Jan Hammarlund was a controversial
figure to some, especially to the far left. One of the first in
Sweden to come out as gay, Hammarlund became a spokesman for the Swedish
gay rights movement. He wrote songs where he openly criticized homophobia including that of KPML(r) communist party leader Frank Baude.
Remember, Sweden in the 70's wasn't as open as some might think as
far as gender equality and sexual minority liberation go, and
openly declaring your homosexuality was a bold move back then (and in
some quarters still is, sadly).
Befriade från skolan (Silence,
1972)
Swedish vocals, English vocals
International relevance: **
Hammarlund got in trouble for other
reasons too. His first album was withdrawn as the track ”Flamma
stolt” used the music of classical composer Hugo Alfvén without
clearing copyright issued before the release. A second editions was
quickly pressed with the song substitued for a recitation of the
lyrics. A pretentious panic solution that doesn't work very well.
It was obvious from the start that Jan
Hammarlund was a gifted songwriter in the UK folk and
singer/songwriter vein (Tobias Petterson mentions Donovan, an
appropriate comparison). What you think of him largely depends on
what you think of his vocals. He possesses a thin, high voice with a
vibrato that reminds me of Buffy Saint-Marie. To me, that style soon
becomes hard to stand and mawkish which makes it hard for me to sit
through more than a couple of songs, even if the music itself is
pleasant. Those who can listen beyond those mannerisms can probably
enjoy ”Befriade från skolan” a lot more than I.
The album also features a
Hoola Bandoola Band cover, a mellow take on the classic ”Vem kan man lita
på”.
När bandet slutar spela (Silence,
1973)
Swedish vocals
International relevance: **
His second album blends original
compositions with well chosen covers of
Nationalteatern, Richard
Fariña (the beautiful ”Swallow Song”, turned into ”Svalornas
sång”) and the aforementioned Buffy Saint-Marie. ”När bandet
slutar spela” is his best album by far, but I still have a rough time with
Hammarlund's gossamer voice.
Tusentals stjärnor över Chile
(Chilekommittén, 1974)
Swedish vocals, other languages
International relevance: *
Hammarlund's first foray into Chilean
music that helped popularizing political singer Violetta Parra in
Sweden. Half of the tracks were written by her, with additional songs
by for example Brecht/Weill. A dull album, especially colourless
following ”När bandet slutar spela”.
Landet jag är van vid (Silence,
1976)
Swedish vocals
International relevance: *
One Parra song, three by Malvina
Reynolds, a couple of traditionals and more of that increasingly
irritating helium vibrato. Guest appearances from Fred Lane (
Bella Ciao,
Tillsammans,
Margareta Söderberg), Kjell Westling and
Turid.
Igår, idag, imorgon (Silence, 1976)
with Turid and Lena Ekman
Swedish vocals
International relevance: **
Hammarlund, Turid and
Lena Ekman are a
perfect match as they were similar as both songwriters and singers.
When they teamed up, however, their music earned a more prominent
Swedish folk feel (many of the songs here are traditional), with several of the songs performed more or less a
capella. Interesting as an atypical curiousity, but largely
unsatisfying as an album.
Innan tåget är på väg (Silence,
1978)
Swedish vocals
International relevance: **
Ett rop som stiger (Silence, 1979)
Swedish vocals
International relevance: *
”I'll sing to you if you can stand my
voice” begins ”Ett rop som stiger”, Hammarlund's second album
of exclusively Chilean songs. Thing is, I can't. After seven albums
(and a few 45's), I've had it with Hammarlund's vocals, and here they
claw on my nerves even more than before, with Hammarlund singing in a
strained and forced kind of way. Turid appears once again, and
multi-instrumentalist Kjell Westling adds his bass clarinet talents.
Jan Hammarlund is still active and has
released numerous albums over the years. He's also featured in ”Progglådan”.