A SEVEN INCH SPECIAL, VOL. 8: Various singles

 

BLUESET – Midnight Rambler / The Band (Efel, 1970)

English vocals

International relevance: ***

Second single from Södertälje's Blueset. ”Midnight Rambler” is a pointless cover of The Rolling Stones monolith while the 'B' side is an autobiographical revamp of Willie Cobbs' ”You Don't Love Me” (which in turn was a modification of Bo Diddley's ”She's Fine, She's Mine”). Not any of Blueset's best moments.
 

RÖDA KAPELLET & UNGA GARDET – EP (Arbetarkultur, 1974)
Swedish vocals
International relevance: **

Recorded in 1973 and released as a four-track EP the following year, this was Röda Kapellet's first release. Two of the songs are performed with vocal group Unga Gardet in a typical political leftwing style à la a less militant Freedom Singers/Knutna Nävar. Not good. The two remaining tracks are by the electric (and better) incarnation of Röda Kapellet. Not that neither ”Västeråsvisan” nor ”Rätt till ett meningsfullt jobb” is particularly good, but both have some drive to them that make them at least a little bit catchy. 

 

OKAY TEMIZ - Denizaltı Rüzgarları / Dokuz Sekiz (Yonca, 1975)

Instrumental

International relevance: ***

Something as unusual as a single from the magnificent Okay Temiz, released only in Turkey in the same year as the ”Turkish Folk Jazz” album but very different. It's actually rather different to most of Temiz did, especially in the 70s (although I do recognize the riff from somewhere). ”Denizaltı Rüzgarları” has a persistent, driving groove and is one of the funkiest tracks in his ouvre, and I could imagine someone remixing it for the dance floor unless it has already happened. ”Dokuz Sekiz” in turn is a freaky percussion workout with downright psychedelic shadings. An excellent non-album two-sider from both ends of the spectrum, thankfully reissued in 2017 by UK based label Arsivplak specialized on Turkish rarities – originals are rare and costly.

JAJJA BAND – Tårarna / Linda (MNW, 1979)
Swedish vocals
International relevance: *

A supergroup of sorts with members from November, Träd Gräs & Stenar, Eldkvarn, and Sigge Krantz from everyone from Bröderna Lönn to Archimedes Badkar. Not that it says much about how Jajja Band sounds – they were more of a standard period rock band with light strokes of punk and new wave. Interesting as a footnote to the abovementioned bands but nothing that stands up on its own merits.

 

MUSIC TEAM – Funny Way Of Livin' / Sweet Lorraine (no label, 1979)

English vocals

International relevance: -

The 'A' side is stupid horn rock boogie, the 'B' side is better but only just. And what's better about it is effectively ruined by Boel Peterson's intrusive back-up vocals anyway. Said to be a private release but the labels are suspiciously similar to the labels of Janne Goldmann's R & P Records so maybe there's a connection.

 

ACHILLEUS – Allt vi begär / Öbergs präster (Pang, 1982)
Swedish vocals
International relevance: **

One of many, many bands lured to the rogue label Pang Records by the dodgy Lars E. Carlsson who ran it between 1978 and 1984. The single was pressed, as often with Pang, in 500 copies and the band was gravely dissatisfied with the results. They were a hard rock band with some symphonic moves, and the inferior four track studio was not what they were promised and couldn't capture the sound they aimed for. They remixed the single in 2024 for streaming platforms, and while still an insufficient recording, it does sound better now. It's musically not very good though. Those who nevertheless want to hear more early Achilleus material can check out their streaming compilation ”The Sins Of Youth 1982-1984”.

 

TIEBREAK – Mina grannar (gillar inte rock'n'roll) / Balladen om Lotta Bengtsson (Pang, 1982)

Swedish vocals

International relevance: *

The singer's dialect suggests Tiebreak might have been from the Swedish West Coast. They sound very much like a Gothenburg version of Sydkraft, meaning irrelevant stupid rock'n'roll. Both songs are bad.

 

VICTIM – Framtid med hopp / Det var då han vann (Pang, 1982)

Swedish vocals

International relevance: *

Clumsy hard rock verging on heavy metal from Vimmerby in the county of Småland. Poorly rehearsed and with a horrible, insipid singer. The cover art is bad even for a Pang release. Very expensive these days, but that has definitely more to do with rarity grade than musical value.
 

 

HELIUM HEAD – In The Sky / Take Me Home (Pang, 1982)

English vocals

International relevance: **

One more Pang 45, and one of the better. The band was from the small town of Yxbo in the Hälsingland county in the middle of Sweden and might have taken their name from the Sir Lord Baltimore song. The guitars are a bit metallic but Helium Head is generally closer to good old fashioned hard rock. ”In The Sky” is really catchy, and while the 'B' side ”Take Me Home” is also very melodic, it's not as good as the other track – it's a little bit too poppy for the style. Still a pity they never released anything else, they had more talent than many other bands screwed over by Pang.

Released without a picture sleeve.
 

 

DREAD NOT – Reggae Inna Umeå (no label, 1982)

English vocals

International relevance: *

Reggae band of little significance. They came from Umeå as revealed by the single's title, and despite a prime time television appearance, nothing came of the band except this one self-released and self-produced 7”. The only member I recognize is drummer Jan Gavelin who was in Harald Hedning in the mid 70s. Closer to brit reggae acts like Aswad and Steel Pulse and not very close to Jamaica, the 'A' side ”This World” is OK albeit formulaic, while 'B' side ”Welcome Brother” is entirely forgettable.

Blueset no links found
Helium Head no links found
Okay Temiz full single playlist (Bandcamp)
Tiebreak full single
Victim full single
Röda Kapellet & Unga Gardet:
Västeråsvisan / Världsungdomssången (with Unga Gardet) / Unga gardet (with Unga Gardet) / Rätt till ett meningsfull artbete
Jajja Band:
Tårarna / Linda (Soundcloud)
Music Team:
Funny Way Of Livin'
Achilleus:
Allt vi begär / Öbergs präster
Full remixed single playlist
Dread Not:
This World / Welcome Brother 

BLÅ TÅGET – På Fågel Blå (MNW, 1982)

 

Swedish vocals

International relevance: *

I suppose a lot of people assumed that when Blå Tåget disbanded in 1974, that was the end of it. The revamped version called Stockholm Norra was more like an afterthought, and besides, it wasn't the original band anyway. A one-off Blå Tåget reunion in 1980 was just that, but they returned again for several concerts in 1981. The first one was at Fågel Blå, resident stage of theatre group Tidningsteatern, and ended up on a double album the year after.

They performed several new songs (or at least songs never previously recorded), but the whole thing feels more like a nostalgia show. The playing is more accomplished than during their original years, but that means they lost much of their original amateurish appeal. Here they sound like a bunch of cabaret entertainers delivering dance band-like renditions of the Gunder Hägg/Blå Tåget repertoire – imagine The Fugs playing a backstreet Las Vegas joint with ”Nothing”, ”Kill For Peace” and ”I Couldn't Get High”. What a hoot. (Actually, thinking of it, that would be more interesting to hear.)

The original line-up is intact with one glaring exception: Roland Keijser isn't here and with him gone, it becomes ever so obvious that he indeed was one of the most important members of the group. At the same time, I'm happy he didn't lend himself to this. 

Full album playlist

NÄVGRÖT – Nävgröt (MNW, 1980)

 

Swedish vocals, instrumental
International relevance: **

A strange album, almost like an all African Archimedes Badkar stripped of everything except the percussion with (sometimes call-and-response) vocals added. Too bad the vocals are really bad. There are a lot of people involved in Nävgröt, and too many of them sing in an uninteresting, everyday manner. They make it sound like a children's program from the 70s; the kind where ten people sit in a ring dressed in plush dresses in poo brown, dirt orange and murky green with a backdrop of badly painted cardboard supposed to look like exotic trees and with crosseyed lions with weird proportions and a guy in a bowl cut and a beard that looks exactly like the bowl cut so if you turn him upside down he looks exactly the same telling you traditional tales from the curious continent of Africa. And then they play good and sing badly. ”Nävgröt” would have been much better if it was all instrumental, because the playing is indeed good with captivating rhythms. It's not surprising that Bengt Berger appears on one track – it actually sounds as if he could have been on the entire album. If only they would have shut up...

No links found 

ROCKVINDAR – Första gången (MNW, 1980)

 Swedish vocals
International relevance: *

Really bad album most notable for featuring Thorsten Flinck on vocals (and his twin brother Richard on bass). Thorsten Flinck later became widely famous and infamous as a talented actor and a madman in equal parts.

”Första gången” appeared one year after Rockvindar's self-released debut single ”På lörda e're fest hos Catrin” with a cover of Nationalteatern's ”Barn av vår tid” on the flipside. While the band came from Stockholm, they sound a bit like an updated version of Northeners Rekyl. The release date means there are elements of punk and ska with best (or least bad) song ”Flum-rock” being the closest to progg.

They had another 45 out in 1982, this time on Metronome, before disbanding some time later. Thorsten Flinck has also released a couple of solo albums.

Full album playlist

STYRBJÖRN BERGELT – Tagelharpa och videflöjt (MNW, 1979)

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

Styrbjörn Bergelt was a comparatively under-recorded folk musician that went through several stages before specializing in reviving old and just about forgotten Nordic folk instruments. He started playing jazz trombone before entering the world of classical music as a French horn player. It was during his time at The Royal Academy of Music he gravitated towards traditional music and took up the recorder along with the so called spilå pipe (a traditional variant of the recorder). He rediscovered and reintroduced the willow pipe and the Finnish bowed lyre called tagelharpa (literally: horsehair harp).

His first recording was ”Å än är det glädje å än är det gråt”, a joint venture with Marie Selander and Susanne Broms in 1976. He returned three years later with his first true solo album, ”Tagelharpa och videflöjt” on which he introduced some of his rediscovered instruments to a larger audience.

A few tracks have vocals by Fred Lane, Ingrid Mickelin and Estonian Igor Tönurist, but the album is mainly instrumental. Many of the tunes will sound familiar if you're at all acquainted with Swedish and Scandinavian folk harmonics and melodics, but the tones and timbres are different from what you usually hear. Especially the tunes performed on the bowed lyre sounds quite a lot raspier and grainier than they would on the regular fiddle. Simply put, the archaic resonance makes those tunes and songs sound every bit as ancient as the instrument itself. It also makes the entire album particularly captivating. Bergelt is a fine musician as is, but the sheer ring of especially the bowed lyre draws you in and keeps you fascinated that a standard fiddle album won't necessarily do. So even if you think you've heard enough of Swedish folk music, this might very well be that extra album you need to hear.

Bergelt was also a recognized painter -- the watercolour painting on the cover is his.

Full album playlist (but the running order is jumbled up)

LOLLO ASPLUND – Äppelmelodier & lurendrejerier (MNW, 1983; rec. 1982)

Swedish vocals
International relevance: *

Lollo Asplund's first album ”Eldsjäl” is reviewed here, and this is his second. Although it wasn't released until 1983 which is technically one year too late for this blog's time span, it was recorded in 1982.

”Äppelmelodier & lurendrejerier” is a children's record that retains the spirit of 70s children's progg. It's done with the honest intent to make music for kids with the same care as if it was made for grown-ups. You can of course tell right away that it's aimed at kids; the singing is more tongue-in-cheek and cheerful than on ”Eldsjäl”, and the overall performances don't have the same degree of seriousness. But the songwriting itself is as thorough as before, and Asplund even sneaks in a remake of his radio hit ”Råckenroll till frukost” from his debut album, here in a more acoustic sounding rendition. There are also more children singing along here than on ”Eldsjäl” which of obviously gives away the album's intent. And if you're familiar with the Swedish language, the lyrics are telling enough.

The overall feeling will likely not attract a post-childhood audience, but as a reminder of the spirit of the previous decade when children's music was considered something just as important as any other music deserving of acknowledged musicians such as Sten Källman (Text & Musik, Skrotbandet) and Tomas Gabrielsson (Förklädd Gud), then ”Äppelmelodier & lurendrejerier” works just fine. In the end, it stands out as one of the finer children's albums of its age.

Full album playlist 

EGBA – Omen (MNW, 1981)

Instrumental
International relevance: **

EGBA's albums got gradually less interesting as their popularity grew. True they got more proficient, but it's the first album aura of their 1974 debut that appeals to me the most. By 1981 they were an enormously tight jazz fusion outfit clearly impressed with the likes of The Crusaders and Herbie Hancock's Headhunters with undertows of Latin and African rhythms as known from EGBA's earlier albums. ”Omen” also shares a few traits with the reborn Miles Davis's ”The Man With The Horn” released the very same year. Although I'm nowhere near a fan of fusion jazz, there are still the occassional 70's album that displays wit, joy of discovery and search for a new, vital expression, but by the early 80's, it had become a style for middle managers in television rimmed glasses and brown polyester suits. Very much like "Omen".

Full album playlist

MULLVADSOPERAN – Sånger ur Mullvadsoperan (MNW, 1978)

Swedish vocals
International relevance: *

Mullvaden ('the mole' - don't ask) was an apartment block of four buildings in Stockholm that the city council wanted to tear down already in the 60's. Due to a massive public opinion against the destruction, the houses survived yet another decade, when plans were renewed to knock them down. The tenants refused to move, and became squatters in their own homes in 1977. With the help from Alternativ Stad ('alternative city'), a group working for a more inhabitants friendly city, protests were organised to nationwide attention. Around 300 people took part of the protests and activities, including theatre group Jordcirkus which came together as an immediate result of the Mullvaden protests. Led by Chris Torch, previous with the American group Living Theatre, Jordcirkus performed their 'street opera' ”Mullvadsoperan” released by MNW in 1978, the same year the police eventually stormed the buildings and evicted the tenants/squatters. They lost the houses, but somehow won the moral battle, as the real estate company owning Mullvaden later changed their policies from knocking down old houses then build new (and more expensive) ones, to restoring old buildings in their possession.

A live recording (made at the Museum of Modern Art in Stockholm), ”Sånger ur Mullvadsoperan” sounds like a typical political album of the era, sloppily recorded with too many people singing at once with their fists waving in the air. Some songs could possible have been OK had they been more worked on, especially the first track ”Vintern är kall” which has a sweet waltzing melody that, like everything else here, is shouted to death by the many zealous voices.

Albums such as this always seem to end up a time capsule, a moment frozen in time, which only looks more naive and embarassing as the years go by. Although I can easily sympathize with the sqautters intentions (take care of the old buildings instead of raising new ones people can't afford to live in), it doesn't necessarily make for listenable music. The story surrounding the album is so much more interesting than what's on it.

Full album

VARIOUS ARTISTS – Låtar från Knuff (MNW, 1973)

Kabikiklas / Kenneth Nyström, Lars Garpenfeldt, Kurt Skoog & Finn Sörensson / Eftertryck Förbjudes / Urban Nilsson & Per-Olov Åström / Finkelmans Lakejer / Risken Finns / Hem Igen Med Maritha / Thomas Fahlander & Mats Rendahl / Konjak Och Ljummet Vatten / Halv Sex / Kul 67-gänget / Bristande Vardag
Swedish vocals
International relevance: **

This early MNW release is most notable for featuring the vinyl debut of Risken Finns, predating their first LP. ”Knuff” was a TV series discussing ”sex, gender roles, unemployment, school, life in the big city, and what it is like being young, for example” as the liner notes read. The track ”På strövtåg genom björnens dungar” by Bristande Vardag had previously been featured in radio show Bandet går but wasn't included on the ”Blandat band” album. ”Låtar från Knuff” is like a cousin to ”Blandat band”, as most of the featured artists were non-professionals and never released anything beyond this volume. The three Risken Finns tracks aren't actually the best on the album – that award goes to the quartet of unknowns Kenneth Nyström, Lars Garpenfeldt, Kurt Skoog and Finn Sörensson whose ”Tacka mina vänner” is anti-capitalist storytelling at its musical best, while Hem Igen Med Maritha's ”Den stora maskeraden” is a feminist intervention, oddly catchy with its light groove – much better than what political pamphlets usually are. Eftertryck Förbjudet in turn delivers a slice of pretty heavy proto-punk on "Vi är ju endast produkter".

Obviously not a masterpiece, this is still a valuable peak into a bygone era (with some sentiments still valid). At least if you know Swedish. In the ear of a non-Swede, this will probably sound just like an occassionally bad, sometimes decent and in a few cases very good compilation of bands and artists mostly long lost to oblivion. Which it is.

Eftertryck Förbjudes - Vi är ju endast produkter
Hem Igen Med Maritha - Den stora maskeraden
Risken Finns - Sexualdebatten
Konjak Och Ljummet Vatten - Över-rock

LOLLO ASPLUND – Eldsjäl (MNW, 1981)

Swedish vocals
International relevance: *

Lars Olof ”Lollo” Asplund is a rather overlooked figure now although he was a versatile, well-known character back in the day. He debuted to a wider audience already on a TV show in the early 70s, worked with a choir on one of his albums, wrote music for a movie in the 90's, performed regularly to and with children and released an album of children's music in the 80's. He wrote about music for a local newspaper and hosted several literary nights in his native town Linköping. He even scored something of a radio hit with ”Råckenråll till frukost” from his debut album ”Eldsjäl” recorded in 1980 and released the following year.

Despite being issued by MNW, ”Eldsjäl” sounds more like a Metronome album, like something by Ola Magnell. Asplund's slightly warbly voice and the occassional Latin American influence also make me think of Jan Hammarlund in places. The album has a well-rounded production courtesy of Thomas Almqvist, and a cast of musicians well acquainted to studio work including Stefan Brolund (Monica Törnell, Bernt Staf, Björn J:son Lindh, millions more), Malte Sjöstrand (Solen Skiner, Robert Broberg, Rolf Wikström and others) Ale Möller, Turid and of course Thomas Almqvist himself. The songs are well-written and there's nothing really wrong with it, not hard to listen to but essentially unengaging..

Full album playlist

KIM FOWLEY – The Day The Earth Stood Still (MNW, 1970)

English vocals
International relevance: **

Genius, svengali, entrepeneur, exploiter, starmaker, talent predator... Many are the words you can use to describe Kim Fowley but not all of them are positive. And what descriptions are used probably depends on who you ask. People who got in the way of his exploitative behaviour will most definitely have a few pejoratives to share.

Born in California in 1939, he worked in the sex industry in the 50's before becoming a self-made music manager, producer and songwriter in the 60's. Notorious for having created The Runaways in the mid 70's, and all along releasing bubblegum garage rock albums that walk the thin line between absolute crap and cheapo excellence. Unfortunately, the darker side of his mind and genitals too often came to the fore, and he was accused of unwanted sexual advances and rape by several women who worked with him. Ask the girls in NQB, the Swedish band that Fowley tried to pull his Runaway trick on (without succeeding), I think they have some stories to tell.

Fowley moved to Finland in 1970, produced the album ”Tombstone Valentine” by Wigwam before leaving for Sweden. He teamed up with young band Contact and produced their debut album ”Noboby Wants To Be Sixteen”. According to one member of the band, much work was done against their will, and hand to heart, it might be more of a Fowley album than a Contact album. Consequentially, he used them as a straight-up backing band on his own album ”The Day The Earth Stood Still”. Probably much to Contact's chagrin, I think ”Sixteen” is their best album, and they sound excellent supporting Fowley's Lou Reed drawl complemented by occasional grunts and groans. You could easily mix the tracks from the two albums and they'd sound great together. Especially if you cut away nonsense like ”The Frail Ocean”, ”Prisoner Of War”, ”I Was A Communist For The FBI” and the eight minute studio jam ”Is America Dead?” from Fowley's album.

But the band sounds absolutely great on most of the tracks. I even like the cover of ”Cadillac” where they manage to sound like T. Rex with Lux Interior of The Cramps in the place of Marc Bolan. And the driving beat of ”Night Of The Hunter” and the self-satisfied autobiographical romp of ”The Man Without A Country” isn't something you'd ever hear from Contact again. Some songs are even downright pretty, like the title track (a distant relative to The Velvet Underground's ”Pale Blue Eyes” and ”I'll Be Your Mirror”) and ”Pray For Rain”.

Despite some duds, this is one of Fowley's most consistent albums, and you can thank Contact for that. Perhaps they hated their sessions with this American trashcan Spector (as outrageous as the more luxurious original counterpart), but maybe that's the very reason why they have such a spark to them. ”The Day The Earth Stood Still” is a hidden gem in Swedish progg history, even more overlooked than ”Nobody Wants To Be Sixteen”, and a curious but excellent complement to it.

Full album playlist

ERIC BIBB – Ain't It Grand (MNW, 1972)

English vocals
International relevance **

Eric Bibb is a well-known name these days, hailed for his live performances and numerous albums somewhere between blues and singer/songwriter material. Born in New York City in 1951, he was given his first steel string guitar at the age of seven. Quitting his studies in Russian and psychology, he left for Paris in 1970, assumably as a draft dodger, before settling in Stockholm shortly after. Once there he got in touch with the still relatively new MNW label and MNW co-founder Roger Wallis who took him under his wings and released Bibb's first-ever album ”Ain't It Grand” in 1972. Wallis also provided horn arrangements and piano for the album, joining forces with people like saxophonist Christer Eklund (Grapes Of Wrath, Slim's Blues Gang, Rolf Wikström), bassist Torbjörn Hultcrantz (Bernt Rosengren, Albert Ayler and numerous other jazz luminaries) and Dave Spann (Red White & Blues, Vildkaktus).

”Ain't It Grand” has those sweet characteristics of a good debut album. Bibb was already a skilled player with a keen sense of delivery (and a very pleasant voice), but the music isn't yet fully formed. It has an intimate, stripped-down feel and there's a seeking, trying quality to it, a certain hunger to prove its greatness to the world. Sometimes it reminds me of Terry Callier and Bill Withers, sometimes it's a bit like John Martyn. One track, the lovely ”Tuesday Mornin' Rendezvous” even hints at UK guitar maestros Bert Jansch and John Renbourn. The more laidback tracks are nicely balanced against a couple of songs relying more on groove, such as the album closer ”The Last Time?”. The semi-shuffle ”Lovefire” in turn has some biting electric guitar and gurgling wah-wah faintly like a lighter variant of Pete Cosey's work on Muddy Waters's and Howlin' Wolf's psych blues albums on Cadet Records. The understated aggression of the playing goes well together with the lyrics reflecting Bibb's anti-racist and anti-draft stance.

”Ain't It Grand” is something of a forgotten nugget, especially in the MNW discography. It captures the spirit of the times but doesn't feel the slightest antiquated. For reasons beyond my knowledge, it took him five years to release his second album ”Rainbow People” on the audiophile imprint Opus 3. A more exact and polished effort for sure, but also lacking the imperative and directness of his beautiful debut.

His stint with Opus 3 also hooked him up with folksy singer/songwriter and U.S. expatriate Bert Deivert for a couple of collaborative albums, and as a side note, I'd like to mention Deivert's own 1979 album ”Handcrafted Songs” which might appeal to fans of Bibb's folksier sound, especially that which veers towards the U.K. style perfected by Bert Jansch.

Bibb's vast discography includes further collaborations with artists such as Taj Mahal, Maria Muldaur, Swedish gospel singer Cyndee Peters, and Eric's dad Leon Bibb.

Full album playlist

FABRIKSFLICKORNA – Makten och härligheten (MNW, 1980)

Swedish vocals
International relevance: *

It's hardly a secret that there's an endless stream of absolutely terrible albums in the field of progg, and what unites them is often the politics. It's message over music, and if it's music from a theatrical play with an agenda, they're usually so bad they're bound to give you a slight brain damage. I still suffer from having heard Bruksteatern, and I doubt I will ever fully recover from that traumatic experience.

”Fabriksflickorna – Makten och härligheten” (”the factory girls – the power and the glory”) falls into that same category, and dealing with the factory seamstresses situation in Sweden at the same, it comes with the mandatory feminist angle. The music is written by Gunnar Edander, best known for ”Jösses flickor”, and performers include feminist stahlwarts Suzanne Osten (who wrote the actual play) and Lena Söderblom. That should tell you all exactly what it sounds like: the one perky tune after the other sung by too many voices at once in the bloated righteous spirit of collectivity. I don't hear even one passable track here; if there is one faintly decent song among the lot, it's immediately ruined by the suffocating atmosphere of pompous smugness.

No links found

TORKEL RASMUSSON – Kalla tårar (MNW, 1977) / En svart hatt (Mistlur, 1981)

Kalla tårar (MNW, 1977)
Swedish vocals
International relevance: **

”Kalla tårar” was Torkel Rasmusson's first solo album following the first demise of Blå Tåget, following three years after their original last album ”Slowfox”. Rasmusson's voice was one of my initial snags approaching Blå Tåget, but once I got used to it – and it took a good while to do so – the poetic shimmer of Rasmusson's songs revealed itself to me. ”Kalla tårar” has a lot of that, and it also displays a more stable execution than what characterizes the Blå Tåget albums. The only former Tåget member here is Mats G. Bengtsson; most of the back-up musicians are skilled players from the Archimedes Badkar circuit. Using Per Tjernberg as a drummer and percussionist certainly provides a solid ground to the song often lacking in Blå Tåget. The title track and ”Detektiven” rock out as much as Rasmusson ever rocked out, while ”Fläskfia” features a wild fuzz solo that would have sounded quite out of place on a Blå Tåget album. ”Det tycks vara en dag” reveals a prominent mid-70's Dylan influence while ”Inget socker” has a tasteful epic, reverb-soaked touch. Eight minute album closer ”Dagbok från en stad” has a more 'closed' and claustrophobic sound that somehow predicts the mood of Stockholm Norra's sole album. Only a couple of tracks bogs down the album a bit (most notably the genuinely nerve-grating ”Snask och snusk”), but all in all, ”Kalla tårar” is a fine and underrated effort.

En svart hatt (Mistlur, 1981)

Swedish vocals

International relevance: **

It took Rasmusson four years to come up with his follow-up solo album, and when ”En svart hatt” finally appeared, the 80s had arrived, and with them new production values. ”En svart hatt” has several good but not ”Kalla kårar”-great songs in the typical Rasmusson vein, but the sound is a bit on the sterile side, weakening the overall impact. Even the addition of Roland Keijser's usually warm and inviting saxophone sound on ”Natten” suffers from the ingratiating production. The songs might be weaker than on ”Kalla kårar”, but they would have been empowered by a more sympathetic sound. I don't think ”En svart hatt” would ever have been a masterpiece, but it could have been more than it is now: half lost in an unredeemed state.

Kalla tårar full album playlist

En svart hatt full album playlist

CYMBELINE – 1965-1971 (Guerssen, 2017)

English vocals, Swedish vocals
International relevance: ***

It happens ever so often that a band who released a good – even great – single severaldecades later instigates archival releases by labels specializing in reissues and archival releases. Sometimes those releases are best left ignored, while others actually unearth something worthwhile. This album offers a bit of both.

Norrköping based duo (sometimes trio) Cymbeline had only one 45 out on MNW's subsidiary Green Light, with ”New York” backed with ”Sixth Image” in 1970. ”New York” is an excellent slice of melodic fuzz-laced proto power pop in English (back when it was still OK to sing in English!) whereas the 'B' side has a dreamier mood akin to transient UK folk/psych/prog of the era.

With Guerssen's overview of a career that never happened dating back to 1965, it's obvious it has some poppier and less successful mid-60's moments. ”Fifth Image” is overall pretty bad while ”Look at the Stars” is sweet enough. ”Imagination” is rather evocative despite being a bit underdeveloped. Cymbeline did have a promising melodic sense already early on although it never reached the heights of highly talented Swedish beat groups such as Tages and Mascots.

There are also a few other later tracks that burden the compilation, like the painfully wimpy ”Mary Anne” and the second version of ”Stolta vingar”, decidedly inferior to the first recording of the song. The Swedish version of Jimi Hendrix's ”The Wind Cries Mary”, ”Vinden viskar Mary”, is a bit on the embarassing side too.

But when it's good, it's really good, and that goes beyond the seven-inch tracks. ”Third Image” (spot a title pattern here?) is unpolished but crunchy freakbeat with an understated chugging beat and howling guitars. ”Motala Ström” comes off like a semi-funky crossbreed of Pugh Rogefeldt and Anders F. Rönnblom. ”Flicka” in turn sounds like something a more psychedelically inclined John Holm could have come up with (although the tucked on jazzy ending is as illogical as it is unnecessary).

”1965-1971” is obviously inconsistent, with said inconsistency further emphasized by the bewildering track order. Members Michael Journath and Anders Weyde might have dreamed of putting out an album for some 40 odd years, but had they been given the opportunity to do so before their breakup soon after their lone 45 was released, it would definitely have been a more cohesive record. But that said, and with the primitive nature of many of the recordings firmly in mind, this is an essential trophy of previously unrecognized talent. The good bits easily make up for the lesser moments here.

Full album playlist (Bandcamp)

KNÄCKEBRÖDERNA – Lyckosparken (MNW, 1976)

Swedish vocals
International relevance: **

I can't decide whether this is supposed to be a parody of or a tribute to Swedish rock singer/songwriter Ulf Lundell with the occasional stylistic dig at Anders F. Rönnblom or not. Not that it matters – it doesn't get any better any which way I look at it. I guess you could say it sounds like an uninspired version of Blå Tåget – as it happens, Mats G. Bengtsson plays keyboards on the album. Some bizarre touches such as 'psychedelic' mouth harp on ”Till monarkomanin” and the sped up vocals on best track ”Janson & von Hanzon”. Unless you consider Lennart Holving's off-key vocals bizarre that is. I think they're just bad like the album itself.

Precis som pärlemor

ROLF WIKSTRÖM – The 70s albums

To many, Rolf Wikström is the blues king of Sweden. No matter what you think of him, you have to admit his staying power. He has released numerous albums over the years, the most recent one in 2011, and he's appeared on several more as a studio musician, from the disastrous (Löpande Bandet's ”Nån gång måste man landa”) to the brilliant (John Holm's ”Sordin”). His first solo release was a 45 on the Tibet -46 label as Cool Hambone in 1972. His lyrics are sometimes on the political side. 

Sjung svenska folk (Ljudspår, 1975)
Swedish vocals, instrumental
International relevance: ***

 Rolf Wikström's full length debut established his style which unfortunately also includes his vocals. While the music is OK blues in the Buddy Guy and Albert King vein, Wikström sings as if he had chewed up three pounds of chalk. His voice is so raspy it almost can't produce a sound other than a toneless screach. It's an exceedingly unpleasant experience listening to him. Would it have been better if was an instrumental album? Nope, because his guitar playing is too much as well.

Jävla måndag (MNW, 1978)

as Rolf Wikström's Hjärtslag

Swedish vocals
International relevance: ***

After an LP for the Alternativ label (home of Kjell Höglund with whom Wikström performed on ”Baskervilles hund”), Wikström switched to MNW for ”Jävla måndag”. It's a sometimes funky thing with powerful playing courtesy of his backing band Hjärtslag, and again reminiscent of Albert King. But, again, the album's seriously injured by Wikström's voice that is unbearable. Pity, because this could have been a rather decent album.

Den åttonde dagen (Metronome, 1979)

Swedish vocals

International relevance: **

What Wikström's voice doesn't ruin on ”Den åttonde dagen”, the limp funk/soul/disco moves do. Give it to someone you hate.

Sjung svenska folk full album playlist
Jävla måndag full album playlist

Den åttonde dagen full album playlist

MIKAEL WIEHE – Complete solo albums 1977-1982

After the disbanding of Hoola Bandoola Band in 1976, Mikael Wiehe founded Kabaréorkestern with Hans Sjöström (Werup-Sjöströmgruppen), Arne Franck (Hoola Bandoola Band) and Ale Möller (allround folk musician) among others. They released only two albums but played on troubadour Finn Zetterholm's 1977 album ”Längtans blåa elefant” (with alternate spelling Kabaretorkestern).

Sjömansvisor (MNW/Amalthea, 1978) 
as Mikael Wiehe och Kabaréorkestern

Swedish vocals
International relevance: *

Mikael Wiehe's greatest achievement since Hoola Bandoola Band's ”Vem kan man lita på?” in 1972. Great songs, sharp lyrics and good playing. ”Titanic (Andraklasspassagerarens sista sång)” is one of his best known tracks, and an allegory of the music movement's post Tältprojektetcollapse (only that Wiehe himself didn't realized it when he wrote the song). One brilliant Dylan translation, ”Sakta lägger båten ut från land” (”It's All Over Now, Baby Blue”) and one good Dylan translation, ”Spanska stövlar” (”Boots of Spanish Leather”) are also notable. Also worthy of mention: ”När bolaget kom till byn”.

Elden är lös (Amalthea, 1979) 
as Kabaréorkestern

Swedish vocals, instrumental
International relevance: **

A four part suite that stands as Wiehe's musically most progressive achievement, sometimes even resembling Samla Mammas Manna (”Ouvertyr”, ”Krigsdans”) written by the versatile Ale Möller. Möller's a very important contributor to the album, providing bouzouki, accordion, trumpet, electric piano, organ, and percussion. A stylistically richer and more free-thinking album than usual when it comes to Mikael Wiehe. ”Elden är lös” is the Wiehe album for people who don't like Wiehe.

Kråksånger (Amalthea, 1981) 

as Mikael Wiehe, Nyberg, Franck & Fjellis

Swedish vocals

International relevance: *

New band, new sound. The mawkish hit ”Flickan och kråkan”, drenched in Greg FitzPatrick's synthesizers, isn't representative to the album which has a rougher sound. 

”Katarina”, the terrible Swedish language mock reggae version of ”All Along the Watchtower”, ”Strebersång” and ballad ”Kom hem till mej” are all dreadful, the funky ”Allt vad jag begär” and ”Som om ingenting har hänt” are OK, ”Gossekungen” is good. The album sounded better when it was new, but time certainly hasn't been kind to it.

De ensligas allé (Amalthea, 1982) 
as Mikael Wiehe, Nyberg, Franck & Fjellis

Swedish vocals

International relevance:*

One of the worst albums mentioned on this blog. Eight Dylan translations and a Wiehe completely lost in the land of synthesizers and dated gate reverb. 11 minute title track (”Desolation Row”, or at least what's left of it) is freaking Guantanamo.

Mikael Wiehe has released numerous albums since.

Sjömansvisor full album playlist
Elden är lös full album playlist
Kråksånger full album playlist
De ensligas allé full album playlist

SAMLA MAMMAS MANNA – Måltid (Silence, 1973) / Klossa knapitatet (Silence, 1974) / Snorungarnas symfoni (MNW, 1976)

It probably says more about me than about guitarist Coste Apetrea that the two Samla Mammas Manna albums I like the best don't have him in the line-up, the one they did before he joined the band, and ”Familjesprickor” by the Zamla Mammaz Manna incarnation. Most people would say that the 1972-1976 is their prime period and it's generally acknowledged as their most classic era.

Måltid (Silence, 1973)

Instrumental

International relevance: ***

”Måltid” is the first album to feature Apetrea, and needless to say it's a much different album to the band's eponymous, guitarless debut. With Apetrea, the music lost most of the mysterious aura that surrounds their maiden work. Instead they developed their famed complexity and patented humour. Sometimes it's far too much of that make-a-funny-face sing-with-a-silly-voice thumbs-up tomfoolery. And sometimes, it's very good, as in "Folkvisa i morse". Often within the same song. And that's why I find ”Måltid” so frustrating to listen to.

Klossa knapitatet (Silence, 1974)

Instrumental
International relevance: ***

Coste Apetrea's influence on the band was really beginning to show here. A greater amount of fusion was beginning to creep into the slapstick music, with constant time changes (”heh heh, funny, eh?”) and over-complex compositions (”aren't we clever, eh?”). I can't shake off the feeling that they do it just because they can, to impress. It's peacock prog. Again, some good moments but on the whole, well, juvenile really.

Snorungarnas symfoni (MNW, 1976)

as Gregory Allan FitzPatrick/Samla Mammas Manna
Instrumental
International relevance: *** 

Greg FitzPatrick wrote ”Snorungarnas symfoni”, an extended work in four movements. Considering Samla Mammas Manna's considerable skills, it was a natural thing to let them perform it. Augmented by a horn section, they toured with ”Snorungarnas symfoni” and recorded it for MNW in 1976. Although it has parts that allow Samla Mammas Manna to show off and despite its grander scope, it's less overwrought and not as hysterical as Samla's regular albums. The downside is that it's not imaginative enough to warrant a 34 minutes playing time. Some parts could easily have been cut down to make for an overall more effective piece. 

After ”Snorungarnas symfoni”, Samla Mammas Manna took a break during which Coste Apetrea left the band (good riddance). Eino Haapala stepped in as his replacement, and the band officially reformed as Zamla Mammaz Manna.

Måltid full album playlist
Klossa knapitatet full album playlist
Snorungarnas symfoni full album playlist

RÖDA BÖNOR – Röda Bönor (MNW, 1976) / Sköna skrönor (MNW, 1978)

Founded in Lund 1973 and making their live debut in 1975, Röda Bönor soon became the premier feminist band of the 70's with a brash and disarming sense of humour. Their lyrics and musical presentation were fun in a time when humour and joy in music were rapidly falling out of fashion. (That kind of humour is something that today's feminism could do with too). They poked fun at the gender injustices, but the irony hit both ways. Still, some people thought Röda Bönor were too mean-spirited. In a fine 2016 interview by Kalle Lind for the Swedish podcast Snedtänkt, Kaya Ålander admitted that she can understand why men in particular were offended by them, and said that Röda Bönor indeed were a bit over the top from time to time, although she didn't realize it back then. (Her level of self-reflection is refreshing which is something that neo-feminism would benefit a lot from, but perhaps it takes the luxury of hindsight to have it.)

Röda Bönor (MNW, 1976)

Swedish vocals, a capella
International relevance: *

Röda Bönor's first, self-titled album includes several of their most familiar songs, such as their version of Neil Sedaka's ”Oh Carol”, ”Diskoteksjakt” and ”Det ska bli slut på rumban”. The music is mainly acoustic folk pop, not unique but effective. Even the a capella tracks work – Röda Bönor were actually pretty good singers, especially compared to several other contemporary political/topical groups at the time.

 Sköna skrönor (MNW, 1978)
Swedish vocals
International relevance: *

”Sköna skrönor” follows along the same stylistic lines, with pastiches, musical quotes and witty lyrics (”Sången om sexualmyterna” is a classic in that regard). However, the additional backing including prominent drums takes something away from the music, making it more serious sounding. The first album is a lot more unassuming, and with the success following it Röda Bönor's ambitions got higher which took some of the freshness out of the music.

A third album was projected, but halfway through the preparations for it, MNW declared they weren't interested in the band anymore. They kept playing for some time still but eventually disbanded 1982. Kaya Ålander is still an active musician, sometimes performing old Röda Bönor chestnuts with great success to a live audience. Kjerstin Norén (who left after Röda Bönor's debut album) made one solo album in 1979, ”Sånger om Anne-Marie och andra häxor”, and also appeared with Jan Hammarlund on the ”Några här, några där” album in 1981. Röda Bönor have also reunited for some one-off gigs over the years. Their two albums, particularly their first, are still the best feminist albums, much better than ”Tjejclown”, ”Sånger om kvinnor” et al.

A 1977 Tonkraft recording is featured in "Progglådan".

Röda Bönor full album playlist

Sköna skrönor full album playlist
Tonkraft 1977 full album playlist