JAN HAMMARLUND & KJERSTIN NORÉN – Några här, några där... (Amalthea, 1981)

Swedish vocals
International relevance: *

I've already written about Jan Hammarlund's entire 1970's catalogue here, but he continued making records long after that, with a discography reaching well into the 2010's. Never foreign to working and performing with other (predominantly female) artists, there are several releases co-credited to others. This is one of them, made together with Kjerstin Norén. She was one of the original members of Röda Bönor, and subsequently had another band called Kjerstin Norén & Damorkestern with members from Husmoderns Bröst.

”Några här, några där” – with the unweildy subtitle ”Jan Hammarlund Och Kjerstin Norén Sjunger Sånger Av Il Nuovo Canzoniere Italiano: Ivan Della Mea - Giovanna Marini - Paolo Pietrangeli” – consists of songs by contemporary Italian songwriters (as the subtitle says) translated to Swedish. The vocals are split rather evenly beteween the two singers, and although Norén might not be the greatest voice ever heard, her songs are still a welcome break from Hammarlund's always annoying warbles.

The album as a whole has a somewhat different feel than many other Hammarlund albums which has a lot to do not only with Norén's involvement but also the arrangements. The most different-sounding track is ”Balladen om Ardizzone” with its renaissance-styled framework. A well seasoned line-up surely helps too; how about Kjell Westling, Fred Lane, Lena Ekman, Ale Möller and his mate from various constellations Dan ”Gisen” Malmquist to name but a few? Recorded in Copenhagen, a couple of Danish musicians get on the payroll too.

But all in all, this remains too much of a Jan Hammarlund album, and unless you're a fan of his, you may just as well pass on it.

Full album playlist

DIDDLERS – Is Good For You (Sonet, 1969)

English vocals, Swedish vocals, other languages
International relevance: *

An early incarnation of folk band Låt & Trall, and more interesting from a historical point of view than a musical one. Musicwise it's straight-laced folk music with a very strong Irish bent. This may be 1969, but these days you can go to any local fake 'Oyrish' pub and hear exactly the same thing you hear on this album, complete with a mock accent put on for 'authenticity'. It works best when the always genuine Marie Selander takes the lead, as on the best cut ”Go To Sea Once More”.

Selander is one of the participants who later got an artistically rewarding career. Add to that Urban Yman who went on to Blå Tåget and the various Träd, Gräs & Stenar incarnations. The ever present master musician Kjell Westling was also a member of Diddlers, as were Pyret Lindström and Slim Lidén who both joined Freedom Singers a few years later (along with Selander).

By the way, shouldn't it be "ARE" instead of "IS" in the title?

Full album playlist

TOMMY KÖRBERG, ANDERS LINDER, LILL LINDFORS & ANN SOFI NILSSON – Barn i stan (Folksång, 1980)

Swedish vocals
International relevance: *

The featured booklet explains the album: ”This album deals with the condition of children. Some of the songs are newly written, but most of them date back to the turn of the century. You can learn a lot from history. Knowledge of the historical context can help us to greater power of action today.” Needless to say, the lyrics have a strong political bent, and while it's hard to object to the sentiment, the wiseacre approach is as tiresome here as always.

The most interesting thing about the album is the all-star lineup with several of prog stellars including Tommy Körberg (Solar Plexus, Made In Sweden), Anders Linder (all-round performer well-loved for his many children's shows on national TV), Stefan Nilsson (De Gladas Kapell, Kornet, Hörselmat and later on stahlwart with Tommy Körberg), Stefan Ringbom (Mascots, Fria Proteatern) and of course, the everpresent multi-instrumentalist maestro Kjell Westling (Arbete & Fritid, Harvester, Gunder Hägg/Blå Tåget, Vargavinter, Spjärnsvallet...). Still, the music itself isn't very interesting, and ”Barn i stan” stands most of all as merely a historical document from the tail end of the progg movement.

Folksång was Fria Proteatern's label.

No links found.

LENA EKMAN – Det beror på ögonen som ser (Mistlur, 1980)

 
Swedish vocals
International relevance: ***

I didn't expect this to be anything but a disappointment after Lena Ekman's first proper album: ”Hjulspår” is simply one of the best yet-to-be-properly-discovered progg albums, at times a haunting LP that beats Turid in her own game by a mile and gives Stenblomma a run for her money too. With three years apart and a new label (Mistlur instead of Silence), ”Det beror på ögonen som ser” was deemed to have lost something, or at least be different enough to be a let down. Not that change is a bad thing, but ”Hjulspår” is in a special league with qualities that are hard to repeat, and even harder to follow up on a second album.

And no, it's not another ”Hjulspår”, but do not repeat my mistake: ”Det beror på ögonen som ser” is a very fine achievement. Ekman's slightly husky, mature voice is as inviting as ever, and the songs are mostly very good. As a matter of fact, it's hard to pick a weak one and much easier to choose a favourite, which is the excellent ”Vänner ändå”. Almost all of them are Ekman originals, but she manages to sneak in a cover of Danish singer/songwriter Trille as first track. Name players such Hasse Bruniusson, Marie Selander, Turid, Thomas Almqvist and, at the top of the heap, Kjell Westling offer a very pleasing lowkey backdrop that puts Ekman's appealing vocals in the sweet centre spot. The album has a pronounced acoustic feel; a delicate setting for Ekman's delicate songs.

”Det beror på ögonen som ser” is definitely worth picking up by those into the singer/songwriter side of progg, and it's good enough also for those who just happened to have a love for well-crafted and subdued songs well-equipped for playing at dusk.

No links found

LASSE ENGLUND – Drakväder (Alternativ, 1974)

Instrumental
International relevance: **

Lasse Englund's first album, and the first of two released on Kjell Höglund's Alternativ label (the second one being ”Den andra depressionen” released three years later). His technical skills were already firmly in place this early on in his solo career, but as opposed to the previously reviewed ”Lila och orange”, here they are backed up by real substance. The songs are mostly instrumental; the only vocals heard are hummed harmonies on a couple of tracks. The well-composed pieces have an occasional Swedish folk feel, but really owe a lot more to English and Scottish folk music, with Englund even slipping in a short passage from ”She Moved Through the Fair” Davy Graham style to the intro of ”Benke Plankton”. However, Englund's style at this point was assumingly mostly influenced by John Renbourn. The tabla and hand drums work on multiple tracks wouldn't have been out of place on Renbourn albums such as ”A Maid in Bedlam”. But with that one being released in 1977 – who influenced who? I'm sure Renbourn must have known about this Swedish picker and was probably rather impressed by his chops.

Englund's playing is fluent, inspired and fun, and further help from other players including multitalent Kjell Westling makes ”Drakväder” a very appealing and often very beautiful listen. Especially if you're into the folk baroque guitar stylings of Graham, Renbourn, and Bert Jansch in his least bluesy moments. ”Drakväder” is indeed Englund's finest hour as a solo artist. The cover art is nice too, with an elaborate private pressing feel. Better yet: The album can still be found fairly cheap.

Fiskmåsen
Drakväder

BENGT BERGER & KJELL WESTLING – Spelar (Ett Minne För Livet, 1977)

Instrumental

International relevance: ***

Ett Minne För Livet was a label founded by a musicians' collective of Archimedes Badkar, Vargavinter, Spjärnsvallet and Iskra. They released only a handful of albums including this duo live recording by the great Bengt Berger and Kjell Westling. The album is an OK free jazz effort but it would have benefitted from shorter performances, maybe two improvisations on each LP side instead of just one. While they manage to keep the momentum going, it's hard even for them to come up with fresh perspectives on ideas when they're stretched out to around eighteen minutes. ”Till hafs” is better than "Ad Libido" in that regard, more dynamic, but the entire album suffers a bit from being repetitious.

The album has been rereleased with a new cover on Berger's excellent Country & Eastern label as "Live in Stockholm 77".

Full album playlist

LÅT & TRALL – Låt & Trall (Sonet, 1971) / Gamla go'bitar (Europafilm, 1973)

International relevance: **/**

Swedish vocals, English vocals, instrumental

Originally known as Diddlers, this folk outfit changed their name to Låt & Trall when member Sten Erik 'Pyret' Moberg left the band. Not that they had any talent shortage with Kjell Westling, Urban Yman, Marie Selander and the beautiful-voiced Fred Lane in the band.

With Moberg's departure, the band's Irish oriented repertoire expanded to include Swedish tunes as well. ”Låt & Trall” was produced by folk legend Sam Charters and the second one by Bo Anders Larsson and the band, but they basically sound the same mixing instrumental tunes with vocal tracks in an acoustic, down-to-earth style. ”Gamla go'bitar” is a little bit better with richer arrangements, but they're both solid affairs worth hearing to fans of no frills traditional folk.

Från "Gamla go'bitar":

North Sea Holes 

Blackleg Miner

PISKA MIG HÅRT / ELDVARN – Albums 1974-1978

These are the humble beginnings of one of Sweden's best known rock bands, Eldkvarn from Norrköping, led by guitarist and main songwriter Per 'Plura' Jonsson. The Plura Jonsson of today is very different to the Plura Jonsson of the 70's. What he is the most probably depends on who you ask, and the age of the person you ask. To some he's first and foremost Eldkvarn's frontman. To others, he's the troubled soul of 80's cocaine scandals. Younger people might not know nothing about all that, thinking he's just that laidback, overweight, bare-chested host of cable TV cooking show ”Pluras kök” (”Plura's kitchen”). But he's all of that, and more.

Elisabet (MNW, 1974)
as Piska Mig Hårt
Swedish vocals

International relevance: ** 

The band was founded already in 1971 and chose the controversial name Piska Mig Hårt (”whip me hard”). Their first – and only album as Piska Mig Hårt – came in 1974. In his autobiography ”Resa genom ensamheten” (”journey through loneliness”) Plura Jonsson says it's probably the worst produced Swedish album ever, and he might be right. The sound is 'bony' and amateurishly underdeveloped, like a sloppy demo. But it's doubtful a better mix would have made it much. The songs are far too ambitious for the band's abilities. It's not without moments, but ”Elisabet” is a failure as a whole.

A better, although not great, representation of Piska Mig Hårt can be found in ”Progglådan” in the shape of a 1973 Tonkraft session.

En lång het weekend (MNW, 1976)
Swedish vocals

International relevance: **

Two years and a name and lineup change later Eldkvarn's original sound slowly began to gel, although the album still suffers from some production issues. New female members Liten Falkeholm and Wenche Arnesen expanded their aural palette with vocals, clarinet, vibraphone and electric piano. More importantly, Jonsson opted for a more economical songwriting style, trying not to overload the songs with too many unnecessary twists and turns. He still had a long way to go but ”En lång het weekend” reveals a growing understanding of the compositional craft.

”Sömnlösa dagar” was culled from the album for a 45 with non-album 'B' side ”Rebellen”.

Pantad och såld (MNW, 1978)

Swedish vocals
International relevance: **

Third album marked further changes within the band. Liten Falkenholm's participation was reduced to playing the xylophone only, and a new female singer was brought into the band, Johanna Lindström. Kjell Westling also joined on sax. Jonsson had moved further and further away from the the over-complicated songwriting he couldn't handle very well in favour of a more straightforward style that makes ”Pantad och såld” Eldkvarn's best album up to that point. For instance, it includes the female led ”Holberg Hotel”, Jonsson's first truly great song. ”Pantad och såld” might not be a masterpiece but it definitely shows that the band was heading in the right direction.

After ”Pantad och såld”, the girls left the group. When Eldkvarn returned in 1979 with ”Pojkar, pojkar, pojkar”, they were a much tighter and much better band. (The album was their last for MNW before switching to Silence for three albums.) Plura Jonsson the songwriter had matured a lot and began cultivating his talent for a snappier new wave pop rock, making ”Pojkar, pojkar, pojkar” the first proper Eldkvarn album, followed by a series of albums in this new found style. Albums up to ”Barbariets eleganter” in 1984 are almost all fine. Eldkvarn was also a great live act in those days. Soon after, they had their big commercial breakthrough and became musically less interesting.

In 2011, a career spanning 10CD box set was released, including a USB stick full of previously unreleased recordings, including several rehearsals, demos, radio sessions and live tapes from 1971 and on, providing a unique peek into the band's development. Sound quality varies but a couple of the recordings are better than the original albums.

Elisabet full album playlist

En lång het weekend full album playlist
Pantad och såld full album playlist
"Rebellen" B side

SPJÄRNSVALLET – Spjärnsvallet (MNW, 1976)

Instrumental

International relevance: ***

Ranked #19 on the blog's Top 25

Why this isn't considered a stone cold classic is beyond me, a power meeting with saxophonist Christer Bothén, drummer Bengt Berger, bassist Nikke Ström and everythingist Kjell Westling. Breeding eruptive free jazz with reflective and ethnically coloured music, ”Spjärnsvallet” sounds like a blend of Archimedes Badkar, early Arbete & Fritid and Berger & Westling's ”Spelar”. The playing is intuitive but structured and tight like a sailor's knot, the music is forceful yet lyrical, violent yet serene. Whoever keeps this album from being properly reissued will have a rough time on judgement day.

Thankfully, there's another album to satisfy at least some of the desperate need for a reiusse. ”Again & Again” (Country & Eastern, 2014) is a mix of outtakes from the original sessions and newly recorded tracks and believe me, those recordings are absolutely excellent and essential stuff.

The original Spjärnsvallet broke up shortly after the debut album was released. Bengt Berger took off for Ghana. After his return, Spjärnsvallet reunited (sans Nikke Ström, plus Sigge Krantz) for an album with Bella Ciao/Låt & Trall singer Fred Lane entitled ”Till soluppgång och till lycka” (Krokben, 1982).

Full album playlist

VARGAVINTER – Vargavinter (Silence, 1976) / Röster från alla land (Ett Minne För Livet/MNW, 1980)

Vargavinter (Silence, 1976)

Swedish vocals, English vocals, other languages, instrumental
International relevance: ***

After the demise of Låt & Trall, singer Marie Selander became part of 'super group' Vargavinter, featuring members from Archimedes Badkar, Iskra, Södra Bergens Balalaikor, Spjärnsvallet and, through Kjell Westling, Blå Tåget/Arbete & Fritid and others. And not to be forgotten, the brilliant Anita Livstrand.

The title of Vargavinter's second album is ”Röster från alla land”, ”voices from all countries”, and that's a good description even of their live recorded eponymous debut. Vargavinter performed music from just about all around the globe. They were a bit in your face politically but the multitudinous music is often great. It is a bit uneven, with two or three of the songs sounding as if they're there mainly to fill the geographic quota, but  ”Snart” and the atmospheric ”Rumänsk dansmelodi” for instance are very good.

Röster från alla land (Ett Minne För Livet/MNW, 1980)

Swedish vocals, other languages, instrumental
International relevance: ***

”Röster från alla land” appeared four years after ”Vargavinter” and despite being recorded in the studio, the music sounds looser, or if you will, less focused. Still some good tracks such as ”Bågskytten”, ”Dans från Zalongou” and ”Det omöjliga”, but ”Röster från alla land” lacks a lot of the debut's freshness.

”Progglådan” has a 1980 Vargavinter Tonkraft session, and a mid-70's live version, also made for Tonkraft, can be heard on the double LP ”Tonkraft 1975-76: Levande musik från Sverige”.

Vargavinter full album playlist
Röster från alla land full album playlist
Tonkraft 1980 full album playlist

VARIOUS ARTISTS - 3 FEMINIST ALBUMS

It's no wonder that the feminist movement gained momentum in the politically charged 70's. The fight for social equality between men and women connected well with the struggle for working class liberation. It paved way for #1 feminist band Röda Bönor, and later Andra Bullar, but prior to that, several feminist projects had already received attention.

SÅNGER OM KVINNOR (MNW, 1971)

International relevance: *

Swedish vocals

The first album entirely devoted to the topic of feminisim was ”Sånger om kvinnor” in 1971 with its origins in a stage play called ”Tjejsnack” written by Suzanne Osten and Margareta Garpe for Stockholms Stadsteater (Stockholm City Theatre). MNW wanted to release an album with the music used in the play, but as there wasn't enough material for a full LP, additional songs were written specifically for the release.

Much appreciated upon its release ”Sånger om kvinnor” was also questioned. While the lyrics were written by women, the music was composed by Gunnar Edander (formerly active in independent theatre group Fickteatern), and the backing musicians were an all male cast of Bengt Berger, Urban Yman, Kjell Westling, Roland Keijser, Tord Bengtsson, Leif Nylén and others. Ironically enough, it's the musical backing that impresses the most, with several fine efforts from the musicians involved. The album sports a massive lot of singers including the aforementioned Suzanne Osten and Margareta Garpe, but also Ulla Sjöblom, Lise-Lotte Nilsson, Lena Söderblom, Louise Waldén, author Sonja Åkesson and the excellent Marie Selander. Not all of them are as good singers as Selander. Also, the music is annoyingly silly and yippee jolly from time to time, but it has a couple of good moments – ”Innerst inne är du en riktig kvinna, Louise”, and Leif Nylén's excellent ”Törnrosa” (sung by Marie Selander). ”Vi måste höja våra röster” became an instant classic feminist anthem.

TJEJCLOWN - MED LIVMODER I STRÄNGARNA (MNW, 1974)

Swedish vocals, spoken word

International relevance: *

 

In response to ”Sånger om kvinnor”, ”Tjejclown” was made with only women writing and performing the songs, some of them spilling over from ”Sånger om kvinnor”, but also including such well-known names as Anita Livstrand, Turid, Hélène Bohman (of Stenblomma) and Lena Ekman. Obviously of greater symbolic value than ”Sånger om kvinnor”, but if you don't want to listen to political symbols just for the sake of it, it's a bad and largely amateurish album. There's not one track here of the same stature as ”Innerst inne är du en riktig kvinna, Louise” and ”Törnrosa”, but ”Flugsvampens visa” is passable.

JÖSSES FLICKOR - BEFRIELSEN ÄR NÄRA (YTF, 1975)

Swedish vocals

International relevance: *

”Jösses flickor – befrielsen är nära” was originally highly successful musical/play premiered at Stockholms Stadsteater in 1974, depicting the evolution of the women's liberation movement (three years before ”Tältprojektet” did a similar thing with the working rights movement). Again the music was written by Gunnar Edander, meaning it was a little more carved out than ”Tjejclown”. Unfortunately, he borrowed so much from the pamphlet progg style so fashionable among the communist crowd at the time that the best thing I can say about the album is that the songs at least are short...

To sum it up, all this is (mostly) bad music for a good cause. For more enduring, digestible and entertaining feminist progg, please turn to Röda Bönor.

 

Sånger om kvinnor full album playlist

Tjejclown full album playlist

Jösses flickor - befrielsen är nära full album playlist

FICKTEATERN – Allt växer till det hejdas (MNW, 1971)

Swedish vocals

International relevance: *

Fickteatern was an early independent theatre group, founded in 1967 by former Narren members, including Suzanne Osten who directed a total of 23 Fickteatern plays until 1971 when they called it a day. They performed all over Sweden, and wanting to reach audiences not regular theatre goers, they appeared in jails, libraries, schools and in the streets.

Gunnar Edander wrote the music, and Fickteatern released two albums during their three year lifetime. Their first LP appeared in 1968, ”Människor i stan”, and ”Allt växer till det hejdas” in 1971.

While ”Allt växer till det hejdas” has some of the typical theatre group album characteristics, it's a bit quirkier than most, partly because of the highly welcome addition of musicians Bengt Berger, Roland Keijser and Kjell Westling. First track ”Vi valde inte våldet” is a minor classic featuring a particularly energetic Berger. Something about the track makes me think of ”Montgomery Chapel” by U.S. Xian band The Search Party. That track alone puts ”Allt växer till det hejdas” a cut above most albums I've heard originating from the theatrical circuits of the 70's, but ”Vem bombar i Kambodja”, ”Revolution” and the short title track are OK too.

The vastly prolific Gunnar Edander later composed music for feminist projects ”Sånger om kvinnor”, ”Kärleksföreställningen” and ”Jösses flickor – befrielsenär nära”. Suzanne Osten kept working with theatre, and has written a number of books and directed several movies.

Full album playlist

MARIE SELANDER – Från den svenska vildmarken (MNW, 1973)

Swedish vocals

International relevance: ***

Marie Selander is a prominent singer who participated in too many projects to mention in detail, but she turned to music after meeting John Lennon in a taxi in the 60's, then forming the band that would turn into Nursery Rhymes, the first all-female Swedish pop group.

”Från den svenska vildmarken” was Selander's first solo album featuring a brilliant group of backing musicians: Bengt Berger, Urban Yman, Nikke Ström, Palle Danielsson, Torkel Rasmusson and Kjell Westling. The songs were mostly written by Rasmusson, Westling, Leif Nylén and Selander herself, fusing folk, jazz and. Sometimes the album almost sounds like a coarse Pentangle with their brains on fire. It's a genuinely inspired (and inspiring) effort, with excellent playing (listen, for instance, to Bengt Berger letting it loose on opening track ”På lilla värtan”!) and Selander's gritty and wonderful vocals on top.

The lyrics are blatantly political but the highly spirited performances are so good it's easy to look beyond the propagandizing words. ”Från den svenska vildmarken” is one of those albums that somehow has bypassed the interest of collectors, possibly because of the nature of the lyrics, why it still can be found cheap. So there's no excuse for not getting this awesome album!

Full album playlist

GUNDER HÄGG / BLÅ TÅGET – Albums 1969-1974

One of the most emblematic bands of the progg movement, and crucial to understanding the spirit of progg. Not only did they fully embody the 'everybody can play' ethos, they initiated it. They had a couple of professionals in the band, such as the always excellent Roland Keijser, but most of the members were musical novices. Mikael Wiehe once said that he thought Gunder Hägg sounded so horrendous that he felt compelled to start Hoola Bandoola Band. (In defense of Wiehe, it has to be said that he later admitted that Gunder Hägg/Blå Tåget in retrospect was way more musically progressive than ever Hoola Bandoola Band.)

The band emanated from the Stockholm arts, theatre and literature circuits, with band members Leif Nylén, Torkel Rasmusson and Mats G. Bengtsson already being published authors. Heavily inspired by American underground band The Fugs (although it could be argued they were closer in spirit to The Fugs' ESP-Disk' label mates The Godz), they decided to start a band combining performance art and music. They went by a couple of different names (Tjalles Horisont, Sound of Music) before deciding on Gunder Hägg, after the legendary Swedish athlete by the same name who objected to being related to the band, why they choose Blå Tåget instead in time for their fourth album.

GUNDER HÄGG – Tigerkaka (MNW, 1969)

Swedish vocals, English vocals

International relevance: **

It's easy to understand Mikael Wiehe's frustration with Gunder Hägg's ineptitude when hearing ”Tigerkaka”. The vocals are off, the English lyrics are demolished by bad pronounciation, the playing is clumsy, the songs are amateurish. Wiehe was right: ”Tigerkaka” really sounds terrible. But that's not the point. The mix of styles – trad jazz, singer/songwriter, semi-psych, cabaret etc – is daring to a band that seemingly didn't know the difference between a guitar and a hubcap, and ”Tigerkaka” is a statement of much greater importance than sheer capability: A proof that you can get something across even if you lack craftmanship. Instrumental insuffiency can make an album disastrous and unlistenable, but if the band chemistry's right, it can also make an album work in a way that professionalism not necessarily can (there are several examples of both). And ”Tigerkaka” works. Torkel Rasmusson's title track is wonderful, as is Mats G. Bengtsson's ”I hajars djupa vatten” – one of Blå Tåget's best songs ever. Not only is it a good album on its own terms, its symbolic value simply can't be overrated.

GUNDER HÄGG – Vargatider (MNW, 1970)

Swedish vocals

International relevance: **

Visual artist and film maker Carl Johan de Geer began showing up at Gunder Hägg's rehearsals. He brought his trombone with him, without really knowing how to use it, insisting on playing with the band. They weren't sure if it was a good idea (with their lack of musical comprehension, how could they tell anyway?) but de Geer kept coming back and was soon a self-appointed member. He didn't really elevate Gunder Hägg to a higher level of aptitude... That ”Vargatider” sounds a bit less disjointed than ”Tigerkaka” has probably more to do with the band having played together for a little longer. ”Vargavinter” is an overall more powerful album, highlighted by the two very Fugs inspired tracks ”Alienation” and ”Tio svarta pantrar”, the latter with some great sax from Roland Keijser.

GUNDER HÄGG – Glassfabriken (MNW, 1971)

Swedish vocals

International relevance: **

Their last album before the name change is their most professional sounding up until then, which of course is a relative thing when discussing Gunder Hägg/Blå Tåget. The Fugs' impact on their music was less notable, and instead the album makes extensive use of musical pastiches giving it a stronger cabaret feel that I'm personally not very fond of. The best song by far is the Rasmusson penned title track. A classic track, head and shoulders above the rest of the material here.

BLÅ TÅGET – Brustna hjärtans hotel (MNW, 1972)

Swedish vocals

International relevance: **

With four increasingly self-assured songwriters in the band, a double LP was destined to happen, and it coincided with Gunder Hägg's forced name change to Blå Tåget. Nylén, Bengtsson, Rasmusson and Tore Berger had all developed their own songwriter personalities, and that makes for a rich and varied album. There's still a couple of pastiches here, but they're fewer and blended in with other songs, and work better in this context than on ”Glassfabriken”. There are so many good songs here that it's no wonder ”Brustna hjärtans hotell” is considered a true progg classic. And ”Den ena handen vet vad den andra gör” is perhaps the ultimate progg anthem, and later perhaps the ultimate punk anthem as well when Ebba Grön retitled it ”Staten och kapitalet” and released as an equally classic 7” in 1980. That ought to settle the argument that progg and punk were two entirely different and separated phenomena – they weren't! Punk was simply progg's unruly offspring. I stand by that.

During the ”Brustna hjärtans hotell” recordings, Blå Tåget lost original member Roland Keijser. Keijser remembers:

- I play on a mere three tracks on the LP, all of them taken from the radio play ”Fallet Ramona” that we made in the autumn of '71. ”Winges vals” is the only one of the four ”Ramona” tracks actually recorded at the Swedish Radio, the others are new studio recordings made in early 1972. The original idea was to release them as a mini LP, but that never materialized. New songs were added, and when studio work resumed in May and the beginning of June – by then, yours truly was gone.

 

- You know that picture [by Carl Johan De Geer] where Blå Tåget sits at a table at Winbergs Café in Vaxholm? There's an empty chair up front to the right which I just had left... I'm pretty sure the picture was taken during the ”Ramona” recordings in early 1972.

BLÅ TÅGET – Slowfox (MNW, 1974)

Swedish vocals 

International relevance: **
 

After their double disc tour de force, it took Blå Tåget two years before making what would become their final original album. Sometimes considered a disappointment following ”Brustna hjärtans hotell”, and I guess it's fair to agree – but how could you follow up an album such as ”Brustna hjärtans hotell” maintaining the same quality level? ”Slowfox” is a decent enough album, but the spark isn't quite there anymore. Although it feels a bit dutiful, it does have a couple of fine songs, especially ”Under antaget namn” and ”Mannen på verandan”, the latter written by Torkel Rasmusson together with original and long standing Blå Tåget member Kjell Westling who took over all horn duties when Roland Keijser left the band. 

Blå Tåget disbanded in 1975 but they have reunited several times over the years, also releasing a couple of albums with newly recorded material (the first of those being the half-decent 1981 live album ”Blå Tåget på Fågel Blå”). A partial reunion came already in 1977 when Torkel Rasmusson, Tore Berger and Leif Nylén formed Stockholm Norra who released one underrated album in 1978.

Special thanks to Roland Keijser for shedding some light on his departure, and Carl Johan De Geer for letting me use his classic picture. 

Tigerkaka full album playlist

Vargatider full album playlist

Glassfabriken full album playlist
Brustna hjärtans hotell full album playlist

Slowfox full album playlist

SKÄGGMANSLAGET – Pjål, gnäll & ämmel (Sonet, 1970) / Snus, mus och brännvin (Sonet, 1971)

Instrumental, Swedish vocals, other languages

International relevance: **/ **

Skäggmanslaget was one of the best known folk music groups, partly due to their involvement with Contact, playing on their best known track ”Hon kom över mon”. They also worked with accordionist Leif ”Pepparn” Pettersson on his 1973 album ”Nää, nu jäsicken!” and others, and they released a number of albums of their own. They were serious about what they did, but had a more easygoing approach than, for instance, Norrlåtar.

”Pjål, gnäll & ämmel” was their first album and nicely demonstrates their abilities. Apart from core members Peter Logård, Thore Härdelin and Wilhelm Grindsäter, Kjell Westling joins in a couple of tracks, as do noted singer Marie Selander. Contact makes an appearance here, backing Skäggmanslaget on the excellent closing track ”Gråtlåten” – what a pity they never made a full album together!

”Snus, mus och brännvin” followed suit in 1971, again with a guest appearances from Kjell Westling along with Bengt Berger, Urban Yman and nyckelharpa player Ceylon Wallin. It's an even more self-assured album than its predecessor. A fun take on famous Swedish tune ”Trettondedagsmarschen” almost sounds like a cheerful Arbete & Fritid recording features tablas, as does ”Polska efter Nils Hägg” which rounds off the album in a nice way. 

 

Pjål, gnäll & ämmel full album playlist

Snus, mus och brännvin full album playlist

A CHILDREN'S PROGG SPECIAL

This post is different to other posts here as it contains no album reviews. Many – most – progg albums made for children have no international relevance because they often feature too many spoken word bits, and the music usually isn't very fun to listen to as an adult. Therefore there's really no point in posting links to the albums. (A brilliant exception would of course Jojje Wadenius' ”Goda' goda'” be, basically a Made In Sweden album with fine lyrics by children's author Barbro Lindgren, but that album deserves a post of its own.)

Still this is a very important Swedish Progg Blog feature, as children's culture was taken very seriously in those days and it's necessary to consider it in order to understand the progg movement from a wider perspective. Many artists were involved in kid's television, theatre, music, literature etc, always with an intent just as serious as when they were creating for grown-ups. Children were taken as seriously as anyone else.

One reason was of course political – it was considered important to teach kids what the society is like and present to them a socialist solution to economic problems and eradicate the inequality of social classes. It's a popular opinion today that children's television in the 70's was politically indoctrinating, and upon looking back at, for instance, Nationalteatern's highly successful double album ”Kåldolmar och kalsipper” (”cabbage rolls and underpants” – no, I don't know what that's supposed to mean, and neither did Nationalteatern), and TV series such as ”Huset Silfvercronas gåta”, (”the mystery of the house of Silfvercrona), ”Ville & Valle & Viktor” and ”Kapten Zoom” (”Captain Zoom”) (both with Anders Linder as lead actor), you have to agree it has a definite left-wing bent. 

However, I've never met one single person who took damage from watching those or any other 70's children TV series... with the possible exception of Staffan Westerberg's very disturbing ”Vilse i pannkakan” (”lost in the pancake”), already mentioned in my Thomas Wiehe runthrough. I dare say that everyone I know that grew up during the progg era has become caring people with a keen sense of justice and solidarity. So maybe the socialist aspect wasn't that hurtful after all...

Sometimes an album corresponding to a certain TV series was released, some of these albums are now moderately sought-after in good condition. (Children aren't known for taking care of records too well, so most copies that turn up are pretty mangled.)

Regardless of what one thinks of the political views expressed and transfered to the young generation of the day, the socialist stance was that education is an all important thing. Insufficient education is disastrous to society in the long run (which is indeed true – the world as we know it today should explain why). The Social Democratic Party of Sweden invested a lot of money in ABF, the Workers' Educational Association, but basic knowledge had to start with the children. 

There were several 70's TV shows without an obvious political agenda making great use of the pedagogical possibilites of television. The most notable example is mid-70's ”Fem myror är fler än fyra elefanter” (”five ants are more than four elephants”), with music by jazz illuminary Bengt Ernryd and featuring actors Magnus Härenstam, Brasse Brännström and Eva Rameaus, the latter also active in Musikteatergruppen Oktober (an independent theatre group performing several plays for children) and Tältprojektet. ”Fem myror är fler än fyra elefanter” is acknowledged as one of the best shows ever made for children, and rightly so. In a fashion similar to the famed U.S. show ”Sesame Street”, it taught young kids to read and write in a very entertaining way and showing young and old alike that learning things doesn't have to come from just dull books with boring black and white photographs.

Eva Ramaeus was far from the only progg personality to get involved with children's television. Carl Johan de Geer of Blå Tåget co-wrote ”Tårtan” (”the cake”) with Håkan Alexandersson, and featuring Blå Tåget's Mats G. Bengtsson as actor. ”Tårtan” was an incredibly funny and anarchic fourteen part 1972 series about three unemployed sailors opening a bakery shop where absolutely everything goes wrong. Still a splendid watch today! The following year, the Swedish broadcasting company aired ”Mumlan” (hard to translate, but something like ”the mumbler” will do), a very entertaining show hosted by much loved actor Gösta Ekman and actress Lena Söderblom in which musicians such as Kjell Westling and Bengt Berger appeared.

There was a large number of children's books published during this period too. Some of them aren't very different to 'ordinary' kids literature, while others took the pedagogical approach maybe a little too far, with sterile documentary photos of mum's giving birth and the gynecologist having a look, and titles like ”Chairman Mao Is Your Uncle”, ”A Fun Day at the Kolkhoz”, ”Say Hello to the Soviet Farmer Building a Factory All by Himself”. OK, so maybe I made up those titles myself, but they could have been for real. (Swedish readers who want to investigate children's progg books further are advised to check out Kalle Lind's ”Proggiga barnböcker”. He's got a somewhat condescending narrative style but the book is informative and sometimes very amusing amd clearsighted. Swedes who'd like to delve deeper into children's television may also want to check out Göran Everdahl's ”Kom nu'rå! Barnprogrammen vi minns – eller helst vill glömma”.)

I realize that most of what's been mentioned here is of little interest to non-Swedish readers, but like I said initially, all of this (and a lot more) was a very important progg element and influential to kids growing up in during the era. Bringing it up in a post of its own will hopefully shed some further light on how multifaceted progg in fact was.

TORE BERGER – Mitt hjärtas melodi (MNW, 1976)

Swedish vocals

International relevance: **

First solo album from Blå Tåget key member Tore Berger (although it could probably be argued that everybody in Blå Tåget were key members). Former band fellows Urban Yman and Kjell Westling appears, and front cover picture was taken by Carl Johan de Geer. Tony Thorén and Carla Jonsson from Piska Mig Hårt/Eldkvarn also join in on bass and guitar.

Berger has always had a melancholy feel to his songs, but it's more evident on ”Mitt hjärtas melodi” when Blå Tåget's aura of amateurishness has been stripped away on an album of solely Berger compositions. It's an introspective collection of thoughtful songs, ranging from calm to understated chaos. Some tracks have tense arrangements that provide them with a jittery unease, such as the panic-stricken ”När vi simmar ut...”, and ”Här är ett rum...” with Berger's screeching clarinet cutting through the increasing unrest like a sudden strike of overwhelming anxiety during the darkest hour.

”Mitt hjärtas melodi” is a sometimes achingly beautiful and always touching album, with many of the songs coming to real life between dusk and dawn. Even Blå Tåget backbiters should give this one a try because it doesn't really sound like them – on the contrary, it's a focused, rather singular album that could only have been made by the very one who made it.

Full album playlist

BELLA CIAO – Om åtta timmar... (MNW, 1976) / När dagen randas (Nacksving, 1978)

Om åtta timmar... (MNW, 1976)

Swedish vocals, Italian vocals, spoken word

International relevance: *

När dagen randas (Nacksving, 1978)

Swedish vocals, Italian vocals, instrumental

International relevance: *

Bella Ciao was like the central station of progg – seemingly everyone passed through at one point or another. Thus, collaborators are too numerous to mention but sometimes included Kjell Westling, Jan Hammarlund, Lena Ekman and Fred Lane. With participations also by members of the Narren theatre group and their album often centered around a certain theme or topic, the albums have a slight conceptual feel.

Centered around Italian immigrant and Bella Ciao founder Carlo Barsotti, their music often had a southern European and even burlesque touch despite the serious working class message. Their joyful playing makes their 1976 debut album ”Om åtta timmar...” one of the better political albums of the era. The vocal style on these traditional Italian working class songs is sometimes loud and a bit harsh, but if you can come to grips with that, it's really an entertaining album.

”När dagen randas” is in a similar style to ”Om åtta timmar”, but something is lacking – not only two of the band's previous members Lena Ekman and Jan Hammarlund. It simply isn't as frothingly playful, and I'm tempted to blame it on the label change, from MNW to Nacksving, run by progg potentate Tommy Rander. He had a remarkable talent for sucking breath and blood out of the best music, leaving only an empty shell of political doctrines dead on the ground behind him. Not that ”När dagen randas” is that bad, but it never reaches the level of their debut.

Bella Ciao released two more albums, "Misteri Buffo" also on Nacksving in 1980, and ”Bella Ciao sjunger 'Från 1945 till evigheten'” on their own impring in 1981.

Om åtta timmar... full album playlist

from När dagen randas

Någon har frågat mig

ARBETETS SÖNER & DÖTTRAR - Arbetets Söner & Döttrar (Oktober, 1972) // OPPONER - Gårdslåtar (Opponer, 1974) // LÖPANDE BANDET - Nån gång måste man landa... (MNW, 1975)

 ARBETETS SÖNER & DÖTTRAR – Arbetets Söner & Döttrar (Oktober, 1972)

Swedish vocals

International relevance: *

Plenty of people were affiliated with Arbetets Söner & Döttrar at one point or another, including the omnipresent Kjell Westling (Blå Tåget, Arbete & Fritid, Låt & Trall, Spjärnsvallet, Vargavinter and many more) and Greg FitzPatrick (Atlantic Ocean, Handgjort, Tillsammans, Samla Mammas Manna etc), and Bosse Hansson which may or may not be the Bo Hansson of ”Sagan om ringen” fame. This no doubt makes Arbetets Söner & Döttrar look interesting, but don't be fooled by the names – the label on their self-titled album is a lot more informative as to how the music actually sounds. Like all albums released by Oktober (run by SKP, The Communist Party of Sweden), it's standard fare political pamphlet progg through and through, with a few folk folk influences and even fewer rock influences. Although fringe Stalinists Knutna Nävar's political stance is less than appetizing, they made a much better point musically speaking with ”De svarta listornas folk” than what Arbetets Söner & Döttrar were ever capable of. ”Arbetets Söner & Döttrar” has very few – if any – musical merits.

Arbetets Söner & Döttrar also appeared on Oktober's 1972 compilation album ”Upp trälar” along with Röda Stjärnan and Västra Söders Sånggrupp before splitting into two factions releasing one album each, Löpande Bandet och Opponer. The latter beat the former to the punch, having their self-released ”Gårdslåtar” out a year before Löpande Bandet wooed MNW into releasing ”Nån gång måste man landa” in 1975.

OPPONER – Gårdslåtar (Opponer, 1974)

Swedish vocals

International relevance: **

Opponer continued the slightly folksier style suggested by Arbetets Söner & Döttrar, but adding a little bit of rock to the mix. ”Lasse Liten och spindeln” sports some prominent psych collector friendly guitars, as does medley ”Jig-A-Reel”, combining two traditional Irish tunes, ”Whelan's Jig” and ”Drowsy Maggie”. However, the folk influence is mainly of the Swedish kind, as evident in ”Trall efter Ylva”, ”Rop”, ”Kays gånglåt” and even the diffusely psychedelic ”Det kan väl hända”. Despite such mildly pleasant folk moves, it's tracks like the inferior ”Bortgjord”, ”Hjältarnas uttåg” and ”Du måste nog bestämma dig” that define the album, leaving behind an aftertaste of communal political brainwashing to add to the semi-religious vibe marring several of the tracks. Regardless, Opponer was a popular live act among the politically like-minded, and ”Gårdslåtar” is still sought after by some, but make no mistake: it's not a great album – at best decent but forgettable, at worst something you wish you could forget. However, it's way better than Löpande Bandet's album...

LÖPANDE BANDET – Nån gång måste man landa... (MNW, 1975)

Swedish vocals

International relevance: **

”Nån gång måste man landa...” is a downright horrendous album of the most moronic pseudo-heavy blues rock imaginable. If the music won't kill you, Lotta Sandberg surely will. She's one of worst ”singers” I've ever heard on a progg album – or on any album for that matter. A former opera singer with obvious Janis Joplin delusions, you wouldn't even want to torture your enemies with her bleating caterwaul. Thankfully, Löpande Bandet split up about a year after their cat killer jamboree of an album was released, setting guitarist Rolf Wikström off to a long and lucrative solo career.

Arbetets Söner & Döttrar - Ni kan inte lura oss längre

Arbetets Söner & Döttrar - Vi sår vårt ris

Gårdslåtar full album

Löpande Bandet - Den evige läraren + Nattskiftsrock

ARBETE & FRITID – Arbete & Fritid (Sonet, 1970)

Instrumental

International relevance: ***

Ranked #2 on the blog's Top 25 list

Not only does Arbete & Fritid's debut album stand as one of the cornerstones of progg, it's also one of the best albums ever to come out in Sweden. It's a prime example of how to vigorously merge modal jazz, European folk music, and avantgarde with a light touch of the kind of psychedelia that was still fresh in Sweden at the time of the album's release in 1970. ”Arbete & Fritid” (not to be confused with their 1973 album of the same title) broke new ground with such intuition and craftmanship that it remains unrivalled to this very day.

Arbete & Fritid rose out of The Roland Keijser Quartet, a powerhouse jazz combo that emerged on the fertile Swedish jazz scene of the 60's. Sax player Keijser was one of the original core members of Arbete & Fritid, but then again – they had only core members. Each of them offered crucial musical input being imaginative instrumentalists of the highest order, thus becoming mainstays of the Swedish folk and jazz scene long after progg declined as the dominant cultural movement; the only exception being trumpeter Torsten Eckerman (1945-2013) who became a teacher after leaving Arbete & Fritid in 1976 and participating in the tour de force venture Tältprojektet in 1977. The versatile Ove Karlsson has always added a unique flavour to the music he's been part of, especially as a cellist, and he has appeared on plenty of recordings over the years. The equally multi-talented Kjell Westling (1942-2010) appeared in various contexts where his flair for folk and folk inspired music came to great use. Drummer par excellence Bengt ”Beche” Berger has been involved in numerous bands and projects through the decades, and remains a natural force on the Swedish music scene, currently being a part of multifaceted outfit Beches Brew. Roland Keijser too is an ever so remarkable jazz musician, still keen to join in with both up and coming youngsters of the neo-progressive genre and noted jazz players. In 2017, he was awarded the prestigious Lars Gullin Prize.

But when all of them played together, like in the early 70's, they achieved something out of the ordinary, something utterly amazing, timeless and indestructible. Nothing can weaken the light pouring out of ”Esso Motor Hotel” or the eponymously titled ”Arbete och fritid”, nothing can diminish the impact of the brooding ”Damen i svart” or the beauty of ”Vind” which ends the album in a state of elevated melancholia. The overall feeling is one of astonishing otherness, further accentuated by Örjan Hamrins eye-catching cover art.

A lot of people seem to prefer ”Arbete och Fritids andra LP” (whose title translates into the explanatory ”Arbete och Fritid's Second LP”) and that too is a majestic effort. Truth is that Arbete & Fritid never made a bad album. Even when slowly evolving into a different band through a number of personnel changes from the mid 70's until eventually calling it quits with ”Håll andan” in 1979, they consistently operated on a remarkable quality level. But in the early days, in the very beginning, with their debut album, they were far above everything and far ahead of everybody else, even themselves. ”Arbete & Fritid” is a true classic, rich with a vitality that will make it outlive us all.

Full album playlist