Showing posts with label IRG *. Show all posts
Showing posts with label IRG *. Show all posts

Friday, July 19, 2024

MUSIKGRUPPEN RAA – Briggen Salta Anna (Piglet, 1981)


Swedish vocals, spoken word
International relevance: *

Musikgruppen RAA began in 1973 and disbanded ten years later after a plentiful of shows in Sweden and abroad. They did reunite in the early 90's however and is still active. During their first lifetime, they also released two albums on the bizarre label Piglet, the epononymous album in 1980, and ”Briggen Salta Anna” in the following year.

”Briggen Salta Anna” is a story album about the brig of the album title, full of short songs, the shortest being only 22 seconds. It reveals two fundamental things about Musikgruppen RAA: their love for children's music their love for UK folk in general and The Incredible String Band in particular. (The reformed RAA released a full ISB tribute album in 2010.) What makes ”Briggen Salta Anna” a hard listen though are the many spoken bits that carry the story. It sounds more like a radio play for kids than an album to actually listen to. And the proper musical portions are nowhere as good as the British/Scottish counterparts that so greatly influenced them. The album is a curiousity at best, and adds to Piglet being one of the weirdest record labels.

Full album playlist

Sunday, August 12, 2018

REKYL – Rekyl (Manifest, 1976) / I himlen är det för sent (Manifest, 1979) / Vi blir aldrig som ni vill (Manifest, 1980)

Rekyl was an important part of the Northern Luleå scene. Apart from being a much appreciated band in their own right, their members participated in other projects such as Anton Svedbergs Swängjäng and Vi Var Tolv Man I Laget, and helping Tomas Forssell out on his ”Ingenting står stilla” album, and Ted Ström on his ”Kärva lägen”.

Rekyl (Manifest, 1976)
International relevance: *
Swedish vocals

Rekyl appeared as a fully fledged band already on their maiden work. Blues based rock with an obvious Rolling Stones bent (not only because of their Swedish take on ”Street Fighting Man”, ”Slagskämpens sång”) with political and sometimes very graphic lyrics. I'm sure it helps getting along with Rekyl if you're a Stones fan. Which I'm not, so the best tracks to me are ”Mardröm” (more progg than Stones) and the melancholy album closer ”Grå grönska”. Great cover art though!

I himlen är det för sent (Manifest, 1979)
Swedish vocals
International relevance: *

The second album follows along the tracks of the first, with more Stones infused rock, only a little tighter production-wise with horns added to ”Låt dom inte få dej” and ballads ”Då behöver jag dej” and ”Vi behöver dina ögon”. Tight playing and often well written lyrics. I can understand how this appeal to a lot of people but the album fails to move me. 

Vi blir aldrig som ni vill (Manifest, 1980)
International relevance: *
Swedish vocals

The horns introduced on ”I himlen är det för sent” come further up on Rekyl's final album for Manifest. Rolf Hedberg's sax has a strong Clarence Clemons vibe, pushing tracks like ”Arbeta hårt” and ”Gasen i botten” closer to Bruce Springsteen than the Stones. I don't consider that as a problem per se, but there's something about ”Vi blir aldrig som ni” that makes it the weakest of the band's Manifest albums. There's still some good lyric work going on here but the bigger production makes the songs unnecessarily fluffy. 

Following ”Vi blir aldrig som ni”, Rekyl signed with the Frituna label and released live album ”Levande i Luleå” plus two 45's on the same label. They're also featured on ”Norrbottenplattan 2", ”Tonkraft 1977-78”. A 1975 radio recording can be found in the ”Progglådan” box set.

Rekyl full album playlist

I himlen är det för sent full album playlist
Vi blir aldrig som ni vill full album playlist

Tuesday, July 31, 2018

ELISABET HERMODSSON – Vad gör vi med sommaren, kamrater? (Proprius, 1973) / Disa Nilssons visor (Caprice, 1975) / Vakna med en sommarsjäl (Caprice, 1979)

Gothenburg born multitalent Elisabet Hermodsson was a rare ange bird on the scene. An author, journalist, painter, songwriter, singer, with an education in rhythmics, she was involved in the 70's feminist movement but the three albums she made during the decade was of a more reflective personal kind without exhausting in-your-face politics. She appeared in the stage performance ”Röster i ett mänskligt landskap” along with Lena Granhagen, released on album by Proprius in 1971.

Vad gör vi med sommaren, kamrater? (Proprius, 1973)
Swedish vocals, instrumental
International relevance: **

Hermodsson's first solo album showcases her style at its best, with an abundance of hushed songs, with delicate arrangements underlining the inherent melancholy. Recorded with Arne Domnérus, Georg Riedel and Rune Gustafsson to mention but three of the musicians, ”Vad gör vi med sommaren, kamrater?” has mild jazz strokes without ever becoming a jazz album. It's hard to pinpoint Hermodsson's style; she's too original to easily fit in with any defined genre. There's a particular kind of Swedish music called 'visa' (plural: 'visor'), somewhere between singer/songwriter and French chansons, and that would be the most appropriate classification for Elisabeth Hermodsson. Whichever way, ”Vad gör vi med sommaren, kamrater?” is a dimly lit and ultimately touching album.

Disa Nilsons visor (Caprice, 1975)
Swedish vocals
International relevance: *

Swapping the small back-up unit on her debut with a larger ensemble of new musicians diminished the emotional impact of Hermodsson's songs. The songs are still poetic and the arrangements are carefully crafted but lack the element of surprise that helped making ”Vad gör vi med sommaren, kamrater?” a captivating album.
 
Vakna med en sommarsjäl (Caprice, 1979)
Swedish vocals
International relevance: *

Despite being subtitled ”Disa Nilsons visor II”, ”Vakna med en sommarsjäl” is different to the first volume of the two centered around the fictious Disa Nilson character. The album again utilizes a new set of musicians, this time including the likes of Jan Schaffer, Björn J:son Lindh, Stefan Brolund and wind player Sven Berger. Also featured is classical string quartet Freskkvartetten. The mood is closer to ”Vad gör vi med sommaren, kamrater?”, often sombre and dusky, although not on par with the special intimacy of her debut. 

Both ”Disa Nilson” volumes were combined to one CD, unfortunately with the tracks from the two albums jumbled up to a new track sequence.

Elisabet Hermodsson spent most of her time living in Uppsala and her summer house on Fårö (a place familiar to director Ingmar Bergman fans). She died in 2017 at the age of 89.