STEFAN DAAGARSSON – Strömkarl i elransoneringstider (Forsaljud, 1976)

 
Swedish vocals
International grading: *

Stefan Daagarsson is quite an illustrious character. His career began in 1966 with pop band The Snippers which was followed by the advent of Charlie & The Others in 1967. The following year, major publishing company Bonniers published his first novel ”...är att berätta allt”, followed by another Bonniers book in 1969. In 1970, Daagarsson set up his own publishing company named Inferi through which all his subsequent books were released up until 1984. Inferi was also the name of the cultural magazine he ran up until 1979. Daagarsson was also the very first to publish poetry by Ulf Lundell who later became one of Sweden's most succesful writers and rock artists. For a couple of years, Swedish Television hired Daagarsson as a playwright. He's also a painter with several exhibitions under his belt. In 1984, he re-invented himself as Rotebergs-Raggarn, a fictious humurous character who had some success with both 45s and albums up until the early 90s. Simply put, Daagarson is a Jack of all trades.

”Strömkarl i elransoneringstider” is the only album under his birthname, and was released by Hudiksvall area label Forsaljud in 1976, a fairly active label responsible for both progg and non-progg discs including fusion band Berits Halsband sole LP and both albums by folk outfit Agö Fyr. ”Strömkarl i elransoneringstider” blends 'humurous' pastiches, typical Swedish troubadour styles and folk inspired numbers with lyrics with a sort-of-poetic flair. He obviously inhabits some talent but the album's disappointing with only very few decent moments, such as opening track ”Pigan” which alludes to Swedish folk songs in style as well as lyrical content. Daagarsson isn't much of a singer either, with a rugged, unmelodic phrasing and a lacklustre, slightly squeaky voice. In its best moments, ”Strömkarl i elransoneringstider” comes off as a 'C' grade version of Kjell Höglund who had a much better grasp of pastiches and lyrical vitality, and at worst, as an untalented parody of troubadour par excellence Cornelis Vreeswijk.

Spelmansminne

AGÖ FYR – Agö Fyr (Forsaljud, 1977) / Mjölnarens måg (Forsaljud, 1978)

Swedish vocals, English vocal, instrumental

International relevance **/**

Agö Fyr was like an acoustic cousin to successful folk rock band Folk Och Rackare, but without the latter's sophistication and bit of Grus I Dojjan sprinkled on top. Agö Fyr mixed traditional songs from Sweden, USA and the British isles but lacking the technical effiency, they often came off a bit awkward, especially in the vocal department. Instrumentals such as ”Nashville Blues” and ”Knackpolska” from their first album work better than their vocal tracks that were sung in Agö Fyr's local Hudiksvall dialect, giving them a particular regional feel.

There are much better examples of Swedish folk both straight traditional and mixed with rock (not to mention folk music from abroad) than Agö Fyr, and while still cheap to get, none of their albums are recommended.

The band has reunited a couple of times in the 2000's.

from Agö Fyr

"Rye Whiskey"

Mjölnarens måg full album playlist

BERITS HALSBAND – Berits Halsband (Forsaljud, 1975)

Instrumental

International relevance: ***

 

First ever release on the eclectic Forsaljud label who released both folk rock and punk. This however is a fusion album with a basement feel and a certain level of non-detracting amateurishness that sets it apart from the typical genre efforts and makes it a lot more interesting than most of them. The whole album is strangely 'off' with a fair share of semi-psychedelic guitar improvising and krautish flute work. All four tracks are interesting in their own way, never boring, and the album is an unusually refreshing example of an often emotionally numb genre.

Full album