no release date is specified anywhere on the cover or label.

Simply called Gerd on the album, she has quite a fine voice, a bit jazzy and a bit folkish. As a matter of fact, she sometimes reminds me a little bit of UK indie/folk singer Heidi Berry. A few songs are originals, but the majority are covers of the likes of Chi Coltrane, Carla Bley, Laura Nyro and Violetta Parra. Some are acoustic and some feature a band backing. It's not a masterpiece, but it's certainly better than I expected from the album cover. And like I said, her voice is really enjoyable.

Interesting to note is that Gerd's husband also appearing here was saxophonist Lars-Göran Ulander who had previously been in Berndt Egerbladh's quartet, has albums out with free jazz pianist Per-Henrik Wallin, and later joined forces with Mats Gustafsson in his free jazz powerhouse outfit Fire! Orchestra.

No links found

GRASSROOTS – Grassroots (Hit-Records Of Sweden, 1981)

 Swedish vocals, English vocals
International relevance: **

Seemingly entirely unknown local release from Landskrona in the Skåne county by an equally unknown eight-piece who only had this one LP out on a shortlived regional label. Singer, guitarist and songwriter Hans Greebach (sometimes Grebach) did some production work in the area and also released a solo single in 1983. The other guitarist and songwriter Sven Kikukel also played on B.L.Magnell's ”Idyllen” some years earlier, and it might be him firing off all those great, heavy leads on ”Grassroots”.

Half of the album is funky rock and has a vibe similar to several American mid/late 70s solo artist private pressings while the other half is decent reggae. It wouldn't be unreasonable to expect a Peps Persson involvement because of it, but the album is actually produced by Hans Greebach, Sven Kikukel and his brother Woffe. Being just a 4-track recording, the production is quite impressive. Although the songs are decent without being excellent, it's the warm sound I enjoy most about the album.

No links found 

SKY HIGH – Sky High (Good Vibes, 1980)

 

Swedish vocals

International relevance: *

Guitarist Clas Yngström had been active since the early 70s and appeared on disc already in 1971 on Acke Gårdenäs's (Acke & Gurra) single ”There Is A Man In The Rain”. He joined forces with Dennis Huntington (Love Explosion) in political rock band Röda Ropet and appeared on their lone album ”Spänn bågen” in 1975. In the same year he took a real step forward as a guitarist with Soffgruppen who released their ”Greatest Sits”, one of the most forceful fusion jazz albums released in Sweden. He stayed with Soffgruppen for a couple of years, and following their demise, he started power trio Sky High in 1978. Starting out as a lingonberry version of Jimi Hendrix performing mostly his songs, they later turned into a lingonberry version of ZZ Top.

Sky High's first single was released by Sista Bussen in 1979, featuring completely pointless and more or less note-by-note covers of ”Red House” and ”Stone Free”. They then switched to Swedish vocals for a second Sista Bussen single, the anti nuclear power track ”Säj nej... till kärnkraft” backed with ”Säj ja... till livet”. The 'A' side was a translated Earl King cover while the flipside was a funky original track. The Hendrix influence is still evident, and Yngström really loves his own guitar wanking.

The eponymous debut album also appeared in shops in 1980. Only one Jimi cover, a translated version of ”I Don't Live Today”, but Yngström's own songs sound so much like Hendrix covers too that it's almost identity theft. Plus, he's a very nondescript singer. The only thing that gives this album some character is that all lyrics are in Swedish, something that would change already to the even more unlistenable second album ”Still Rockin'” from 1982.

”Sky High” was reissued on CD in 2005 with ”Red House” from the debut single plus both tracks from the second one as bonuses. Also added were two further provocatively redundant Hendrix covers (in English), ”Voodoo Chile (Slight Return)” and ”Little Wing”.

Full album playlist with bonus tracks 
"Stone Free"

A SEVEN INCH SPECIAL, VOL. 7: Psych & such

LUCAS – Antisocial Season / Hymn To The Sun (Polar, 1967)
English vocals
International relevance: ***

The 'A' side is a slightly New Orleans tinged piano based track and not very good, but ”Hymn To The Sun” is nothing less than excellent hazy, UK styled psychedelia. The track is a real masterpiece unfairly overlooked even by connoisseurs, and impressively enough an original group composition. Never very expensive, but if people knew just how great it is, the prices would surely go up quickly. Piano player and singer Janne ”Lucas” Persson later joined Pugh Rogefeldt and Ola Magnell on the ”Ett steg till” tour which was documented on a double album in 1975. 

SLEEPSTONES – As The Night Comes To See / I Put A Spell On You (Columbia, 1967)

English vocals
International relevance: **

The Sleepstones were Jan Schaffer's first proper band, going back to as early as 1962. They changed their name several times before settling for the name under which they recorded five singles between 1964 and 1967, with ”As The Night Comes To See” being their last. The 'A' side is a rather elegant, harmony-laiden moody ballad which is quite nice but with a cheesy chorus. The flipside is the old Screamin' Jay Hawkins standard, covered over and over again by uncountable bands over the years, most famously by Creedence Clearwater Revival. The Sleepstones go for an organ heavy arrangement that breathes Swedish folk jazz. A dynamic and driven take with vocalist Ted Åström at his most soulful. Not the best version I've heard, but definitely a very credible perfomance of an international stature.
 

 

ATTRACTIONS – Let Love Come Between Us / 5th February 1968 (Columbia, 1968)

English vocals, instrumental
International relevance: **

It's not quite true that The Sleepstones only made five singles, because The Attractions were basically the same band and released two further 45s in 1968. ”Let Love Come Between Us” is a mediocre sunshine pop track with a steady beat, nothing special. But the 'B' side draws the lines of "I Put A Spell On You" further with a six and a half minutes instrumental workout in a psychy, progressive jazz vein, rich with organ and a proof that Schaffer was a force to be reckoned with already early on. 

CHEERS – Love Me Two Times / Somebody To Love (Decca, 1968)
English vocals
International relevance: **

A Stockholm band that was active a couple of years before they had this 45 out with two Summer of Love covers. ”Love Me Two Times” is a competent but redundant take on The Doors while Jefferson Airplane's ”Somebody To Love” gets an inspired and pretty intense treatment. Both tracks have been comped, ”Somebody To Love” even twice, on ”Who Will Buy These Wonderful Evils, Vol. III” and RPM's excellent survey of Swedish garage rock ”Svenska Shakers”.

MEMBERS BLUES BAND – One Night / P.S. Elic (Jacks Beat, 1968)
English vocals
International relevance: ***

Swedish band on a Danish label. ”One Night” is a completely pointless cover of the Elvis track while the flipside is one of the most fantastic psych tracks ever recorded in Sweden. Perhaps even in the world. Overflowing with backwards sounds and treated vocals, it could have been a highlight on Freak Scene's ”Psychedelic Psoul” album. An absolute masterpiece in perfect tune with the times. Thankfully included on ”Who Will Buy These Wonderful Evils, Vol. III” as originals are incredibly rare, changing hands for up to 500 dollars.

ZOOM – Coloured Rain / Ticket To Ride (RCA Victor, 1968)
English vocals
International relevance: **

When Members Blues Band broke up, two of their members went on to form Zoom. Again they had to approach a neighbouring country to secure a one-single deal, this time Norway. ”Coloured Rain” is the well-known Traffic number, here extended to twice its original length by a decidedly psychy and meritorious organ solo. The Beatles' ”Ticket To Ride” is slowed down to Vanilla Fudge tempo but the rendition is lightweight. 

ARDY THE PAINTER OF LOVE – Pregnant Rainbows For Colourblind Dreamers (Sonet, 1970)
English vocals, spoken word
International relevance: **

This ”painter of love's” real name was Ardy Strüwer and the same guy who made the ”Öronpaj” album in 1973 with actor, comedian and painter Lasse Åberg. Åberg's here too on bells and maracas. The idiotically titled ”Pregnant Rainbows For Colourblind Dreamers” was released in a single-sided edition of only 99 copies for an art exhibition, but has since been revived for the 4CD box set regrettably named after the single. Rare indeed, but also complete rubbish. It's basically an improvised drums and flute duet with Ardy babbling nonsense on top. 

AUNT SALLY – Shakin' All Over / She Left Me (Green Light, 1970)

English vocals

International relevance: **

One of the singles on MNW's early subsidiary Green Light. The cover of Johnny Kidd chestnut ”Shakin' All Over” isn't anything special but the 'B' side, the original composition ”She Left Me” is quite a cool track with psychedelic overtones and a bass line slightly reminiscent of Red Crayola/Krayola's ”Hurricane Fighter Plane”. Not bad at all! Aunt Sally was a band from Lund in the south of Sweden and they had a four track EP ”Slabb” out on another label prior to this.

BJÖRN & BENNY – She's My Kind Of Girl / Inga Theme (Polar, 1970)
English vocals
International relevance: ***

I bet you didn't see this one coming! Yes, it is Björn Ulvaeus and Benny Andersson, soon to be mega stars as 50% of ABBA. Let me say that not all Swedes like ABBA, and I'm the living proof of that. I hate their plastic sound, I hate their vocals, I hate (most) of their smarmy crap songs. But this is something else. Well, ”She's My Kind Of Girl” may not be the greatest song ever written, it's a OK in a in a Tages happy-go-lucky style, but once you flip the single over, you get ”Inga Theme”. The two Bs wrote the songs for Joe Sarno's sexploitation movie ”The Seduction of Inga” which in itself is a spectacular fact. But what's more spectacular is that "Inga Theme" it's a great fuzz-laiden track with hypnotic psychedelic qualities! There's absolutely nothing in the entire ABBA clan ouvre sounding like this or being this good. You want hidden gems? You've got it!

CANDLE – In A Vision / Matthew, Little Man (Mallwax, 1971)

English vocals

International relevance: **

”In A Vision” is a light harmony pop track with baroque shadings while ”Matthew, Little Man” loses the baroque-ness. Nice and sweet, not very exciting but nevertheless included on ”Who Will Buy These Wonderful Evils, Vol. III”. Songwriter, singer and guitarist Håkan Bryngelson later became CEO of one of Sweden's biggest real estate companies.

DON CURTIS

Men Of Dakota / Riding (GP, 1970)

Red Indian Brothers / In The Corners (GP, 1971)

English vocals

International relevance: **

Born as Kurt Arne Norman, then changing his surname to Nordlander but performing as Don Curtis since his 7” debut in 1966. He released several singles in the 60s, and his final two in the early 70s, both reflecting his strong passion for Native Americans and their culture. Sometimes dressing up as one, he may seem like a silly Billy, but these two singles are in fact fine examples of a garage rock sound akin to Kim Fowley's best moments. ”Men Of Dakota” is great with an overheated arrangement, but the hard driving ”In The Corners” is possibly even better. ”Riding” unfortunately reveals Curtis's Elvis fixation – he even became an Elvis impersonator later in the 80s. A curious character with an illustrious history.

"Red Indian Brothers" and "In The Corners" were recorded with Scoopes, a band that had one single on their own in 1970. Both Curtis singles were released with several different colour sleeves. Signed copies seem common.

RAUNCHY – Flygmaskinen / Orminge Centrum (Scam, 1974)

Swedish vocals

International relevance: ***

A very obscure band from Stockholm with only this one single in their discography. ”Flygmaskinen” is really lovely, moody, low-key track with flanged vocals creating a hazy, slightly disoriented atmosphere. Maybe a strike of luck, because the 'B' side is just a fast rock song with very little going for it. ”Flygmaskinen” was, thankfully, salvaged from obscurity on ”Who Will Buy These Wonderful Evils, Vol. 6” making it a lot easier to find. 

Members Blues Band full single playlist
Lucas:
Antisocial Season / Hymn To The Sun
Sleepstones:
As The Night Comes To See / I Put A Spell On You
Attractions:
Let Love Come Between Us / 5th February 1968 
Cheers:
Love Me Two Times / Somebody To Love
Zoom:
Coloured Rain / Ticket To Ride 
Ardy The Painter Of Love:
Pregnant Rainbows For Colourblind Dreamers
Aunt Sally:
Shakin' All Over / She Left Me
Björn & Benny:
She's My Kind Of Girl / Inga Theme
Candle:
In A Vision / Matthew, Little Man
Don Curtis:
Men Of Dakota / Riding / Red Indian Brothers / In The Corners
Raunchy:
Flygmaskinen / Orminge Centrum

ERIK ASCHAN – Erik Aschan (E. Aschan 73, 1973)

Swedish vocals, English vocals

International relevance: **

It took me a while to realize what my real problem with Erik Aschan is. He's part talented and part delusional – he probably holds the world record of mentioning his own name most times on a record cover, but although egomaniacs can be annoying, they're not necessarily scary. Then I realized that listening to Aschan is like talking to a friendly stranger in the street and suddenly catching a dark flash in his eye that gives you an uneasy feeling you can't quite explain. Not that I think Aschan is a violent man or anything, on the contrary, I think he's Mr. Peace himself, but something just feels off and it makes me feel awkward. 

This is Erik Aschan's first of six privately pressed albums up to 1986, and unlike several of his later ones an all acoustic effort. A couple of tracks are quite good like ”Om du inte fanns” and ”En sommarvind”, the latter a bit similar to Roy Harper around ”Folkjokeopus”. Others are melodically indistinct and just samy strummy which make me lose attention. And then there's ”Vilse i stora skogen”, ten very self-indulgent minutes that the album would have done better without. It's a thousand times better than John-Erik Axelsson, but a Kjell Höglund Aschan is not.

Full album

MIXTURE – Dreamland (Miss Mindy Music, 12”, 1982)

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

The release date on the cover says 1983 but the label states 1982 so I give Mixture the benefit of the doubt and include assuming the label date is correct.

This is not the same Mixture that had an LP on Coop in 1980. This five-piece came from Kalmar in the south east area of Sweden and recorded only the four tracks heard on this 12”. They gigged locally a fair bit and were highly regarded among their peers for their technical skills. Inspired by for instance American jazz guitarist Lee Ritenour they wanted an accomplished sound. The style isn't that exciting, somewhere between AOR and symphonic rock (especially on ”Preludium” by J.S. Bach obviously), but they were pretty good songwriters in their vein. They were skilled players especially for being only around 18 years old at the time. And I think Matz Larsson has a rather nice voice. 

I wouldn't call "Dreamland" great, but I've heard far worse examples of what music college students can cook up.

Back To Reality
Preludium
Mecanical [sic!]
Vem var hon

BABATUNDE TONY ELLIS – No Place To Run (MNW, 1979)

English vocals, other languages
International relevance: **

Tony Ellis was a member of Peps Blodsband on their ”Spår” album from 1978, and he made his solo album debut the following year. Most of the Blodsband is present here including Peps Persson himself, with the addition of Per Tjernberg (Archimedes Badkar) and Hassan Bah (Kebnekajse). It's an all reggae effort with the occasional African element, pretty much like a lesser Peps Blodsband album with a different singer. Mostly original songs but there's also a good cover of Johnnie Clarke's wonderful ”Roots Natty Roots Natty Congo” (also covered in Swedish by Mikael Ramel) and a version of the dull ”Sitting In The Park” made famous by Georgie Fame. One of the highpoints is the slowed down version of "Punky Reggae", originally on "Spår" but better in this moody take. 

”No Place To Run” has its ups and downs but it's a decent album overall. And it's much better than the pretty terrible 1981 follow-up ”Change Will Come”. Live album ”Red Hot And Live” was released in 1983.

There was also a 12” in 1980 with an 'A' side which isn't any better than the title ”Disco Baby”, but with the great smoky 'B' side ”Ire” not dissimilar to UK band Capital Letters' better moments.

Full album playlist
12": 
Disco Baby   
Ire 

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

TRETTIOÅRIGA KRIGET – Archival releases 1998-2020 (rec. 1970-1981)

Trettioåriga Kriget's archives have been trawled through several times over the years by mainly Mellotronen. Together these releases make up a parallell history of the band, with both live tapes and other sorts of material, covering Trettioåriga Kriget's entire lifespan, also including the years following their reformations in the 90s and the 00s. 

Glorious War (Mellotronen, 2004: rec. 1970-1971)
English vocals, instrumental
International relevance: ***

The most interesting of those archive clear-outs is ”Glorious War”, for the sole reason it doesn't sound much like we know Trettioåriga Kriget's style. Consisting of tapes from the very earliest days of their existence, they hadn't yet taken to the adolescent philosophical rants of their later Swedish lyrics, and they were still too sloppy performers to live up to their own musical pretentions that make most of their records sound so constipated. They try hard, but fail which is relieving to hear. Not that ”Glorious War” is very good – parts of ”Konserten”, overlong at its ridiculous 18 minutes are OK – but it's amusing to hear them make such fools out of themselves. The bass solo of ”Assimilation” is the worst I've heard since Malaria. The track ”Thirty Years War” sounds like a nod to the early Mothers Of Invention but without Zappa's brain. ”Gloriwas War” is 53 minutes of pure spiteful fun.

War Years (Mellotronen, 2008; rec. 1971-2007)
Swedish vocals, instrumental
International relevance: ***

The entire second disc of this double CD is dedicated to the 00's so I leave that aside. Disc 1 covers the band's original ten years. It starts off with a crappy sounding 1971 live recording in the same klutzy vein as ”Glorious War” before moving on to a couple of 1974 selections. The Trettioåriga Kriget sound is beginning to fall into place but the recordings are unbalanced and out of tune which hardly makes the band a favour. Remaining recordings on disc 1 are from '76-'77 amd '79-'81 and tell us what we already knew, that the band went from ostentatious prog rock stuck up on its own holiness to bad new wave.

War Memories (Mellotronen 1998, rec. 1972-1981)
Swedish vocals, English vocals, wordless vocals, instrumental
International relevance: ***

The first compilation of Trettioåriga Kriget's unreleased material appeared already in 1998 and is a mish-mash of studio recordings, radio sessions, live tapes and what have you. So inconsistent and haphazard it's hard to make any sense of it. An early stab at hard rock, later era synth pop and yodeling. (Literally, that is – I'm not talking about Robert Zima's twisted scrotum falsetto.) It does however have early song ”I've Got No Time” which sounds like at least a half decent late 60s/early 70s American rural rock band.

Konserten -73 / King Eric (no label, 2010; rec. 1972-1973)
Instrumental
International relevance: ***

A CD-r single released in 100 copies. ”Konserten” is a trimmed down 1973 recording of the piece from ”Glorious War”, slightly better because it's shorter. ”King Eric” is a crap-fi 1972 recording which starts out as bad jazz before ending in a complete unlistenable mess.

War Diaries, Vol. 1 (no label, 2018; rec. 1974)
War Diaries, Vol. 2 (no label, 2020; rec. 1976)
Swedish vocals, English vocals, wordless vocals
International relevance: ***

Two volumes released through Trettioåriga Kriget's Bandcamp only. The cover for volume 1 says 1974 but some of it is actually from 1975. The four tracks from ”Progglådan” are here too which means that ”Progglådan's” 1973 date is wrong (as is a lot of info in that mess of a box set). Mostly live recordings in good radio sound, plus one demo in OK rehearsal space fidelity.

The second volume is a complete concert recorded Swedish Radio's Tonkraft series in November 1976. The dreaded yodel reappears, but it's still quite possibly the best ever live document of Trettioåriga Kriget, even to my ears, with a focused performance and a well-rounded sound. It's certainly the best to surface officially, head and shoulders above any of the Mellotronen releases. Why this wasn't released first of all is a mystery.

Glorious War full album playlist
War Years disc 1 full album playlist (Bandcamp)
War Memories full album playlist (Bandcamp)
Konserten -73 (first track only)
War Diaries, Vol. 1 full album playlist (Bandcamp)
War Diaries, Vol. 2 full album playlist (Bandcamp)

JÖRGEN HÖGLUND – Leaving It Up To You (Montezuma, 1980)

 Swedish vocals, English vocals
International relevance: -

There's a reason why singer/songwriter jazz rock never became a hot thing: it's such a bad idea. Unfortunately, nobody told Jörgen Höglund, bassist and guitarist of Tequila and later on one album by latin funk band Hot Salsa. ”Leaving It Up To You” is his only solo album, a very sterile effort split between Swedish and English songs. Höglund's characterless voice doesn't help either, sounding a fair bit like irritating singer/songwriter Totte Wallin with a few stylistic features borrowed from Tomas Ledin. The title track was chosen as a single with another album track on the flip.

Full album playlist

LEIF STRANDS KAMMARKÖR – Complete albums 1969-1982

What's a chamber choir doing here? you might ask. A relevant question for sure, but this isn't just any chamber choir. This lot is far more progressively minded than a whole lot of your standard proggers and the five albums they recorded from the end of the 60s up to the beginning of the 80s have some of the most explorative music of the era.

Leif Strand founded the choir in 1965 while still a student at the Royal Academy of Music in Stockholm which he attended from 1960 to 1970. He acquainted several prominent performers on the jazz field such as renowned pianist Jan Johansson, bassist Georg Riedel and clarinetist/saxophonist Arne Domnérus as well as future progg illuminaries Jan Schaffer and Björn J:son Lindh. These friendships proved crucial to Strand as his recording career took on by the turn of the decade.

En skiva med Leif Strands kammarkör (Proprius, 1969)
Swedish vocals
International relevance: **

The title may be unassuming (=”an album by Leif Strand's chamber choir”) but the music is anything but. Promininently featured are the previously mentioned Riedel and Domnérus along with pianist Bengt Hallberg, conga player Rupert Clementine and Lennart Åberg on soprano sax. Composition credits are split between Riedel and Strand with ”Blowing In The Wind” being the Dylan song in an expansive arrangement signed Jan Johansson (who tragically passed away in a car accident the year before this was recorded). It's not that the jazz elements are just tucked onto the classically styled choral arrangements – the exchange is dynamic and works as a truly cohesive unit that's indeed forward thinking and open-minded. Trad jazzer Arne Domnérus particularly surprises coming out as a true modernist.

This is deeply musical and extensively creative music cut from the same cloth as Carl-Axel and Monica Dominique of Solar Plexus, and it's rather surprising they're not involved on any of these Leif Strand records. They would have been a perfect match.

En skiva till med Leif Strands kammarkör (Proprius, 1970)
Swedish vocals, other languages
International relevance: *

The second album has an equally mundane title (=”another album by Leif Strand's chamber choir”) but a tweaked line-up. The Riedel/Domnérus/Hallberg troyka is intact but augmented by tenorist and flautist Claes Rosendahl, guitarist Rune Gustafsson, and noted Norweigan born drummer and percussionist Egil Johansen. The instrumental assets are unfortunately not sufficiently utilized with the emphasis being on the vocals. Too much to the fore and much too operatic bordering on sprechgesang, they make ”En skiva till” the weakest Strand album for me.The high point is probably 8 minute opener ”Gospel”, a chaotic piece of modernist dissonance and intimidating drama.

Sorgen och glädjen (Proprius, 1971)
Swedish vocals
International relevance: **

The albums here aren't particularly rare (or sought-after), but this is one of the most common. It probably sold better and is a lot more easy-going than the previous album. With many of the songs being traditional material and folk chorals, it's rich with melancholy textures reminiscent of the always popular work of Jan Johansson. Which is not to say it's smoothed out – some parts are certainly moving in weird territories. ”Världens frälsare, kom här” even touches on Oriental scales. It's also the album up to then that most successfully merges the choir and the jazz section. A good entry point for the novice.

Allt under himmelens fäste (Proprius, 1974)
Swedish vocals, English vocals
International relevance: **

Released three years after ”Sorgen och glädjen” (=”the sorrow and the joy”), ”Allt under himmelsens fäste” (=”everything below the firmament of heaven”) follows along the lines of its predecessor but has a stronger emphasis on jazz, occasionally even veering towards post-bop. The traditional “Bergkirstis polska” (arranged by Jan Johansson) almost goes off the deep end entirely!

Visa singer/troubadour Göran Fristorp is a new addition here; the album was released the same year as Fristorp's own album “En luffare är jag” that featured the choir. I'm not too keen on his voice, it's a bit too precious, and his contributions spoil the flow a bit. Still, this is the where to go if you want more after “Sorgen och glädjen”.

 

Missa Pro Pace: En fredsmässa (Europafilm, 1982)
English vocals, other languages
International relevance: ***

A seven year recording hiatus was interrupted in 1981 by a collaborative live album on the dreaded A Disc label, with the Chamber Choir's first proper album in ages appearing the following year. A lot had changed since “Allt under himmelens fäste”. Stahlwarts Riedel, Hallberg et al were gone, substituted by the likes of J:son Lindh, Schaffer, Stefan Brolund and Jan Bandel. The personnel change obviously updated the sound and style, and “Missa Pro Pace” (“a peace mass”) is the most overtly proggish album in this lot. Some sections almost sounds like a light version of French band Magma! It's also the first album to utilize other effects than the natural reverb of the recording location. It's the first Chamber Choir album that sounds produced. “Credo” for instance has space echo flute whereas Schaffer's reverb-laiden guitar in “Agnus Dei” isn't that far removed from Terje Rypdal. Most surprising feature though is the electric sitar and tablas in “Gloria” – I didn't see that one coming!

Once you've gotten used to this being a very different album from what you've come to expect, it's actually rather good. Thinking of it, this might be the best first choice to a lot of people coming from progg even if it's not quite in line with Leif Strand's 'original' chamber choir. Then again, it's as free-spirited as any of their work, and that is after all the most striking and important trait of this decidedly imaginative and largely captivating choir.

En skiva full album playlist
En skiva till full album playlist 
Sorgen och glädjen full album playlist
Allt under himmelens fäste full album playlist
Missa Pro Pace: En fredsmässa