A SEVEN INCH SPECIAL, VOL. 13: FRINGE PROGG

 
BRUNO WINTZELL
Idag sköt jag ihjäl en okänd man / Du och jag – en kärlekshistoria (Polydor, 1970)
Balladen om Joe Hill / Som en seglande mås (Polydor, 1971)
Swedish vocals
International relevance: *

Roger Cook's ”Today I Shot A Man I Didn't Know” proved very popular when translated by Hawkey Franzén. There are four Swedish versions from 1970, that I know of, but there might be even more hiding away somewhere. The antiwar message was of course perfectly in tune with the times with the mindless Vietnam war raging like a tameless beast so loud the entire world could hear it. Actor (known for his role in ”Hår”) and singer Bruno Wintzell must have found it irresistable to record it as it's a perfect song for his voice and rather haughty vocal style. Vocally speaking, the best Swedish version is probably Tommy Körberg's, but the arrangement and the production is more to my taste with Wintzell. Still, the calculated maudlinness of the song is always overbearing. The sound and arrangement is what's best with the flipside as well. ”Du och jag – en kärlekshistoria” isn't progg but nice (if you like that kind of stuff) albeit undistinguished orchestral pop lacking the necessary distinctive features.

"Balladen om Joe Hill" was originally known as "I Dreamed I Saw Joe Hill Last Night", and was first recorded in Swedish by Fred Åkerström. That one and "Som en seglande mås" (which is Leonard Cohen's "Bird On A Wire" in Swedish) are country tinged but both of them are pretty terrible, with Wintzell taking himself even more seriously than usual.
 

VARIOUS ARTISTS – Jukebox JSEP 5601 (Jukebox, EP, 1970)

Featured artists: Tommy Körberg / Mike Castle / November / Diddlers

 English vocals, Swedish vocals

International relevance: *

The so called Jukebox EPs were a long running series of budget compilation seven-inches known for mixing completely unrelated bands and artists, usually four at a time. They're in low demand as most of the tracks chosen for the EPs were taken from already existing releases. This one here is an exception, as blues artist Mike Castle's ”Walkin' Blues” was unavailable elsewhere at the time. It's a not very imaginative rendition of Robert Johnson's classic and was later added as a bonus to the digital reissue of Castle's lone (and Peps related) album ”Kaligyga Express”, also from 1970. But this is the only place to get it on vinyl, why I mention it here. The others are non-exclusive tracks by November, Diddlers and Tommy Körberg..
 

BJÖRN JANSON – Det är skönt / Sommar i en skärgård (no label, 1976)
Swedish vocals
International relevance: *

Apart from music, Björn Janson was a boat designer and a restaurant owner, and he released this single at his own expense. The B side is pure dross, a nondescript piano ballad I wish a long and painful death, but ”Det är skönt” has some nice features of which the soaking reverb isn't one. It's certainly on the commercial side, but the fake funky drive is pretty catchy, and it has some semicool and semiheavy guitar passages which unfortunately are too short. You could probably remix ”Det är skönt” and bring a better track out of it, but I suppose the master tapes are long gone. Probably very rare, but I suppose nobody wants it and that most likely includes you too.

ENVOYS – Kräv Bryggeriet kvar / Så svårt (Marilla, 1976)
Swedish vocals
International relevance: *

Envoys were more than anything a pop band, having started already in 1964 (then with future journalist and TV personality Robert Aschberg as a singer). Their first single appeared on MNW in 1969, a cover of The Beatles' ”I Saw Her Standing There”. Their best known track however is ”Almarna åt folket”, a translation of John Lennon's ”Power To The People” released in support of those who fought for the preservation of the elm trees in Stockholm in 1971. The next single had David Bowie cover ”Starman” on the 'A' side, which was followed by their second charity single ”Kräv Bryggeriet kvar” in 1976. Bryggeriet's full name was Münchenbryggeriet (=”the Munich brewery”) and was built in the 19th century. From the early 1970s, it was a node for various cultural activities, but the powers in charge wanted to tear it down and make room for a new housing area. It caused an outrage with the people, and the protesters against the teardown included several well-known musicians, actors and writers. As in the case of the elm battle, the authorities eventually backed down and Bryggeriet was spared. Envoys' call to arms isn't as powerful as their Lennon interpretation from five years earlier. ”Kräv Bryggeriet kvar” is fairly rocking, especially in the choruses, but it doesn't have the same punch, coming across like a mix of Björn Afzelius and Nationalteatern. The 'B' side is a sappy ballad that sounds more like teenybopper singer/songwriter Ted Gärdestad than a progg band, revealing Envoys' true commercial nature.

 

GOG – The Beatless E.P. (Magog, 1979)
Instrumental
International relevance: *

Not only fringe progg, but on the fringes of everything. Gog was a one man project by Gothenburg's visual artist and musician Dan Fröberg. Gog's self-released EP is basically an abstract sound sculpture in four parts with fractured musique concrète characteristics. It's not without artistic merits, but it's best suited for adventurous listeners accustomed to prototypical tape music and primitive EAM. Might interest those who consider Imp.Ink, Psynkopat and Friz Be too mainstream... Some, perhaps all, copies had extra, off-centre, hand-carved spindle holes so you could choose between a regular playback and a wowy one. 500 copies were pressed, some came with a picture sleeve and an insert. A rare item today, sometimes fetching €100 on the collectors market.

TOMAS BERGH – Upp till kamp / Oh... tryggare kan ingen vara (Frituna, 1979)
Swedish vocals
International relevance: ?

A very peculiar single with no clear target audience. Because who would possibly want a disco version of ”L'Internationale” in five different languages? Studio 54 strings, perky horns, cheesy basslines and a high BPM number – huh?! And a deconstructed punk version of the hymn ”Children of the Heavenly Father” on the B side?! I mean, what the hell is really going here??? It's obviously tongue-in-cheek but it's still so bizarre and absurd that I dare say that you've never heard anything quite like it before and never will again unless you play it a second time. And you might as well want to, just to figure it out.

I've no idea who Tomas Bergh was, if it even was his real name, but the guys backing him up were sessions musicians including Anders Eljas who thought up the concept. Eljas was a music conservatory graduate who worked with opera singers as well as pop stars (he played keyboards on ABBA's 1977 world tour for instance); he orchestrated the ”Chess” musical; produced stage shows for Povel Ramel (Mikael's dad), and conducted the London Symphony Orchestra during a Hyde Park show featuring guest stars like Kylie Minogue, Jamie Cullum, Lulu and Chaka Khan – to mention just a few things he's done. But I still think this very single must be the most askew thing he ever did. Do I like it? Not at all, but I'm intrigued by it. 

It was also issued as a 12” with an extended disco mix of the A side. Burn, baby, burn!

MAKE UP – Hot Love Street / My First Love (Wave, 1980)
Swedish vocals
International relevance: - 

Included here more as a warning. Make Up are often classified as a hard rock band, but there are not many features on this single to back up such an assertion. ”Hot Love Street” is a really terrible discofied pop rock track while ”My First Love” is a sappy ballad where the singer's linguistical and vocal shortcomings really come to the fore. A full length album followed in 1981.

DYNAMO VARBERG – Ayatollah Khomeini / Anwar Sadat (Nacksving, 1980)
Swedish vocals
International relevance: **

Dynamo Varberg made their debut with a very rare cassette-only album called ”Filiberts höna” in 1978. The 1980 single at hand is a fairly elusive Nacksving release with two songs taking a clear leftist stand against Middle Eastern dictatorship and oppression, with an additional stab at Sweden's then rightwing prime minister Gösta Bohman, like Rävjunk did on their legendary ”Bohman Bohman” single. The music itself has in fact a wee bit in common with Rävjunk's more rock oriented style. It's not as punkish, but Dynamo Varberg had a similar sleazy vibe. There's some biting guitar playing including wah-wah going on, and the songs are quite good – especially ”Anwar Sadat” where singer Björn Spåls also manage to sound a bit like Eldkvarn's singer Plura Jonsson. The worst element is the sitar on the A-side which sounds as if it was played by a stoned-out Edward Scissorhands. Apart from that, this quite appeals to me, and it's certainly one of the more vital releases on Nacksving.

CALCUTTA TRANSFER

Mannen (som på tunnelbanan sket) / Howrah Station (Mistlur, 1980)
India Waits (Mistlur, 1981)

Swedish vocals
International relevance: **

If Calcutta Transfer hoped for any radio play with their first single, they probably shouldn't have named it ”the man who shat in the subway”, so a lot of people probably missed the lyrics' environmental worries. Like almost everything coming from the Transfers, ”Mannen (som på tunnelbanan sket) is outlined from Dag Vag, more precisely ”Ogräs” from their debut album. It's still one of the Transfers' best songs. The clavinet sounds like a spider tapdancing on a hot hob. It's either bloody annoying or oddly effective depending on your mood. ”Howrah Station” isn't their typical reggae but closer to disco. It was a live favourite apparantely, and I can imagine they could stretch it out with plenty of Kenny Håkansson styled guitar soloing on stage, but here it's as dull as yesterday's pasta leftovers.

Their second single is called ”India Waits”, but there's no track here by that title. Both songs are non-album tracks, and the Dag Vag influence is intact. The 'A' side ”Plus minus noll” is a fast paced ska track with a debt to pay to Dag Vag's ”Glappkontakt” but the 'B' side ”Fet guru” shows more originality. It's a slightly spacey track with a rock beat, thick layers of tasty organ and soaring guitars. The band whips up quite some energy the longer it goes on, and it stands out not only as one of their proggiest efforts but also one of their very best.

PAJ VAJ – Med hacka och spade / Flum e dum (Bums, 1980)
Swedish vocals
International relevance: *

It's actually rare that I hear something that leaves me stumped, but this eccentric 45 knocks me off course. What on earth am I listening to? Is it for real or is it a joke?

I've no idea who's behind it because I can't find any valuable info on it anywhere. The songs were written by Bask (who?) and Lindström (which one?), and the Bums label mostly released commercial artists. Paj Vaj were anything but. The singer sounds like Blå Tåget's Torkel Rasmusson trying to cure a hangover from hell by eating three pounds of chalk. He remains hungover but with a demolished voice. Ot maybe he sounds like a Kenta with a rubber ball stuffed down his throat? Is he fucking around or does he need a doctor? Is he immaculately groggy? Deranged? Is he, at all, for real? His idea of enunciation is, er, unusual but it's obvious that the singer (or lyricist, or both) holds a grudge against... parents, teachers, the police, the authorities, actually the entire society. Kill them and bury them. Problem solved.

The music is pretty straightforward with a certain lilt; it's standard rock setting plus harmonica, but thanks to the off-kilter vocals, it has some bizarre gravity. It's too straight qualifying as outsider music, and it's way too odd for any mainstream appeal. I can't really recommend it, but I can't not recommend it either. I'll probably play it a lot more, if only to find out what the hell is going on here. If the discofied "L'Internationale" was puzzling, then this is completely bewildering.

ROCKTEATERGRUPPEN SMÅFOLKET – Nu drar vi ner på stan (Rainbow, EP, 1980)
Swedish vocals
International relevance: *

Little known four track E.P. by a self-appointed 'rock theatre group' which immediately makes you think of Nationalteatern. Which is perfectly true because it's hard to imagine this would exist without the source inspiration from said group, But it lacks the sharpness of the Ulf Dageby's and Anders Melander's songwriting, and the instrumental prowess that Nationalteatern developed is surely lacking here. Småfolket sounds like a local group (more precisely from Malmö) performing at youth clubs to a less than excited underage audience. The drummer is rudimentary, the guitarist is far from experienced, but the the two singers – male and female – are especially amateurish. Esther Nordenbrink in particular sounds shrill and shouty which suggests a punk awareness in a Mörbyligan way.

The four songs were featured in the play that gave the E.P. it's title, roughly meaning ”let's go downtown”, and while the B side is a wee bit better with ”Nu är jag ung” (=”now I'm young”) being the best song of all, none of them is up to snuff. A 'B' grade effort that time rightly forgot.

HS3 BOYS – Fel tåg / Hon är ett lik / Pia Love (no label, 1983; rec. 1981)
Swedish vocals
International relevance: *

Little information availabe for this one as well. There's no print on the colour-coded labels and only the members' first names are stated on the cover. However, HS3 Boys might originate from Östersund as Myrbein's bass player Johan Von Sydow is featured here, and both bands used the Tommys Musiklab studio. While this three-track EP wasn't released until 1983, it was recorded already in 1981 according to information presented to Swedish Radio. With no drummer present, the rhythm is provided by a drum machine which defines their original sound. It's hard to pinpoint it, but there's definitely a Latin influence there. I also sense a touch of Mikael Ramel, but that's possibly only in my head. Still, it's not a very good disc, so not worth the effort hunting it down. 

LJUDLÖST ÖS – Jerry / USA (Natty Records, 1981)
Swedish vocals
International relevance: *

Reggae has always been pretty popular in Sweden after Peps Persson introduced the style in the mid 70s, and we had a few quite good or at least decent reggae bands already back in the day. Not only were there high profile names as Dag Vag, Rotpuls and to some extent Rockamöllan following Peps in his footsteps, but there was also a pretty widespread undergrowth of local bands. Ljudlöst Ös was one of the unknowns trying to adapt to the Jamaican backbeat, but thay had certain problems succeeding. If anything, reggae demands a drummer who can forget everything he learnt about the standard rock beat, and Matte Pettersson of Ljudlöst Ös struggles a bit. I've heard far worse examples of drummers losing the concept when switching to reggae, but a Bosse Skoglund he is not. Both songs on their lone, privately released single speak out against racism and cultural colonialism. With female singer Maria Johansson, Ljudlöst Ös sound like I imagine Nationalteatern would sound like if they attempted to be a reggae band. It all sounds a bit chunky and awkward proving that good intentions won't always come out as good results. 

MANTRA – Made In Japan / Här är jag (Mercury, 1981)
Swedish vocals
International relevance: -

This is probably Mantra's biggest claim to fame being released on major label Mercury, produced by Janne Schaffer and with lyrics for both tracks written by Mikael Ramel. It's not Mantra's typical test tube jazz fusion but it still sucks. ”Made In Japan” is some misguided attempt at synth pop an while ”Här är jag” is a bit better, the quasi-punkish rock falls on its feet just the same. 

ZVENSKA MUSKLER – Fyra årstider / När elden har brunnit... (no label, 1981)

Swedish vocals

International relevance: **

One-off single from a band that grew out of probably unrecorded band Dr Rockford, and with a name would translate into "Zwedish Muscles, featuring singer/guitarist Tobbe Rüsslander. ”Fyra årstider” isn't that great and not too proggish either, while the slower ”När elden har brunnit” is OK with some extended guitar workouts, electric piano and a peculiar, almost ghostly atmosphere – perhaps due to the decidedly non-professional mix. It's not as good Rüsslander's 1978 solo cassette, but it's still worth hearing once for "När elden har brunnit".

JSMB – Låt fler forma... / Håll mej varm (JSMB, 1982)
Swedish vocals
International relevance: *

More progg in the socially concerned lyrics than in the actual music. The lyrics are unusual in the sense that singer Magnus Sjögren declares he's a liberal (i.e. not a leftist), but he proclaims care for your fellowman whoever and wherever he or she is, so the fundamental tone is that of humanism rather than politics. Sjögren's phrasing suggests he's an Ulf Lundell fan although I wouldn't call the vocals exactly epigonic. ”Låt fler forma...” is decent enough in a rock singer/songwriter style, and certainly much better than the other track. ”Håll mej varm” is totally terrible, a rheumatic rockabilly pastiche which is entirely embarrassing complete with a bathroom reverb to make it sound 'authentic' which it of course does not.

Sjögren later reappeared in Örebro band Big Deal who had some success in the late 80s and is still active. I know nothing about the other members' whereabouts – there are no credits on the label and the single came in a plain white sleeve when originally released.

COREY – Havet / Livet är en dröm (GAT, 1982)
Swedish vocal
International relevance: *

A Gothenburg band apparently with some connections to the Social Democratic Youth Association SSU. Corey's lone single was a private release and features two pop/rock tracks with some semi-heavy and progressive elements. It's quite OK for what it is, especially ”Havet” which is actually rather good, but although it has some nice touches of the right kind, there may not be enough prog/progg here for most blog readers. Two versions of it exists, one in black vinyl and one in red.

Bruno Wintzell
Du och jag - en kärlekshistoria / Balladen om Joe Hill / Som en seglande mås  
Jukebox EP
November - Cinderella / Mike Castle - Walkin' Blues  
Björn Janson
Det är skönt (poor sound)
Envoys
Kräv Bryggeriet kvar  
Gog
Full single 
Tomas Bergh
Upp till kamp / Oh... tryggare kan ingen vara  
Make Up
Hot Love Street  
Calcutta Transfer
Howrah Station / Plus minus noll  
Paj Vaj
Med hacka och spade  
Rockteatergruppen Småfolket
Nu drar vi ner på stan  
Ljudlöst Ös
Jerry / USA 
Corey
Havet 
 
HS3 Boys, Dynamo Varberg, Mantra and JSMB no links found

HOT SALSA – Hot Salsa (Montezuma, 1979)

English vocals, other languages
International relevance: *

Hot Salsa came together already in 1976 when a group of latinos living in Sweden met in a music pub in Stockholm. Among those were Sabu Martinez's sons Johnny and René, Wilfredo Stephenson of Aston Reymers Rivaler, and Rafael Sida of EGBA. Initially playing locally in small pubs and clubs, a live session for Tonkraft broke them to a nationwide audience (with one selection included on ”Tonkraft 1977-1978”). Their first album followed in 1979, released on the Montezuma label. Helping them out on the album were a few other noted names including oft-hired percussionist Malando Gassama and singer Susanne Nordin (later appearing on albums by Tomas Forssell and Occident).

As their name implies, the group played the Latin American salsa by way New York with some extra pinches of jazz and funk. I'm quite fond of the 70s New York salsa which can be hard swinging with rough edges, sometimes having almost militant overtones in a deep funk way. In short, it's entertainment with a meaning beyond sheer fun. Hot Salsa know the moves, but where New York salsa bears the message in its very sound, Hot Salsa's attempt comes off as too slick and proper. It's very competent, certainly tight, and I don't doubt they really meant it, but even though many of them have the right origins and influences, it still sounds like something out of a music academy. I hear their debut album with my ears, but I can't hear it with my heart and soul which is a must for this kind of music.

It's The Rhythm / Gulliver / Get In The Groove / Fishing In Funky Waters / Simbabele  

LEVITICUS – STÅ OCH TITTA PÅ (Stanley & Andrew Music, 12”, 1982)

 

Swedish vocals
International relevance: *

Although Leviticus never acheived the same general success like Jerusalem did, they were one of the major Christian hard rock bands back in the day. Leviticus were closer to heavy metal (where Jerusalem were steeped in the older hard rock tradition), and most of what they did is both too late and too metal for this blog. This debut 12” makes it by the skin of its teeth thanks to the final track of the four. The first three aren't something to waste any words on, but ”Min mästare” is more symph than heavy metal. And with its seven minutes, it becomes rather epic in scope with synths and extended solo guitar. Had it only been better mixed (drums and vocals too low, synths too loud) it could have made more impact though. ”Stå och titta på” is a bit valuable in its original vinyl incarnation and was reissued as a CD EP in the early 00's by a U.S. label, but it's not really worth seeking out. ”Min mästare” is indeed the best track in this set, but still not good enough to motivate a purchase in any format.

Full EP playlist

BJÖRN EHRLING – Utan gräns (YTF, 1976)

  
Swedish vocals, a cappella
International relevance: *

Visa singer Björn Ehrling is previously represented here with his second and final album ”Frihetens fantomer” from 1978. ”Utan gräns” is highly political as shown by Swedish versions of the anti-fascist ”Los Gallos” and the oft-recorded ”Venceremos”. The album has a Spanish and Chilean slant, but there are also songs of Soviet, East German and Swedish origins. The best song however is ”Till Allende” written by Troels Trier from Danish agitprop band Røde Mor.

”Utan gräns” is mostly a singer/songwriter (or visa) album but it has a few proggish features thanks to Björn J:son Lindh's and session drummer Claes Wang's presence. Final track ”Uppmuntran” even has some spacey electric piano effects. It's a tolerable album overall, especially coming from the overtly political side, but it's a long, long way from essential.

Full album playlist 

HOOGANS MUSIKTEATER – Harry Hoogan behöver dig (Piglet, 1981)

  
Swedish vocals
International relevance: *

Another album on the puzzling, bewildering, stylistically inconsistent and utterly fascinating Piglet label. Stylistically inconsistent is also the best way to describe ”Harry Hoogan behöver dig”. Here you get funk, rock, reggae, show jazz, balladeering – all in one unkempt mess. The reason is that Hoogans Musikteater, originally named Komadawoloteatern, was a theatre group as much as a musical one, and the songs were taken from a stage play.

The problem with ”Harry Hoogan behöver dig” is the same as with many albums such as this – it doesn't work as an album. It's just a bunch of poor songs that seem out of place without the narrative framework of the play. Not all of Piglet's releases are great, and this is one of the weakest. 

The group also had ties to Låt & Leklaget who released a number of children's albums in the 80s.

No links found

GRUS I DOJJAN – Friska grustag (Sonet, 1976) / Efter kaffet (Amalthea, 1981)

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

Grus I Dojjan were a band of surprising longevity. Formed in 1970, their album debut came the following year which kicked off a ten year long career on record. They existed much longer than that but didn't release another album until 2002. Also, they backed Thomas Wiehe on his 1980 album ”Fågeln i mej” under the moniker Hullimullan Band.

I've reviewed Grus I Dojjan's other albums before, and these two LPs are the last remaining to appear on Swedish Progg Blog (unless they release a 10 CD box set of previously unreleased private tapes...). There's nothing I can say about them I haven't already said before. It's goodtime music, a cheerful mix of old Swedish dance tunes, various country music styles including bluegrass, and Irish folk. All their albums are basically interchangeable; they remained true to their style over the years, and if you like it you like it, but I don't.

I can just add that ”Friska grustag” (with a nice looking sleeve) was recorded live which was the perfect setting possible for the band, and that ”Efter kaffet” was their last album from the original era. ”Efter kaffet” actually has the best track I've ever heard from them, ”Rakkniven”. It's a genuinely great track; dark, doomlaiden and paranoid – completely unexpected coming from Grus I Dojjan! Too bad it took them ten years to come up with something on that level.

No links found 

VARIOUS ARTISTS – MUSIKFESTIVALEN 1978 (no label, MC, 1978)

 
Featured artists: Magnum Brus / Trycket / Harline Blue / Handkraft / Staffan Pettersson / Kylans Rockorkester / Horny Band / Inferno
Swedish vocals, instrumental
International relevance: *

An incredibly rare cassette, home copied on standard TDK tapes and privately released locally in the northern town of Örnsköldsvik in 1978. The compilation was recorded live during a benefit festival for Örnsköldsvik youth club that needed renovating. Several local acts performed at the festival, the best known being Kylans Rockorkester along with several bands that never made it beyond the city limits. Apart from Kylans Rockorkester, only Hairline Blue got as far as to have a 45 out under their own name, although a couple of the performers also appeared on ”Musikfest 80 Örnsköldsvik”. There's heavy rock, bebop, jazz fusion, and funk, and the level of playing varies almost as much as the musical styles. Some bands are pretty skilled while others are not. The sound quality isn't great but OK for a 70s audience recording. Neither is the music. The best selection is ”Spränga hela skiten”, the first-ever released Kylans track, atypically dark in mood coming from them and not as bluesy as their better known stuff.

”Musikfestivalen 1978” is definitely of interest to collectors of local releases, but the average listener need not bother.

Full album playlist 

THE CORBIES – The Corbies (Four Leaf Clover, 1977) / Fire Raisers (Four Leaf Clover, 1979) / Härtappat (Four Leaf Clover, 1981)

 
English vocals, instrumental
International relevance: *

If you didn't know it, you could swear The Corbies were an authentic Scottish band. But they were only a bunch of Swedes that nail the Scottish folk moves right down to the accent (at least a lot of the time). They pick trad's greatest hits, go through both vocal and instrumental tracks like ”Cam Ye O'er Frae France”, ”Mason's Apron”, ”Johnnie I Hardly Knew Ye”, ”Loch Lomond”, ”The Blantyre Explosion”, ”High Germany” and, sigh, ”Whiskey In The Jar”. The instrumentation is traditional, i.e. mainly acoustic, and the arrangements are meticulously faithful to Scottish folk bands from the 60s and 70s. And that's the crux of the matter: They're so true to their role models it's ridiculous. I'm sure The Corbies were a hit with the beer soaked pub crowds of the day, but give me one good reason why I should listen to their albums when there are probably hundreds of genuine Scottish albums out there, ranging from the mediocre (and less) to the excellent, from the dead cheap to the absurdly expensive.

The Corbies are a skillful charade, but a charade just the same. They put on an act, and no matter how well they do it, it's an annoying fake.

They also released one 45 in 1982, and another one in 1983. In 1997 they reunited for another album, plus one further three-track EP in 2020. Which only makes them even more annoying -- did they really had to tell the same joke over and over again when it wasn't funny the first time around?

The cover art of the debut album is great though.

The Corbies full album playlist (Spotify) 
Fire Raisers full album playlist (Spotify)  
Härtappat full album playlist (Spotify)

A SEVEN INCH SPECIAL, VOL. 12: Various

DEN TRETTIONDE FEBRUARI – Den trettionde februari / Harley Davidson (Ljudspår, 1976)
Swedish vocals
International relevance: ***

I wanted to hear this one-off 45 for a very long time, but it proved elusive. I had no idea what to expect from it but I still had the feeling it might be good.

The lyrics were written by later on awarded radio journalist Olle Hägg while an unidentified Hungarian keyboardist using the pseudonym David Oliver was responsible for the music. The two songs were recorded in Acke & Gurra's studio providing a not too flashy but adequate, slightly spacious underground-ish sound. That comes in particularly handy on the track sharing its name with the band itself. ”Den trettionde februari” is a faintly funky track with a very effective, flanged and nervy guitar. The flanger adds an electric sitar quality to the solos, and a persistent moog adds to the semi-psychedelic quality. It's a really enjoyable piece that somehow seems a bit overlooked. ”Harley Davidson” is more of a singer/songwriter styled half-ballad that fails to make the same impression as the main track, but it's well worth seeking out for the A side!

DOM SMUTSIGA HUNDARNA – För din nakenhets skull / Visa i Molom (MNW, 1977)
Swedish vocals
International relevance: **

Released to generate interest for the then forthcoming debut ”Vårdsjuk blågul fanblues” by this Gothenburg band, but only the A side ”För din nakenhets skull” is on the album. The B side is exclusive to this single, a cover of visa singer Alf Hambe's best known song, the folksy and mystical ”Visa i Molom”. It's vastly different in the hands of Dom Smutsiga Hundarna. Gone is the fragility of the original. It's definitely rock, with a peculiarly pulsating rhythm underlined by a watery organ, an odd drum section and a wailing fuzz guitar taking the lead. ”Visa i Molom” would have been out of place on the album, but as a quirky B side it's really quite great. If you're a fan of ”Vårdsjuk blågul fanblues”, this is an excellent addition to your collection.

RONNY ÅSTRÖM – Maskin nr. 1 / PEPS PERSSON – Maskin nr. 2 (Sonet, 1979)
Swedish vocals
International relevance: **

The two friends Ronny Åström and Peps Persson on a split single, with the B side being Peps's wellknown track from the ”Spår” album. The sentiment is the same on both tracks, with lyrics addressing the mindless mass production of superfluous things, two statements against the consumerist society. Åström's side is unique to this 45, and it's one of his very best tracks. Set to the monotonous rhythm of a book packing machine, a monophonic synthesizer fill in with a naive, plastic melody behind Åström's gruff voice singing an almost circular melody that could go on forever, just like the sameness of the boring work in a soul-destroying factory. The minimal synth framework makes the point perfectly – beneath the alluring surface of childlike charm, there's a heartfelt critique against the modern, commercialized Western world. 

RIGHT BAND – Keep On Wailing / Natural Vibes (Liphone, 1978)
English vocals
International relevance: **

A not very sought-after single on the long running and increasingly unpredictable West Coast based Liphone label. The band had Per Giöbel on vocals and guitar, and he also wrote ”Keep On Wailing” for the A side. Giöbel is known from Hausswolff and Claes Ekenstam & Sista Bandet, as well as ”Snacka går ju”, one of Motvind's later albums. Pretty far removed from Right Band's 7” which is more in a funk rock style. ”Keep On Wailing” is the better song, revealing some inspiration from Little Feat and late 70s Zappa. Very competent for a local band that only released one single but still not very interesting
.

STETSON CODY GROUP – Eyes / Det var du (SCG, 1979)
Swedish vocals, English vocals
International relevance: **

Best known for having guitarist Kjell Lövbom in their line-up years before he became Kee Marcello in multi-million selling hair metal band Europe. Which says nothing about Stetson Cody Group, as everyone who's heard the various artists album ”Jazz & Rock” will know. That particular album featured four Stetson Cody tracks, but this self-financed single was the only outpouring under their own name. The style is similar, a test tube blend of funk rock, jazz fusion and a bit of prog rock. It's competent and tight but not fun to listen to. At all. 

ULF PETTERSSON – Summershores / This Kinda Shit (no label, 1979)
Instrumental
International relevance: **

With a dude looking like the entire Blue Öyster Cult on a bad hair day, one could easily think this would be a hard rock one man band, but nothing could be further from the truth. This is a very rare predominantly electronic DIY effort with hints at sequencer krautrock, Giorgio Moroder and French cosmic disco. ”Summershores” is a relaxed, laidback piece that comes with Pettersson's listening instructions ”Sit down in your favourite armchair and light your pipe”. And as he promises you that ”This Kinda Shit” can help you ”fly away to an alien planet”, you know this is really some guy. The kitsch level is high.

Both tracks were recorded in Mora Träsk's studio in Gävle, and most of the 500 copies were sold at Pettersson's dad's work, a local shipping company! The last remaining copies went in 2024 when there was a sudden outburst of interest in it among DJ's and collectors. Subliminal Sounds reissued it digitally in 2026.

INJECTION – Mountain Side / Mozarts 40:e (Liphone, 1979)

English vocals

International relevance: **

A symphonic band of only one single, released on the aleatoric Liphone label. They try hard but can't live up to their ambitions. The singer sounds strained and flat on ”Mountain Side”, the time changes are underrehearsed and the synth licks have a tremulous glissando that's very irritating. The B side is an adaption of Mozart's Symphony No. 40. With a perky country & western beat and ending with ”I Wanna Be Like You” from ”The Jungle Book”, it's just corny. It might be funny if you think that a drunk Emerson, Lake & Palmer twisting their legs in a serious need of pee is funny. What the hell were Injection thinking?!

MOBILE – Swedish Magazines / Truck (MOB, 1980)
English vocals
International relevance: ***

A rather unusual sounding band (from Kivik in the south) that makes me think of a basement version of British art rockers Cardiacs. Very tight performances which can possibly be explained by the fact that three of the four members were brothers with a tight connection. Dan, Sven and Jörgen Bornemark were sons of Gullan Bornemark who wrote a large number of extremely annoying children's songs in the 60s. I wouldn't say it's a very good single but it's nevertheless interesting as so few Swedish bands actually sounded like this. Worth hearing but perhaps not buying. On the other hand, it's not a very expensive item – it seems to be rather unknown.

LUFTGROUP – Pornografi / Det kostar på... (Musikkällan, 1981)

Swedish vocals
International relevance: **

This Värnamo seven-piece had hopes for the future. The short liner notes on the back of the cover read: ”This single is an exclusive amateur release documenting that 1980 musically moved at all air bearings, also on basement level. With the next disc, we'll move into the light.” That never happened – this was the only thing they ever released. Most of the members seem to have disappeared without any further musical traces at all which seems a bit odd as Luftgroup sounded rather good. Especially for being a local underground band. Anti-porn A side ”Pornografi” is rather catchy, a bit like Fiendens Musik although not as hard-edged. ”Det kostar på...” reminds be a bit of ”Knockin' On Heaven's Door” with a rich Hammond organ fleshing out the sound and a fat fuzz guitar in the short solos. It's not a 'lost masterpiece' but I kind of like this 7”. It has some urgency to it, and I'd be interested hearing more of Luftgroup. I suspect they ought to have been a pretty good live band. 

NORRSKENET – Sången om Norrskensflamman / Norrbottenssången (Flame, 1981)
Swedish vocals, spoken word
International relevance: -

This is abysmal even for a political record. Northern communist news magazine Norrskensflamman (today known as Flamman) released this in 1981 celebrating themselves with A side ”Sången om Norrskensflamman”, an incredibly cringy track with a long spoken intro so deadly serious that it turns into full-blown parody. It's so embarrassing that it makes Fria Proteatern sound like a really nifty rock'n'roll combo. And when the choir enters with their local patriotism I just want to sink through the floor never to rise again to the realm of the living. The only good thing I have to say about the equally ”Norrbottenssången” on the second side is that it at least lacks the recital. The singing is debile and the backing music is so twee a teddy bear could be mistaken for Charles Manson in comparison. Bloody amazing really how appalling music can actually be!

ROCKVINDAR – Lys upp mitt mörker / Ann-Louie (Metronome, 1982)
Swedish vocals
International relevance: *

Last release from actor Thorsten Flinck's band following two years after their only album. The album wasn't too impressive, and the same goes for the two sides here. Energetic performances but still plain standard rock with mild new wave aspirations and Clarence Clemons styled sax on both tracks. No need to bother.

Ulf Pettersson full single playlist (Bandcamp) 
Injection full single playlist (Spotify)
Gog full single
Rockvindar full single
Ronny Åström / Peps Persson
Maskin nr. 1 (poor sound) / Maskin nr. 2
Dom Smutsiga Hundarna
För din nakenhets skull
Luftgroup 
Det kostar på...  
Norrskenet
Sången om Norrskensflamman / Norrbottenssången

Den Trettionde Februari / Right Band / Stetson Cody Group / Mobile no links found

BROMANS ÖVERTONSKAPELL – Luther på axeln och fan i fötterna (Krokben, 1981)

 

Instrumental, Swedish vocals
International relevance: *

Krokben was a label closely connected to Fred Lane. Their output was small, but included Lane's album with Spjärnsvallet, ”Till soluppgång och lycka”. He was of course part of Bromans Övertonskapell as well – they were something of a miniature supergroup also consisting of Lane's compadre from Låt & Trall, Kjell Westling, plus previous members of Hemkört and Södra Bergens Balalaikor. As one may suspect from the personnel, this one-off group were firmly rooted in folk music, and most of their repertoire came from the traditional field, with the occasional tune written by Lane and others. Lane's accordeon is at the centre of the music, but hurdy gurdy and Westling's bass clarinet take a prominent part in the execution as well. The songs are usually short around the the 1-2 minutes mark, good-natured and sometimes with a humurous stroke. The playing is as fine as expected with such musicians, but the music itself isn't too interesting. It's of limited general interest, but fans of upbeat Swedish folk music will most likely find this most delightful. 

No links found

MONICA NIELSEN & TOMMY KÖRBERG – ...med hjärtat fyllt av trots: Arbetarrörelsens kampsånger (A Disc, 1977)

Swedish vocals
International relevance: *

Monica Nielsen was mainly a busy movie and television actor but as a singer, she was the perpetual co-artist. She only ever released one album of her own and that was back in 1966, with her other vocal participations including merely the odd single, appearances on various artists and duo albums with high profile performers. ”Med hjärtat fyllt av trots” is one of those, focused on Labours movement songs and recorded with Tommy Körberg. Now an internationally widely celebrated singer, but back in the day best known domestically for his early pop albums, Solar Plexus, and the reformed Made In Sweden.

Körberg isn't the only renowned musician here. On the contrary, the credits are littered with names like Janne Schaffer, Ulf Adåker, Egil Johansen, Björn J:son Lindh, Pekka Pohjola and Rune Gustafsson, and the arrangements were written by much beloved bassist, composer and former Jan Johansson cohort Georg Riedel. While this all points to a thoroughly executed project, we have to remember that the album was released by A Disc, the Social Democrats' imprint known to dampen any kind of artistic enthusiasm. Thus the album title meaning ”with a heart full of defiance” seems like impossible wishful thinking, and it is. It's all very well played, well sung and well arranged – in short, technically and musically impeccable – but if you're looking for any inspiration to defiantly fight the powers that be, this is not the place to go. Unless authorities can be fought with sleep, but I for one have never heard of any revolutionary naps. It ought to be wellknown to all by now that I don't ask for any fistwaving loudmouths, but a little more oomph hadn't hurt...

Motsträvigt och med hjärtat fyllt av trots / Arbetsmannen / Oss alla unga / Kom med oss kamrat / Vårt vapen heter solidaritet / Ingen rubbar oss / Arbetets söner / Signalen / Ett enat folk / Det unga gardet / Solidaritetssång / Internationalen

OCEAN – Andra vågen (SoundPort, 2003; rec. 70s-80s)

  
English vocals, Swedish vocals
International relevance: *

Ocean started out as Spänn Fläsket, then changed their name to Brandlarm before settling for Ocean in time for their self-released debut 45 ”See Everybody” c/w ”Bad Things” in 1978. A second also privately released followed in 1980, the Swedish language ”Drömmar om silver” with ”Dialog på Kungsgatan” on the flip. Collectors will probably know them best from their sole full length album, ”The But” which also proved to be their final original outing in 1981.

Although a reasonably sought after LP, it's still a bit surprising that a collection of rare stuff and unreleased recordings would surface in the early 00's. But so it did. Entitled ”Andra vågen”, the CD compiles both their singles, some album cuts and live selections. Thus you get a fair overview of what the band was like. It's not top stuff -- Ocean sound a lot like any fairly well rehearsed band between semipunk, not-quite-hard-rock and beer drinking rock'n'roll found in just about any city and village in Sweden around this time. It's OK, it even grows a bit with the listens, but I doubt it will knock anyone over. Worth noting is their cover choice, Pugh Rogefeldt's early classic ”Jag är en liten pojk”.

One of their heavier tracks is unfortunately missing from here, "Endstation" which was previously included on the 3LP 1981 V/A comp "Rockslaget" with local bands from Karlshamn. Odd, especially as the other track on that album, "Backstage", is included.

Full album playlist
"Endstation" from "Rockslaget" 

PIERRE STRÖM & FINN ZETTERHOLM – Första maj: 11 socialistiska sånger (YTF, 1973)

   

Swedish vocals
International relevance: *

Neither Pierre Ström nor Finn Zetterholm are strangers to this blog, but this is the only album they did together. Not that I mourn that fact, because I'm not a fan of any of them and this one double bill effort is more than enough.

The album title means ”First of May (11 Socialist Songs)”, and it's entirely dedicated to songs associated with Labour Day and the labour movement. And it sounds just like a political rally, with Ström & Zetterholm predictably opening with ”L'Internationale” before yelping their way through Swedish versions of Socialism's Greatest Hits like ”Bandiera Rossa”, ”The Partisan” and ”Warschawjanka” (one of the better songs in this field). Despite utilizing the talents of usual suspects Janne Schaffer, Göran Lagerberg, Jan Bandel and a handful of other experienced studio faithfuls, most of it sounds pretty much like any album of this ilk. "Warschawjanka" has some wah-wah guitar colour and there's somewhat unusual drum pattern at the end of ”Bandiera Rossa”, but it's only details that can't save the album.

Cover variations exist, some with a sticker with album title and the artists' names on front, some with no such info at all on the front sleeve.

Första maj / Partisansången / Bandiera Rossa / Världens alla slavar vakna  / Komintern  / Warschawjanka / Riegohymnen/ Socialisternas marsch 

STINA NORDSTRÖM – Blandade känslor (Wisa, 1980)

 

Swedish vocals
International relevance: *

Second full length album from Stina Nordström. The first one was released on Kjell Höglund's Alternativ label, whereas this was out on the Wisa imprint.

The Turid similarities established on her debut ”Skugga i din pupill” persist on ”Blandade känslor” (=”mixed feelings”). There's no clear highpoint here on the level of ”Vildöga, grönöga” on the first album, but there's a couple of rather appealing tracks including the folksy ”Vem e' du” and ”Hildas hemliga visa”.

The album in general displays a wide range of styles including blues, jazz and rock but not to great results. Tracks like ”Röda gubben” and ”Flytvästblues” are downright terrible much because of Nordström horrific vocal overacting. Best neglected.

Full side A 
Full side B  

KJELL ÖHMAN – Misturada (Sonet, 1975)

 
Instrumental
International relevance: *

Kjell Öhman was a keyboard player who cut his teeth with lightweight instro band The Telstars in the mid 60s shortly before releasing his first solo album in 1966. He later turned to studio work including Robert Broberg, Nailband and Bengt-Arne Wallin, but kept releasing albums under his own name off and on on the side. ”Misturada” is from 1975 and a marginal inclusion here as the style is too diverse, ranging from solo piano jazz to samba inflected numbers and muzak fusion. It's the fusion tracks that pushed ”Misturada” over the blog edge. They're unfortunately not good with the possible exception of the Alphonse Mouzon penned ”The Funky Waltz” which is slightly reminiscent of a lighter pre-Headhunters Herbie Hancock. The album features Mads Vinding and Ed Thigpen among others, and has a sleeve design by Lasse Åberg.

Full album

A SEVEN INCH SPECIAL, VOL. 11: Late era hard & heavy

GUN SMOKE
Midnight Train / Thoghts (Artside, 1975)
English vocals
International relevance: ***

Housed in a very fetching sleeve, this is a bit of a lost gem. Regional label Artside is almost exclusively known for dance orchestras of the most dubious kind, so how Gun Smoke ended up on the label is way beyond me. ”Midnight Train” is hard rock and and psych rock in equal parts with an urgent drive and a very appealing melody. The excellent lead guitar is present all through the track and really fires it up during the solo. ”Midnight Train” is a mini masterpiece that has gone under the radar for far too long. The misspelt ”Thoghts” is a ballad with a nice, drowsy, hazy atmosphere. It's decent I guess but it just can't touch the A side's brilliance. But ”Midnight Train” alone makes this one of the best 45s featured on this blog.

Gun Smoke reunited in the 00's as Gunsmoke and released a CD in 2005. It has a vastly inferior re-recording of ”Midnight Train”, and is more in a southern rock style.

 
HIGHBROW – Rock On (T-Bone, 1978)
English vocals
International relevance: **

Rooted in mid 70s hard rock but moving in the heavy metal direction with dual guitars and some boogie rock moves. The A side ”A Loser” found its way onto the all-Swedish volume of the ”Jobcentre Rejects” compilation series doing a great job documenting rare NWOBHM (and FWOSHM - first wave of Swedish heavy metal) singles otherwise lost to obscurity. The vocals, handled by Norweigan born Dave Nerge, leave bit to be desired but at least they're gratifyingly free of the genre's more annoying mannerisms. B side ”Roumers” (which I guess is supposed to mean ”Rumours”) is perhaps more interesting with an unusual melody with overlapping vocal lines. All in all, it's pretty well executed and not without talent. It's not surprising that all members went on to other bands, some of them quite successful, after releasing a second single in 1979.

 

ROCK SET – Piteå kommun / Up In My Room (Frontalrock, 1979)
Swedish vocals, English vocals
International relevance: *

Rock Set really must have hated their hometown judging by the track ”Piteå Kommun”. They vehemently describe it as a terrible place where time stands still, everything is boring and everyone has alcohol problems. Set to a riff suspiciously similar to Eddie & The Hot Rods' ”Writing On The Wall”, the message gets through loud and clear. Coupled with a blues rocking ”Up In My Room”, this is a great and highly sought-after classic, sometimes going for up to around 200 euros! Thankfully, the guys behind the aforementioned ”Jobcentre Rejects” series reissued it as a deluxe 7" in 2021, making it easier (and cheaper) to obtain. Perhaps too punkish for some, it still remains an excellent example of the rough-hewn DIY ethos that signified punk as well as progg. 

Rock Set released a few more singles (and there's a self-released CD-r compilation of theirs including previously unreleased material), but none of their later outings were as good as this one. 

 

KARL BRUN & HIGHWAY – Ikväll / My Love Is Burning (no label, 1979)
Swedish vocals, English vocals
International relevance: *

Highway were a Gothenburg band augmented with Karl Brun (real name Kenneth Pilo with his nom de plume being a reference to Snoopy character Charlie Brown) and issued this self-financed 1979 single in 200 copies. Brun only appears on ”Ikväll”, an example of idiotic radio friendly boogie stomp. The English spoken B side is credited solely to Highway and is better in a Deep Purple-ish style sans the organ. Obviously rare and seemingly quite expensive when offered for sale, but definitely not worth the price.

TEJP – Tung rock / Sanningen (Tejp, 1979)
Swedish vocals
International relevance: *

”Tung rock” means ”heavy rock” in English, and it's not far from the truth. Or perhaps this one's more speedy than heavy. Both tracks on this very rare and valuable 7” are a revved up mix of harder rock and punk, a bit like Hela Huset Skakar but not quite as good. Tejp won't win any awards for groundbreaking songwriting, but both tracks are soaking with a devil-may-care attitude, and the unpolished execution gives them a very charming underground feel perfectly matched by the primitive cover art. I'm quite fond of the kind of energetic no-nonsense, hit-and-run rock'n'roll Tejp play, but it will definitely not satisfy anyone demanding complexity or sophistication.

 

VANADIS – Heaven Can Wait / Do Me A Favor (CF, 1979)
English vocals
International relevance: *

This year's award for strangest cover art goes to Vanadis from the southern city of Helsingborg. It's not the only quirky thing about their only outing, recorded in 1978 and released the following year. Singer Jan Göransson has a dry, strangely timbreless voice which is very far from what you associate with a hard rock singer. The drum sound is peculiar too, especially on ”Do Me A Favor”, with the flat, thuddy bass drum being too loud and the guitars to low in the mix. Producer Göran Sandquist was responsible a few more records in the years to come, but this was done in of his earliest days on the job and he obviously hadn't gotten the hang of it. It sounds as if he was more accustomed to radio production than music ditto. Not that the songs are too impressive either – they're too standard sounding – but they would certainly have had more oomph had they hired someone who knew what he was doing at the mixing desk.

Vanadis started out in 1975 as Aniara. They split up in 1979 due to military service, but some of the members later joined other bands.

BAKRUS
Kärnkraftsrock / Blåljus (Bakrus, 1979)
Nettan / Lämrock (Blåljus, 1980)
Swedish vocals
International relevance: *

A band from Åsa, a small town a few miles south of Gothenburg. They left only two self-released singles behind, and the first one at least was recorded in Nacksving's studio. Generally undistinguished semi-hard rock hinting at '77 punk and lyrics with typical post-Nationalteatern sentiments. ”Kärnkraftsrock” is against nuclear power, ”Nettan” against drugs and prostitution. Both singles are rare and sought-after but just not worth it. The best track is clearly ”Lämrock” which can be also found on ”Killed By Death, Vol. 51”. 
 

HAIRLINE BLUE – Snart så kommer jag hem / Månen (Harline Blue, 1980)
Swedish vocals
International relevance: *

Had the mix been better balanced, maybe this would have made a greater impact although not by much. ”Snart så kommer jag hem” is semi-boogie rock with shouty vocals. Not good. The B side is a ballad of sorts with a pseudo Christian vibe (although it isn't religious). ”Månen” has some decent heavy lead guitar with proggish overtones, but it's not enough to save it. 

 

ARMATUR – Rock 'n' roll / Mr. X (Duvan, 1980)
Swedish vocals

International relevance: **

The A side is every bit as daft as its title – if you have to convince people you're rock 'n' roll, you're not.

”Mr. X” is quite good however, although it has a loan or two to repay to Black Sabbath. But Armatur are hardly the only ones in debt to Sabbath, so I let them get away with that. The vocals are only so-so but the track has a nice push to and a very good lead guitarist. Only 500 copies were pressed, and with one of the tracks being so good, it's easy to see why it's in such demand with asking prices in parity with that. Recommended if you can find a copy. But don't play the A side.

 

DAKKS – Änglarna / Tema för säsongen / Metallmani (Dakks, 1981)
Swedish vocals
International relevance: *

Not very wellknown, and not very expensive. Not very good either, and certainly not stringent. During the course of only three songs, they swing from one style to another, and I've no idea if they want to be a hard rock band, a pop band or an experimental ska band. Given the main track, the artwork, and the song title ”Metallmani” (=”metal mania”), I guess that hard rock/heavy metal was what they aimed for. But who am I to say from such an inconsistent effort. Singer David Taylor sounds like he would be in a Christian band – there's something about his tone colour that would fit that. However, one source claims he's the guy later known as Roy Taylor (real name Tony Hellander) in Swedish hair metal band Trash, but I can't decide if that's correct or not. No matter what, Dakks only release is more confusing than appealing.

 

REPULZ – Telling Your Future / God Save Rock 'n' Roll / Problembarn (Stepping Mexicam Produktion, 1981)
English vocals, Swedish vocals
International relevance: *

Sometimes classified as punk, Repulz actually think they're hard rock. But whatever idea they might have had in their heads about their own sound, they failed to put it into practice. This 45 is just plain bad with pedestrian songwriting, a clumsy drummer and a singer who obviously skipped English classes in school. ”God Save Rock 'n' Roll” is as clichéd as its dull-witted title. The slightly punkish ”Problembarn” (=”problem child”) is the only song in Swedish and is probably the best track here for that very reason.
 

BOOGIETRYCK 

Röd eller blå / På andra sidan (Try Musikproduktion, 1982

 Swedish vocals
International relevance: *

An insignificant band from northern Sweden that nevertheless released another 45 and a full LP in 1984 in addition to this debut 45. Pretty much in the typical straightforward Northern rock style with a fair amount of boogie rock mixed in. ”Röd eller blå” is the better of the two tracks but none of them is very good. Rekyl and Kylans Rockorkester did this thing better even if the style itself isn't too interesting to begin with.

 

WULCAN – Mysterier / Travellin' (Wulcan, 1982)
Swedish vocals
International relevance: **

A very obscure, very rare and very expensive 45 from a band originally known as Paradox formed when the drummer was only 8 years old! As Wulcan, they won a local talent contest in 1986 which resulted in a second single. This their debut was paid for by the band, and display a fair amount of talent. ”Travellin'” is a bit on the mediocre side despite some fully functioning harmony vocals, but the Swedish side ”Mysterier” (=”mysteries”) is very good with a mood setting piano intro and a really beautiful melody. The lyrics seem to have Christian overtones but it's hard to say for sure – there's certainly no overt preaching going on here. Although not really in the old school hard rock vein a la November, Midsommar or Great Ad but a couple of steps closer to heavy metal, it's such a wonderful track that I still recommend it. I really hope it will reissued in some way considering the asking prices for an original. Maybe there's even some unreleased stuff of the same calibre hidden away somewhere?

Gun Smoke
Midnight Train / Thoghts (poor sound) 
Highbrow
A Loser (Bandcamp)
Vanadis
Heaven Can Wait / Do Me A Favor
Bakrus
Kärnkraftsrock / Blåljus 
Nettan / Lämrock 
Hairline Blue
Snart så kommer jag hem / Månen  
Armatur
Rock 'n' Roll / Mr. X 

Tejp full single
Karl Brun & Highway full single playlist
Rock Set full single playlist (Bandcamp) 
Dakks full single 
Repulz full single
Wulcan full single