TOTTE WALLIN – Enköpingståge' (Metronome, 1978)

Swedish vocals
International relevance: *

This is Totte Wallin's third album, following ”När kulorna rullar” in 1975 and ”Grand Canyon” in 1977. None of them belongs here, and nothing he did after 1978 does either. His albums are mostly slick soft rock – music for people who don't really care about music – with lyrics supposed to be 'humourous' but without being funny. Still, he was signed to Metronome by Anders Burman who also discovered John Holm, Pugh Rogefeldt and Ola Magnell, and Wallin even toured with Magnell and Marie Bergman.

Only ”Enköpingståge'” has enough of a progg vibe, much thanks to Finn Sjöberg's production. Some tracks here are characterless as usual but there are a few decent moments. ”Pressveck” sounds a bit like Ola Magnell, ”Ett förslag” is OK, and ”Inte vet väl jorden” has an eerie late 70s vibe that I like. But the best song is also hands down the only really great song Totte Wallin wrote, namely ”Våren dör aldrig i Prag”. ”Enköpingståge'” isn't exactly good, but it's Wallin's best album.

Full album playlist 

GÖSTA LINDERHOLM – In kommer Gösta (Metronome, 1973) / Göstas skiva (Metronome, 1975)

Anyone familiar with Gösta Linderholm (and that includes just about every Swede of a certain age or inclination) surely wonders if I've lost it completely by including him here. He's something of a laughing stock found in every charity shop bin across the nation. I doubt many people take him seriously, and he actually has himself to blame after the dreadful mega hit ”Rulla in en boll och låt den rulla”, a 1978 faux cajun song that plagued the airwaves here for an eternity. And me, I never once thought he'd be something I'd offer any progg blog space. Until I took a closer look at his first two albums, that is.

In kommer Gösta (Metronome, 1973)
Swedish vocals
International relevance: *

After an early career with trad jazz band Sveriges Jazzband (best known for their 1970 song ”Brittas restaurang”), Gösta Linderholm made his solo debut with an album taking its title from a Philemon Arthur & The Dung song. He immediately established himself as a happy-go-lucky troubadour with a warbly voice. But, hang on – is that tablas in opening track, the droning ”Herr Fantasi”? It is indeed, played by Jan Bandel. And there's Björn J:son Lindh in his best ”Ramadan” mode. ”Påtalåten”? Yes, an Ola Magnell cover recorded the same year as Magnell's own 45 version. And that bassist Stefan Brolund, wasn't he in Pop Workshop and later EGBA and Oriental Wind? He was.

”In kommer Gösta” isn't a great album and rather typical Metronome label singer/songwriter fare along the lines of the aforementioned Ola Magnell and, for better or for worse, Marie Bergman.
But it nevertheless shows that there was a wee bit more to Gösta Linderholm than he gets cred for. 

Göstas skiva (Metronome, 1975)
Swedish vocals
International relevance: *

Not surprisingly, both Magnell and Bergman pop up on Linderholm's second album along with Thommie Fransson and, again, Björn J:son Lindh. The style is similar to the debut but with a few better songs and slightly darker shades, as on ”I natten” and the Magnell/Linderholm co-composition ”Kom liv”. I remember "Herr Fantasi” from my radio listening childhood days, so I have a certain nostalgic relation to that particular track. But the best track here is the album's most unexpected inclusion.

Guitarist Finn Sjöberg appears prominently on the album and that might explain Kvartetten Som Sprängde cover ”Gånglåt från Valhallavägen”. Originally an instrumental track but here with added Linderholm lyrics, and I can promise there's nothing else in his ouvre to prepare you for this. It's a bleak, actually apocalyptic depiction of a winter's day in Stockholm, soaked in alienation, internal turmoil and impending chaos. Junkies are dying in the streets and a hysterical Lady Luck screams out in agony. This track is truly a lost progg gem hidden in plain sight.

Linderholm made many albums after these two, some of them with credible musicians helping him out such as Kebnekajse's Mats Glenngård on ”Blå ballader & gröna demoner” from 1977. Some of them even have a half OK track or two, but there's really no point in getting into them in detail. A thumb rule is that the later it gets, the more Linderholm lived up to his own caricature.

In kommer Gösta full album playlist
Göstas skiva full album playlist

KENTA – Complete albums 1979-1981

You don't have to be a coldblooded cynic to say that hadn't it been for ”They Call Us Misfits” and ”A Respectable Life”, Edgar Froese lookalike Kenta would never have gotten a recording career.

Kenneth ”Kenta” Gustafsson was born in Stockholm in 1948 to a rough upbringing. Both his parents were alcoholics and Kenta was left to take care of himself. When the Swedish mod scene grew in the mid/late 60s, Kenta was drawn into it. Swedish mods had very little in common with UK mods, with a completely different dressing style and dissimilar values. Most people only knew about the mod subculture from the newspaper headlines of 1965 when mods and raggare (another youth subculture, centered around American cars and music from the 50s) clashed in the city centre of Stockholm. The tumult came to be known as the Hötorget riots after the location where the it happened. Stefan Jarl's 1968 semi-documentary ”They Call Us Misfits”, original title ”Dom kallar oss mods”, portrays the drink and drug-fuelled mod lifestyle with greater compassion and depth, and brought buddies Kenta and Gustav ”Stoffe” Svensson to the public eye. The movie had a follow-up in 1978 with ”Ett anständigt liv” (English title ”A Respectable Life”), a much darker and grittier work than its predecessor. Ulf Dageby's relentlessly bleak soundtrack reflects the the movie with scary accurance, and marks the vocal debut of Kenta who sings on four of the tracks.

Kenta (Metronome, 1979)

Swedish vocals

International relevance: *

Kenta's co-writing partner Aapo Sääsk brought Kenta to ABBA manager and Polar Records owner Stikkan Andersson's attention, but when Andersson got cold feed, Kenta ended up with Anders Burman's Metronome. A much better choice to begin with considering Burman's penchant for odd voices and self-styled songwriters. Production work was delegated to Finn Sjöberg (Kvartetten Som Sprängde) who also plays guitar on a few tracks. As do Kenny Håkansson among several other weathered studio musicians. The instrumental backing is much more lavish and polished than Kenta himself. He sings with great conviction in a slight post-Ulf Lundell fashion, but his barky, gruff voice is certainly an acquired taste. But it serves the lyrical purpose; the words are monochromatic snapshots from life's other side and it's impossible imagining a better singer deliver them with equal confidence. The album may be a minor Swedish classic but truth is it really isn't very good. It's more of a statement entirely dependent on Kenta's persona.

In a strange turn of events, Kenta found himself competing in the Swedish Eurovision Song Contest in 1980. His contribution ”Utan att fråga” ended up as #6 – imagine that happening now! – but what many people were far more concerned with was the T-shirt Kenta wore. Depicting a couple in the sex position popularly known as 69 with the words ”try it you'll like it” had the moral majority choking in front of their TV sets. Despite, or most likely thanks to that, ”Utan att fråga” reached number 2 in the singles charts and was added to later editions of ”Kenta”.

Kan det va' fel på systemet? (Metronome, 1980)

Swedish vocals
International relevance: *

”Kenta” could very well have ended up as a one-off novelty thing, but after his ESC success, he returned with another LP. ”Kan det va' fel på systemet?” (=”could it be that the system's wrong?”) is basically more from the same stock, only a wee bit heavier with a somewhat tighter sound. Again produced by Finn Sjöberg but no Kenny Håkansson this time. More uneven than the debut but with a few better songs including ”Vi behöver hjälp”, a rather heavy track unfortunately spoiled by the vocals. Also featured is ”Bajen”, Kenta's tribute song to his favourite football team Hammarby IF.

August & Kenta (Metronome, 1981)
Swedish vocals
International relevance: *

Third time around and Kenta makes an unexpected move setting music to poems by Sweden's major author August Strindberg. It's also a step away from the large number of studio musicians to a smaller ensemble consisting of for instance Nynningen cohorts Nikke Ström and Bernt Andersson, with electric guitar provided by Ulf Dageby who also stepped in as an arranger. With Stefan Jarl in the rare position of record producer, this is almost a throwback to the ”Ett anständigt liv” soundtrack. ”Esplanadsystemet” even sounds like an outtake from it (which it isn't). At any rate, ”August & Kenta” is probably the Kenta's most focused album. The smaller line-up proves beneficial to the songs, and Kenta the singer sounds more relaxed here than on any of his previous albums. Still not great, but it showed that Kenta had more to give than just his personality.

But as fate had it, this was to be his last album. He appeared in the third installment in Stefan Jarl's Misfits series in 1993, and he popped out as for guest vocals on an album by commercial keyed fiddle player Åsa Jinder in 2002. He provided one track to a V/A tribute album to Hammarby football club in 2001. Kenta Gustafsson died from cancer two years later at the age of 54. Two posthumous albums of previously unreleased songs and demos appeared in 2022/23 in strictly limited vinyl editions.

Kenta full album playlist including "Utan att fråga"
Kan det va' fel på systemet full album playlist
August & Kenta full album playlist

KAJ R. HANSSON – Till dom som bryr sig om (Metronome, 1980)

Swedish vocals
International relevance: *

There are quite a few illustrious characters featured on these pages, but few are as illustrious as Kaj Robert Hansson, known as Räven ('the fox') due to his hair colour. Often homeless sleeping in the parks of his native city Lund i Skåne, and a criminal since early age. He was a friend of Clark Olofsson, the infamous criminal 'superstar' of the Norrmalmstorg bank robbery which coined the phrase the Stockholm syndrome. Hansson was initially a suspect too, but soon freed from suspicions when he phoned the police and said something along the lines, ”I readin the papers that I've supposedly robbed a bank but that seems unlikely since I'm in Hawaii right now”. 

Besides his criminal career he had artistic ambitions, ambitions that were crowned by an LP release in 1980. It's impossible to imagine a well known crook getting a record deal – let alone with a major label like Metronome! – in those days when deplatforming for the flimsiest of reasons is the order the day. Those were other times, indeed. For better or for worse. The prison care was heavily debated and questioned in Sweden during the 70's, resulting in such albums as ”Kåklåtar” and Konvaljen's solo album. There was a strong opinion against the treatment of prisoners, which might explain why an album such as this wasn't considered as controversial as it would be today.

Metronome put a lot of effort into making Kaj R. Hansson's only album as good as possible. ”Till dom som bryr sig om” (' to those who cares') has a thorough list of studio musicians. Mats Ronander and Finn Sjöberg appear on guitars, and an entire lot of three drummers offer their services, Ola Brunkert, Rolf Alex and Per Lindholm, all respected studio workers. Hector Bingert in turn was a seasoned jazz saxophonist. And so on.

All songs were written by Hansson, all autobiographical in nature, delivered with his soft Southern nasal drawl. He's a pretty OK lyric writer, not nauseously self-pitying over his fate but rather matter-of-fact about his life gone wrong. The songs are pretty straightforward singer/songwriter rock, not hugely imaginative but sometimes quite catchy such as semi-Stonesy kick-off track ”Ta ett tag”. It's not a masterpiece by any stretch, but habile enough rock music from the dark side of society.

Full album playlist

BO HANSSON – Ur trollkarlens hatt (Silence, 1972) / Mellanväsen (Silence, 1975) / El-Ahrairah (YTF, 1977)

 Ur trollkarlens hatt (Silence, 1972)

Instrumental
International relevance: ***

It's impossible for anyone to follow up a masterpiece like ”Sagan om ringen” with something equally good, Bo Hansson included. Therefore, his subsequent albums will always stand in the shadow of his monumental debut. You almost have to forget you've ever heard ”Sagan om ringen” – at least, that's what I had to do to fully appreciate ”Ur trollkarlens hatt”. Truth is, it's a very loveable album, not as dark as its predecessor (see? now I'm comparing it to ”Sagan om ringen” again!), more like drinking dewdrops in the morning with the sun shining through the foliage of trees. It's a wonderful album, meaning both incredibly beautiful and full of wonder.

The album was released abroad as ”Magician's Hat” with cover variations.

Mellanväsen (Silence, 1975)
Instrumental

International relevance: ***

There's something about ”Mellanväsen” (international title: ”Attic Thoughts”) that makes it more intangible than Hansson's previous albums. It has more guitars (courtesy of Finn Sjöberg of Kvartetten Som Sprängde, and Kenny Håkansson) that somehow seem to restrict the album, and with more syntesizers in use, it also has an unbecoming coldness to it. Also, Hansson's regular session drummer Rune Carlsson has a stiffer way of playing here than before. It's also a bit worrying that the music at times veers towards fusion, only a tiny bit as if it doesn't want you to notice, but you can't help but doing it anyway. ”Mellanväsen” isn't a bad album but somewhat unsatisfactory.

The international cover seen above is eye-slicingly terrible. The drawing of Hansson makes him look like a mean-spirited caricature of Sweden's then prime minister Olof Palme.

El-Ahrairah (YTF, 1977)

Instrumental
International relevance: ***

Another album based on a book, this time Richard Adams's ”Watership Down” (the album's international title is ”Music Inspired by Watership Down”). ”El-Ahrairah” also saw Bo Hansson signing with a new label, YTF. My concerns with ”Mellanväsen” are even greater here. It's further down fusion road and despite several excellent names in the credits list – Kenny Håkansson, Bosse Skoglund, Sten Bergman, Göran Lagerberg et al – the music just won't come to life. The best track is the first part of ”Flykt” which sounds like the music to a porn scene in an Italian horror movie. I want to like this album more than I do, but unfortunately, there's too little here to invite me into the music.

The cover art was again mutilated for the album's international release:

”El-Ahrairah” is the last of the 'real' Hansson albums. He made ”Mitt i livet” for Silence in 1985 but that one doesn't count.

Ur trollkarlens hatt full album playlist with bonus track
Mellanväsen full album playlist with bonus track
El-Ahrairah full album playlist with bonus track

ULF LUNDELL – Vargmåne (Harvest, 1975) / Törst (Harvest, 1976) / Natten hade varit mild och öm (Harvest, 1977)

”Ulf Lundell's not progg!!!” I hear the outraged voices cry. But if John Holm and Ola Magnell should be here, then why not Lundell? Any objections to the inclusion fall in the Tomas Ledin category, i.e. only the prejudicial ear trying to dictate what's right and what's wrong.

Ulf Lundell sent his demo tapes to both MNW and Silence. They rejected him. And it's the same old story: he wasn't political enough. Again the overlords had spoken. So instead, he went to EMI who recognized Lundell's potential and offered him a deal with their progressive subsidiary Harvest. In early September 1975, seven months before his debut novel ”Jack” was published, ”Vargmåne” hit the shops.

Vargmåne (Harvest, 1975)

Swedish vocals

International relevance: **

Recorded in only four days with Finn Sjöberg (Kvartetten Som Sprängde) as an arranger and guitarist, and Mats Ronander of Nature on harmonica. Reputedly, Lundell was unhappy with the finished album, but it's a prime example of mid 70's Swedish rock, with classic tracks such as ”Stockholms City” and ”Sextisju, sextisju”. ”När duellen är över” should be as classic. But the best track is ”Bente”, a claustrophobic tale of a prostitute trapped in the big city netherworld. going down slowly but mercilessly on drugs. The song ends with a chilling question, made even more icy by Sjöberg's guitar, objective like steel, glass and concrete. His arrangement is perfect, and apart from being one of the best songs I know of written in the Swedish language, it's a billion times more thought-provoking than anything to ever come out on labels like Nacksving, Proletärkultur or, for that matter, MNW. But exactly that might the problem here – they didn't want any questions and independent thinking, they only wanted pre-fabricated answers.

With a song like ”Bente”, it doesn't matter that ”Sniglar och krut” and ”Jesse James möter kärleken” are pure crap.

Törst (Harvest, 1976)
Swedish vocals

International relevance: **

 

There's an equivalent to ”Bente” on Lundell's second album: ”Birgitta hon dansar”. It could almost be the sequel to ”Bente”, with the main character having lost her grip of reality and gotten locked up in a psychiatric ward. The claustrophobia is even denser here, like blinding smoke so thick you could touch it like bleeding fingertips rub against a raw surface. This isn't nice and kind music, it stares you straight in the face with reality's bloodshot eyes.

The ambivalent ”USA” deals with the nation of the song title in a credible 'can't live with it, can't live without it' way that's completely foreign to the militant anti-imperialist lot collecting double standards as if it was baseball cards.

The title track and ”Cobra Rax” in turn offer a peek into the same shady regions of the capital city as depicted in ”Stockholms City” off the first album.

”Jag vill ha ett lejon” might be too lightweight, but thankfully that and ”Och går en stund på jorden” provide some relief on an album that otherwise is as dark as the cover art is white. ”Törst” is often overlooked in Ulf Lundell's oeuvre but to me, it's his best and most gripping album.

Finn Sjöberg is still on board here, and Mats Glenngård appears on violin.

Natten hade varit mild och öm (Harvest, 1977)

as Ulf Lundell & Nature

Swedish vocals, English vocals

International relevance: **

This one usually gets general bashing, and I agreed before but I've come to re-evaluate a whole lot with time. It was recorded with blues band Nature (one of Pugh Rogefeldt's signings to the Gump label) on their mutual ramshackle tour of 1976-77. It mixes cover versions of rock standards – ”Route 66” and ”My Generation” sung by Mats Ronander – with chestnuts from Lundell's first two albums plus otherwise unreleased songs. ”Natten hade varit mild och öm” is to Lundell what ”Hard Rain” is to Dylan, i.e. a peculiar and sloppy live document with inferior sound and odd song choices. But that's what makes so intriguing and different to any other Lundell album out there. It's the sound of scruffy hobos thundering across the nation. "Progglådan" contains a Tonkraft show from the same period but while still OK (Lundell sounds nervous), it's a more polite document than this beautiful mess.

”Natten hade varit mild och öm” was reissued on CD in 2000 with five bonus tracks including ”USA” and ”Bente”.

Ulf Lundell went on to record numerous albums and write several books. He's one of the most well-known artists in Sweden.

Full album playlist with bonus tracks

Törst full album playlist with bonus tracks  

Natten hade varit mild och öm full album playlis with bonus tracks

Tonkraft 1976 full album playlist

 

FINN SJÖBERG – Finn (EMI, 1978)

 
Instrumental

International relevance: **

Finn Sjöberg was a member of Örebro's Squareheads Blues Band in the late 60's before founding Kvartetten Som Sprängde in 1972. They released their monolithic classic ”Kattvals” the following year and they backed singer/songwriter Bernt Staf on his ”Valhall” album, also in 1973. Kvartetten Som Sprängde disbanded in 1975 and Finn Sjöberg turned to session work for a large number of Swedish acts including ABBA.

”Finn” is his only solo album to date and is disappointing to anyone hoping for a 'lost' Kvartetten Som Sprängde album. Only album highlights ”Gånglåt från Barrstigen” (clearly alluding to Kvartetten's "Gånglåt från Valhallavägen") and ”I Fatimas hand” have some strains suggesting Sjöberg's acclaimed past – the lion's share of ”Finn” is in a softer unimpressive jazz rock vein. 

Full album playlist

KVARTETTEN SOM SPRÄNGDE – Kattvals (Gump, 1973)

Instrumental

International relevance: ***

Ranked #16 on the blog's Top 25 list

Kvartetten Som Sprängde started out as a quartet just like their name implies but were reduced to a three-piece before making their lone album for the legendary and collectable Gump label. However, the trio format is perfectly sufficient, with guitarist Finn Sjöberg interweaving folk inspired melody lines with Fred Hellman's thick layers of moody organ and the free flowing and pulsating beat provided by drummer and jazz legend Rune Carlsson.

”Kattvals” comes across like a cross-pollination of early Bo Hansson/Hansson & Karlsson, Kebnekaise and Fläsket Brinner – the latter is a particularly valid reference in the case of the stunning ”Gånglåt från Valhallavägen”, evoking the similarly titled ”Gånglåten” from Fläsket Brinner's debut album of 1971. ”Vågspel” offers up more of Hellman's folk derived harmonics, similar to Bo Hansson's "Sagan om ringen", conjuring up mental images of dark Northern forests and twilight goblins. As declared by its song title, ”Andesamba” (”Spirit Samba”) relies on Latin influences (which has provoked some misleading comparisons to Santana) with a forceful drive again prevalent in closing track ”Ölandsshuffle”. But all tracks are worthy of mention really, as the album has no weak moments. ”Kattvals” is a tour de force, a grand moment in progg history. No serious progg fan should live without it.

Unsurprisingly, ”Kattvals” has been reissued a number of times, thus making it obtainable to those who cannot afford the increasingly expensive originals. Sadly, Kvartetten Som Sprängde weren't around long enough for another album but they did join singer/songwriter Bernt Staf as a backing band on his 1973 album ”Valhall”.

However, a four track Kvartetten Som Sprängde radio session exists, made for the weekly Tonkraft show in September 1973. This 30+ minutes session remains unreleased, making it one of the most glaring and unforgiveable omissions from Swedish Radio's shoddily edited and poorly presented box set ”Progglådan”, comprising a total worth of 40 CD's of previously unreleased archival material. Why wasn't the excellent Kvartetten session included? It screams out for a prompt official release!

Fred Hellman had previously been in Zoom who released one 45 in 1968, featuring decent but non-essential cover versions of The Beatles and Traffic. Rune Carlsson's pre-Kvartetten career includes sit-ins with Eric Dolphy, Chet Baker and Krzysztof Komeda among others, and later went on to playing drums for numerous artists mainly in the progg and jazz field. He died in 2013. Finn Sjöberg earned reputation as a session musician, appearing on albums several high profile acts including ABBA. He also made one largely forgettable solo album, ”Finn” in 1978.

Full album playlist