A SEVEN INCH SPECIAL, VOL. 12: Various

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

English vocals

International relevance: **

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

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

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

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

Swedish vocals
International relevance: **

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

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

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

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

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

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

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

TOTTE WALLIN – Enköpingståge' (Metronome, 1978)

Swedish vocals
International relevance: *

This is Totte Wallin's third album, following ”När kulorna rullar” in 1975 and ”Grand Canyon” in 1977. None of them belongs here, and nothing he did after 1978 does either. His albums are mostly slick soft rock – music for people who don't really care about music – with lyrics supposed to be 'humourous' but without being funny. Still, he was signed to Metronome by Anders Burman who also discovered John Holm, Pugh Rogefeldt and Ola Magnell, and Wallin even toured with Magnell and Marie Bergman.

Only ”Enköpingståge'” has enough of a progg vibe, much thanks to Finn Sjöberg's production. Some tracks here are characterless as usual but there are a few decent moments. ”Pressveck” sounds a bit like Ola Magnell, ”Ett förslag” is OK, and ”Inte vet väl jorden” has an eerie late 70s vibe that I like. But the best song is also hands down the only really great song Totte Wallin wrote, namely ”Våren dör aldrig i Prag”. ”Enköpingståge'” isn't exactly good, but it's Wallin's best album.

Full album playlist 

FRED ÅKERSTRÖM – Två tungor (Metronome, 1973)

Swedish vocals
International relevance: *

Featured in Tobias Peterson's ”Encyclopedia Of Swedish Progressive Music” in the ”also listen to these artists” list, why at least one of his many albums should be featured here.

Fred Åkerström made a massive impact on the troubadour/visa singer scene in the 60s and 70s, and he was the most successful of the lot along with Cornelis Vreeswijk. There's not a lot progg about him however. At least not musically. Politically is a different thing, as he was a stubborn communist who joined the KPMP(r) party, based in Sweden's #1 working class city Gothenburg and known for having acts such as Knutna Nävar and Dan Berglund on their side. A friend of Åkerström's once said that Stockholm born and bred Fred was so red that he even began speaking with a Gothenburg accent. His political sympathies was clear from the start; an early Åkerström recording is ”Kapitalismen” (”the capitalism”) that has become a leftist classic.

But no, he's much more of a traditional singer/songwriter in the Scandinavian vein than a progg artist. The one album that comes closest to progg is ”Två tungor”, It was recorded in late 1972 with Hawkey Franzén and Mats Glenngård helping out on a few tracks. Coming from the often rowdy Fred Åkerström the album is conspicuously low-key as exemplified by his best known song ”Jag ger dig min morgon”, a very tender rendition of Tom Paxton's ”I Give You The Morning”. But the best track is probably album closer ”Den trettionde i första sjuttiotvå”. The title is the date of Bloody Sunday, 30 January 1972, when British soldiers killed thirteen civilians during a civil rights march in Derry, Nothern Ireland.

”Två tungor” has a slightly folkish feel all through and the sensitive and mild-mannered arrangements help set the dusky atmosphere that makes this one of his emotionally most consistent efforts and probably his best altogether, 

Full album playlist 

GRUS I DOJJAN – I klackbaren (Metronome, 1978)

Swedish vocals, other languages, instrumental
International relevance: -

Just another Grus I Dojjan album. The only thing that differs their later albums from the earlier is that the later ones are better recorded. Other than that, it's the same cheerful, good-timey folk/bluegrass fare as always. The skewed ”Tokfans polska” is a bit fun though with the deliberate off-key playing that will surely drive some people nuts.

But whar's Jeff Lynne doing in cover shot???

Full album playlist

GÖSTA LINDERHOLM – In kommer Gösta (Metronome, 1973) / Göstas skiva (Metronome, 1975)

Anyone familiar with Gösta Linderholm (and that includes just about every Swede of a certain age or inclination) surely wonders if I've lost it completely by including him here. He's something of a laughing stock found in every charity shop bin across the nation. I doubt many people take him seriously, and he actually has himself to blame after the dreadful mega hit ”Rulla in en boll och låt den rulla”, a 1978 faux cajun song that plagued the airwaves here for an eternity. And me, I never once thought he'd be something I'd offer any progg blog space. Until I took a closer look at his first two albums, that is.

In kommer Gösta (Metronome, 1973)
Swedish vocals
International relevance: *

After an early career with trad jazz band Sveriges Jazzband (best known for their 1970 song ”Brittas restaurang”), Gösta Linderholm made his solo debut with an album taking its title from a Philemon Arthur & The Dung song. He immediately established himself as a happy-go-lucky troubadour with a warbly voice. But, hang on – is that tablas in opening track, the droning ”Herr Fantasi”? It is indeed, played by Jan Bandel. And there's Björn J:son Lindh in his best ”Ramadan” mode. ”Påtalåten”? Yes, an Ola Magnell cover recorded the same year as Magnell's own 45 version. And that bassist Stefan Brolund, wasn't he in Pop Workshop and later EGBA and Oriental Wind? He was.

”In kommer Gösta” isn't a great album and rather typical Metronome label singer/songwriter fare along the lines of the aforementioned Ola Magnell and, for better or for worse, Marie Bergman.
But it nevertheless shows that there was a wee bit more to Gösta Linderholm than he gets cred for. 

Göstas skiva (Metronome, 1975)
Swedish vocals
International relevance: *

Not surprisingly, both Magnell and Bergman pop up on Linderholm's second album along with Thommie Fransson and, again, Björn J:son Lindh. The style is similar to the debut but with a few better songs and slightly darker shades, as on ”I natten” and the Magnell/Linderholm co-composition ”Kom liv”. I remember "Herr Fantasi” from my radio listening childhood days, so I have a certain nostalgic relation to that particular track. But the best track here is the album's most unexpected inclusion.

Guitarist Finn Sjöberg appears prominently on the album and that might explain Kvartetten Som Sprängde cover ”Gånglåt från Valhallavägen”. Originally an instrumental track but here with added Linderholm lyrics, and I can promise there's nothing else in his ouvre to prepare you for this. It's a bleak, actually apocalyptic depiction of a winter's day in Stockholm, soaked in alienation, internal turmoil and impending chaos. Junkies are dying in the streets and a hysterical Lady Luck screams out in agony. This track is truly a lost progg gem hidden in plain sight.

Linderholm made many albums after these two, some of them with credible musicians helping him out such as Kebnekajse's Mats Glenngård on ”Blå ballader & gröna demoner” from 1977. Some of them even have a half OK track or two, but there's really no point in getting into them in detail. A thumb rule is that the later it gets, the more Linderholm lived up to his own caricature.

In kommer Gösta full album playlist
Göstas skiva full album playlist

CORNELIS VREESWIJK – Poem, ballader och lite blues (Metronome, 1970)

 Swedish vocals, spoken word
International relevance: **

Cornelis Vreeswijk came to Sweden from The Netherlands as a 12 year old, well in time to learn Swedish to the point he mastered the Swedish language better than many native Swedes. His debut album ”Ballader och oförskämdheter” hit like a bomb upon its release in 1964 and more or less kickstarted the wave of new Swedish troubadours and visa singers. No-one could touch his excellence though, and up to his untimely death in 1987, he had released dozens of albums of sharp-witted observations, great acoustic guitar playing and brilliant songwriting. Not a lot of it is within the progg realm however, but he did have some friends in high progg places as proven by his albums around the turn of the decade 1969/71. Looking closely at the musician credits from these years, you'll find names like Kenny Håkansson, Lasse Wellander and Slim Borgudd. Borgudd is also on ”Poem, ballader och lite blues” along with Jojje Wadenius and Bosse Häggström meaning the entire Made In Sweden is present here. Add to that Björn J:son Lindh and Sten Bergman, and you have an album with progg credentials enough.

The title is self-explanatory. It translates to ”poems, ballads and a bit of blues”, and that's exactly what you get. The poetry recitals may be short but they're nevertheless distracting and interrupts the flow but the strictly musical parts are, for the most part, simply brilliant. You could argue that it would have been an even better album if the double album had been trimmed down to a single disc omitting a few out-of-place numbers, but that's essentially hairsplitting. Not only does it feature some of Vreeswijk's best songs of all time, the musicianship is absolutely great on tracks like ”Rosenblad, rosenblad”, ”Cool Water – på den Gyldene Freden” and the really heavy blues ”Ett gammalt bergtroll”. Eveyrhing adds up to Cornelis's best album and thus, one of the great Swedish albums.

Full album playlist

KENTA – Complete albums 1979-1981

You don't have to be a coldblooded cynic to say that hadn't it been for ”They Call Us Misfits” and ”A Respectable Life”, Edgar Froese lookalike Kenta would never have gotten a recording career.

Kenneth ”Kenta” Gustafsson was born in Stockholm in 1948 to a rough upbringing. Both his parents were alcoholics and Kenta was left to take care of himself. When the Swedish mod scene grew in the mid/late 60s, Kenta was drawn into it. Swedish mods had very little in common with UK mods, with a completely different dressing style and dissimilar values. Most people only knew about the mod subculture from the newspaper headlines of 1965 when mods and raggare (another youth subculture, centered around American cars and music from the 50s) clashed in the city centre of Stockholm. The tumult came to be known as the Hötorget riots after the location where the it happened. Stefan Jarl's 1968 semi-documentary ”They Call Us Misfits”, original title ”Dom kallar oss mods”, portrays the drink and drug-fuelled mod lifestyle with greater compassion and depth, and brought buddies Kenta and Gustav ”Stoffe” Svensson to the public eye. The movie had a follow-up in 1978 with ”Ett anständigt liv” (English title ”A Respectable Life”), a much darker and grittier work than its predecessor. Ulf Dageby's relentlessly bleak soundtrack reflects the the movie with scary accurance, and marks the vocal debut of Kenta who sings on four of the tracks.

Kenta (Metronome, 1979)

Swedish vocals

International relevance: *

Kenta's co-writing partner Aapo Sääsk brought Kenta to ABBA manager and Polar Records owner Stikkan Andersson's attention, but when Andersson got cold feed, Kenta ended up with Anders Burman's Metronome. A much better choice to begin with considering Burman's penchant for odd voices and self-styled songwriters. Production work was delegated to Finn Sjöberg (Kvartetten Som Sprängde) who also plays guitar on a few tracks. As do Kenny Håkansson among several other weathered studio musicians. The instrumental backing is much more lavish and polished than Kenta himself. He sings with great conviction in a slight post-Ulf Lundell fashion, but his barky, gruff voice is certainly an acquired taste. But it serves the lyrical purpose; the words are monochromatic snapshots from life's other side and it's impossible imagining a better singer deliver them with equal confidence. The album may be a minor Swedish classic but truth is it really isn't very good. It's more of a statement entirely dependent on Kenta's persona.

In a strange turn of events, Kenta found himself competing in the Swedish Eurovision Song Contest in 1980. His contribution ”Utan att fråga” ended up as #6 – imagine that happening now! – but what many people were far more concerned with was the T-shirt Kenta wore. Depicting a couple in the sex position popularly known as 69 with the words ”try it you'll like it” had the moral majority choking in front of their TV sets. Despite, or most likely thanks to that, ”Utan att fråga” reached number 2 in the singles charts and was added to later editions of ”Kenta”.

Kan det va' fel på systemet? (Metronome, 1980)

Swedish vocals
International relevance: *

”Kenta” could very well have ended up as a one-off novelty thing, but after his ESC success, he returned with another LP. ”Kan det va' fel på systemet?” (=”could it be that the system's wrong?”) is basically more from the same stock, only a wee bit heavier with a somewhat tighter sound. Again produced by Finn Sjöberg but no Kenny Håkansson this time. More uneven than the debut but with a few better songs including ”Vi behöver hjälp”, a rather heavy track unfortunately spoiled by the vocals. Also featured is ”Bajen”, Kenta's tribute song to his favourite football team Hammarby IF.

August & Kenta (Metronome, 1981)
Swedish vocals
International relevance: *

Third time around and Kenta makes an unexpected move setting music to poems by Sweden's major author August Strindberg. It's also a step away from the large number of studio musicians to a smaller ensemble consisting of for instance Nynningen cohorts Nikke Ström and Bernt Andersson, with electric guitar provided by Ulf Dageby who also stepped in as an arranger. With Stefan Jarl in the rare position of record producer, this is almost a throwback to the ”Ett anständigt liv” soundtrack. ”Esplanadsystemet” even sounds like an outtake from it (which it isn't). At any rate, ”August & Kenta” is probably the Kenta's most focused album. The smaller line-up proves beneficial to the songs, and Kenta the singer sounds more relaxed here than on any of his previous albums. Still not great, but it showed that Kenta had more to give than just his personality.

But as fate had it, this was to be his last album. He appeared in the third installment in Stefan Jarl's Misfits series in 1993, and he popped out as for guest vocals on an album by commercial keyed fiddle player Åsa Jinder in 2002. He provided one track to a V/A tribute album to Hammarby football club in 2001. Kenta Gustafsson died from cancer two years later at the age of 54. Two posthumous albums of previously unreleased songs and demos appeared in 2022/23 in strictly limited vinyl editions.

Kenta full album playlist including "Utan att fråga"
Kan det va' fel på systemet full album playlist
August & Kenta full album playlist

KAJ R. HANSSON – Till dom som bryr sig om (Metronome, 1980)

Swedish vocals
International relevance: *

There are quite a few illustrious characters featured on these pages, but few are as illustrious as Kaj Robert Hansson, known as Räven ('the fox') due to his hair colour. Often homeless sleeping in the parks of his native city Lund i Skåne, and a criminal since early age. He was a friend of Clark Olofsson, the infamous criminal 'superstar' of the Norrmalmstorg bank robbery which coined the phrase the Stockholm syndrome. Hansson was initially a suspect too, but soon freed from suspicions when he phoned the police and said something along the lines, ”I readin the papers that I've supposedly robbed a bank but that seems unlikely since I'm in Hawaii right now”. 

Besides his criminal career he had artistic ambitions, ambitions that were crowned by an LP release in 1980. It's impossible to imagine a well known crook getting a record deal – let alone with a major label like Metronome! – in those days when deplatforming for the flimsiest of reasons is the order the day. Those were other times, indeed. For better or for worse. The prison care was heavily debated and questioned in Sweden during the 70's, resulting in such albums as ”Kåklåtar” and Konvaljen's solo album. There was a strong opinion against the treatment of prisoners, which might explain why an album such as this wasn't considered as controversial as it would be today.

Metronome put a lot of effort into making Kaj R. Hansson's only album as good as possible. ”Till dom som bryr sig om” (' to those who cares') has a thorough list of studio musicians. Mats Ronander and Finn Sjöberg appear on guitars, and an entire lot of three drummers offer their services, Ola Brunkert, Rolf Alex and Per Lindholm, all respected studio workers. Hector Bingert in turn was a seasoned jazz saxophonist. And so on.

All songs were written by Hansson, all autobiographical in nature, delivered with his soft Southern nasal drawl. He's a pretty OK lyric writer, not nauseously self-pitying over his fate but rather matter-of-fact about his life gone wrong. The songs are pretty straightforward singer/songwriter rock, not hugely imaginative but sometimes quite catchy such as semi-Stonesy kick-off track ”Ta ett tag”. It's not a masterpiece by any stretch, but habile enough rock music from the dark side of society.

Full album playlist

MARIE BERGMAN – Complete albums 1974-1980

 

Marie Bergman is one of those artists too far from progg to belong here and too close not to do so. She's 'progg-by-association' but she's basically a singer/songwriter with the oft-hired Swedish studio mafia of the 70s backing her, granting her a couple of commercial successes in the second half of the decade. Her cover of Kate & Anna McGarrigle's ”Complainte Pour Ste-Catherine”, translated to Swedish by her good friend Ola Magnell as ”Ingen kommer undan politiken”, was a radio staple in and around 1977, and her version of Kjell Höglund's ”Lugnare vatten” was also on a rather heavy rotation a couple of years later. She appeared as a backing singer on all three of John Holm's 70s albums, as well as on discs by Ola Magnell, Rolf Wikström, Björn J:son Lindh, Pugh Rogefeldt and several others less progg related artists. In short, she was a stahlwart on the Metronome label led by producer Anders Burman's instincts and nose to sniff out off-kilter yet still commercially viable signings. Well, she was actually on Metronome already earlier as a member of the very successful vocal group Family Four which she joined in 1969.

Mitt ansikte (Metronome, 1974)
Swedish vocals
International relevance *

Her first album after leaving Family Four sounds a bit like a crossbreed of Ola Magnell and Joni Mitchell, the latter absolutely permeating the track ”Tiden”. The American West Coast sounds also come through in her cover of Neil Young's ”Helpless” (translated by Magnell). The title track and ”Villiga Ville” however are two funky tracks in sync with the times, while ”Sånger” is a loungy throwback to the Family Four style.

Närma mej (Metronome, 1977)
Swedish vocals
International relevance *

It took her three years to deliver her second solo album, but marked a breakthrough to a wider audience. It features ”Ingen kommer undan politiken” and her sensitive take on Ola Magnell's ”När vällingklockan ringde” from his ”Höstkänning” album released the very same year. ”Närma mej” is an album very much in the same style as her debut albeit with the funk substituted for novelty-of-sorts duds like ”Sången om den eviga lyckan (Johan)” and ”Mål eller miss” (the latter actually a cover of American folk singer and activist Odetta). The ”Blue” era Joni Mitchell influence is still evident though, especially on the piano based title track. Also included is a Swedish cover of Little Feat's ”Roll Um Easy” as ”Vänj mej varsamt”. Say what you will, she had good taste!

Iris (Metronome, 1979)
Swedish vocals
International relevance *

Third album and more of the same, only with a glossier production. This time the covers are by Swedish songwriters only, namely Björn Afzelius and his ”Balladen om K”, and the aforementioned Kjell Höglund's ”Lugnare vatten”. ”Lugnare vatten” is the best track on the album along with the surprisingly anguished (for Bergman) ”Lägg inga plåster på såren”. The most obvious ersatz Joni Mitchell this time is called ”Lekvisa”.

MARIE BERGMAN & LASSE ENGLUND

Jorden är platt (Metronome, 1980)
Swedish vocals
International relevance*

A joint venture between Bergman and much respected guitarist Lasse Englund; they also married the following year. It's a children's album and also the most interesting installment in Bergman's discography. Some songs are rather strange, and it seems that the idea of making music for kids pushed both Bergman and Englund out of their comfort zones. One track – ”Mammas stora säng” – even shows a faint resemblance to psych collector Hawaiian darlings These Trails. All in all, this is the Bergman album that comes closest to progg. But despite that, and despite being the most interesting album of hers, it's still not good enough to recommend. It's a bit of a curiousity, but not much more than that.

All these albums have their moments, but too few to recommend. From a progg perspective, they remain very minor footnotes. Bergman's recording career continued to 2013 when her, for now, last album was released. Her style hasn't changed much over the years and the sound of her albums have been very anxious to follow the production trends. When her early albums, her best ones, aren't very good you can imagine the rest.

Mitt ansikte full album playlist
Närma mej full album playlist
Iris full album playlist
Jorden är platt full album playlist

ASTON REYMERS RIVALER – Complete albums 1979-1981

While a first glance may not reveal any overt progg credentials, Aston Reymers Rivaler were in fact cut from the same cloth as Peps (especially in his later years), Ronny Åström and Dag Vag. Mixing African influences, reggae and other Caribbean styles with elements of both cajun music and old-timey Swedish dance tunes, it's no wonder that several Dag Vag members occasionally sat in with the band, and that the ever so open-minded Per Tjernberg, fresh from Archimedes Badkar and then known as Per Cussion, was a permanent member for a while. Also, their first two albums were released by Musiklaget, the very same label responsible for Bättre Lyss, Solen Skiner, Underground Failure and other certified proggsters.

Aston Reymers Rivaler were originally a street band, and a continuation of obscure rock outfit Rockslusk who subsequently had two tracks on a Sista Bussen tape compilation entitled ”Mediokra hjärnor” in 1982. Aston Reymers Rivaler released several albums in the 80's, but only the first three fit in with this blog's timeframe.

Från myggjagare till foträta (Musiklaget, 1979)
Swedish lyrics, instrumental
International relevance: *

The debut LP immediately defined Aston Reymers Rivaler's eclectic musical mix and demonstrated their penchant for exuberant tongue-in-cheek performances. But if the humourous element seemed fresh and catchy back in the day, it unfortunately sounds dated today, a bit like those 'funny' hats you see in 40 years old pictures of your parents at parties that seemed cheerful then but cringe-worthy today. Still it has a couple of OK tracks, namely ”Sambo” (although the possibly ironic jungle themed lyrics are relentlessly dated) and the bittersweet instrumental Russian traditional ”Metsäkukkia”. The track ”Bruno och Vera” was chosen for a single and gave the band a minor hit.

Kräål (Musiklaget, 1980)
Swedish lyrics, instrumental
International relevance: *

Second album ”Kräål” (= the word ”creole” with a made-up Swedish spelling) was a bit more polished than its predecessor, but similar in style. The track ”Stockholms ström” was never released as a single, but it quickly became a massive radio success nonetheless. A Swedish cover of Millie's early ska hit ”My Boy Lollipop” entitled ”(Min tjej) Sockertopp” is this album's cringe peak, while their first full-on foray into reggae ”(Vi bygger om) Hela Stockholm” is surprisingly credible with its mild use of dub effects. Fittingly enough, it features Peps on backing vocals, clavinet and tambourine. Thinking of it, it wouldn't have been out of place on Peps' own album ”Spår”.

A non-album single from around this time brought the band another hit, as the anti-nuclear power calypso ”Godis är gott” was released with the March 1980 nuclear power referendum in mind. ”Godis är gott” and ”Stockholms ström” are probably Aston Reymers Rivaler's still best known tracks.

Tvål (Metronome, 1981)
International relevance: *
Swedish vocals, instrumental

For their third album ”Tvål”, the band switched labels from the independent Musiklaget to major label Metronome which may partly explain why it suffers from a duller sound. Also, their patented gumbo of styles began wearing thin at this point. You may not like the first two albums, but they were nevertheless bubbling with joy whereas ”Tvål” sounds predictable and lacklustre. Album opener ”Jakten på amazonkvinnornas guld” is a decent stab at New Orleans rhythm & blues (with some nice harmonica work to boot), but again, the best track is another brooding extended reggae number called ”Det går”.

Från myggjagare till foträta full album playlist
Kräål full album playlist
Tvål full album playlist

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

HÄXMJÖLK – Eskimo Heat (Metronome, 1976)

Instrumental

International relevance: ***

Centered around guitarist Jan Tolf (who wrote all songs for ”Eskimo Heat”) and keyboardist Harald Svensson, this could be seen as an Egba off-shoot and a continuation of Resa. Also featuring drummer Malando Gassama, saxophonist Lennart Åberg, and bassist Guy Roellinger who appeared on Melvyn Price's ”Rhythm and Blues” in 1974. Häxmjölk's style is obvious already on beforehand: funk fusion with tight arrangements that will appeal to fans of the aforementioned bands, Kornet and Mamba but much too formulaic for me.

Full album playlist

OLA MAGNELL – Complete albums 1974-1981

Ola Magnell is one of Sweden's finest songwriters and lyricists. Largely influenced by Bob Dylan, his lyrics are well written with a strong poetic feel, and dealing with inner doubts as well as sharp observations of society. His political songs are never bogged down by cocksure slogans or stubborn fingerpointing, and being contracted to 'commercial' label Metronome way into the 80's, he was never really embraced by the music movement. He was too ambiguous to those preferring dogmas and simplistic explanations. In a translation of Kate & Anna McGarrigle's ”Complainte pour Ste-Catherine” for fellow Metronome artist Marie Bergman, he stated that ”ingen kommer undan politiken”, ”no-one can escape politics”, adding ”no-one can ignore the polemics, no matter if you're tired every night”. A music movement outcast, Magnell certainly knew what he was talking about.

Magnell's work in music actually began with translating songs for various Swedish vocal stars in the 1960's, something he kept doing even after his own recording career began in 1973. He grew increasingly tired of it however, feeling uncomfortable with getting the original lyrics in the evening and having to deliver a finished translation the next morning. Magnell's meticulous writing needs time, and is after all best represented on his own albums. Unfortunately, this means foreign listeners miss out on a lot not knowing Swedish, even if Magnell's songs have tuneful and highly appealing melodies.

Some may consider Ola Magnell's voice a bit too 'twangy', but if you're new to him, don't let that stand in the way because there's so much here worthy of discovery and enjoyment.

Påtalåtar (Metronome, 1974)

Swedish vocals

International relevance: *

Magnell's solo debut appeared in the 7” format in 1973, with ”Påtalåten” which became an instant success. Much to the record buyers' chagrin, the song wasn't included in its hit form on Magnell's album debut the following year. The song was on the album, but in an semi-instrumental 'party' version. The original 45 was released on the Telefunken label, and not to breach the copyright, they decided to leave it off the album. (”The music business still had some honour left in those days,” Magnell later remarked in an interview for the Swedish Radio. He also added that he thinks the album version is fun, ”but I might be the only person to think so...”)

But while ”Påtalåtar” doesn't feature a worthy version of the title track, there's still a whole lot here to rejoice over. It has the charm of a first album from someone knowing what he wants but who hasn't yet achieved it. It's a bit rough around the edges, but it has several fine moments, like the xylophone laced ”Vals i Hades” and the excellent ”Sångerna vrenskas”, one of his best ever songs (later re-appearing on 1979's ”Straggel och strul”).

In late 1974, Ola Magnell joined Pugh Rogefeldt and piano player Janne 'Lucas' Persson for a package tourin 1974, documented on the double album ”Ett steg till” the following year.

Nya perspektiv (Metronome, 1975)

Swedish vocals

International relevance: *

Magnell had matured considerably for his second album, displaying a greater amount of self-confidence. ”Kliff” soon became one of his best loved songs, and rightly so. ”Ungmön dansar” is a beautiful stripped down ballad utilizing the instrumetal fluency of British fingerpicking guitarists. ”På snespår” is a beautiful example of Magnell as Sweden's premiere Dylan translator and interpreter; the original song being ”Lily, Rosemary and the Jack of Hearts”. He also throws some Loudon Wainwright III into the mix, ”När jag dör” ("Unrequited to the Nth Degree"). ”Min nye magister” might not be his finest song but it's a much needed slap in the fundamentalist face of the sectarian left. (It's just my guess but I suspect that Mikael Wiehe of Hoola Bandoola Band is the song's main target.)

Höstkänning (Metronome, 1977)

Swedish vocals

International relevance: *

Magnell's best album up to that point, with a string of excellent songs – ”Rulltrappan”, ”Vällingklockan”, ”Fåfängs sång”, ”Höstkänning” and the heart-wrenching ”Pappa” about Ola Magnell's dad. The album was partly recorded in the States with American musicians including blue eyed soul legend Eddie Hinton, but it still sounds like a genuinely Swedish album. A classic.

Straggel och strul (Metronome, 1979)

Swedish vocals

International relevance: *

Even better than ”Höstkänning”, this is Magnell's best album. Like ”Höstkänning”, ”Straggel och strul” consists of original songs only but the marvellous opening track ”Damen i svart” shares quite a few melody lines with Bob Dylan's ”Sara”. ”Mammons hage” is a lilting country number that fits Magnell's voice perfectly, ”Sångerna vrenskas” is a welcome rerun of the song from his first album, ”Tidsdåren” captures Magnell's certain brand of melancholy, ”Hos kuratorn” is a funny funk spoof with disco handclaps and a perky clavinet, and ”Skomakarvals” finishes off the album in a beautiful and touching way, Another classic.

Europaväg 66 (Metronome, 1981)

Swedish vocals

International relevance: *

The Dylan references are obvious, with the album title alluding to ”Highway 61 Revisited” and the cover art hinting at the promo clip for ”Subterranean Homesick Blues”. The album has a slicker sound than Magnell's previous releases and the calypso touch on ”Tungeltoken” is questionable, but the songs are often strong with ”Tomma tunnor” and ”Dimman igen” being the obvious highlights. Also featured is ”Ta det kallt, det är allt”, likely the best ever translation of ”Don't Think Twice, It's All Right”.

Like many 70's artists, Magnell's transition into the synthesizer glossy 80's wasn't very smooth. His albums from that dreadful decade is a hard listen today. From the 90's on, he's been less productive, with only three albums released between 1993 and 2010. Interviews from that period have sometimes suggested Magnell inhibiting a bitterness over the lack of attention, but in recent years, younger artists have begun to acknowledge him as the great songwriter he is. He also played live more often again in his final years (he died in 2020). His knack for memorable songs and intelligent and poetic (but not pretentious) lyrics is a rare thing that should be praised accordingly.

"Påtalåten" original single version

"Försommarland" single B side

Påtalåtar full album playlist

Nya perspektiv full album playlist

Höstkänning full album playlist

Straggel och strul full album playlist

Europaväg 66 full album playlist

BERNT STAF – Complete albums 1970-1981

One of the many discoveries made by Metronome producer Anders Burman who brought the likes of Pugh Rogefeldt, Ola Magnell and John Holm to public recognition. Burman had a penchant for original voices, and Bernt Staf indeed had one of those, oddly piercing and nasal. Uncommercial some would say, but he nevertheless scored a huge hit with his song ”Familjelycka”, culled from his 1970 debut album ”När dimman lättar” for a 45 the following year. Staf's lyrics have a political focus, often dealing with the depopulation of the non-urban regions of Sweden.

När dimman lättar (Metronome, 1970)

Swedish vocals

International relevance: **

”Familjelycka” is an incredibly annoying song, especially with Staf's terrible vocals perforating your eardrums (the Jan Hammarlund syndrome). Unfortunately, ”Familjelycka” sets the tone for ”När dimman lättar”. The album is full of twee singer/songwriter stuff marred by Staf's very unpleasant, infantile voice. Last track ”Uppståndelse” shows a somewhat more powerful perfomance, but the fake gospel sound still doesn't make Staf's polyp squeaks any more tolerable. The funky ”Hovmästarsoppa” was released as Staf's first single, and it's a pretty good track – hadn't it been for the vocals.

Live (Metronome, 1972)

Swedish vocals, English vocals

International relevance: *

I'm not very fond of live albums since I don't like the sound of a cheering audience, but in this case an audience screaming loud would have been beneficial. Perhaps it would have had drowned out Bernt Staf's vocal mannerisms. Having him drawling through ”What Shall We Do With the Drunken Sailor”, ”Havanagilah” and a Swedish version of ”Last Night I Had the Strangest Dream” is a fucking punishment. In the live setting, he turns into a third rate protest folk singer who talks too much between tracks. His speaking voice is every bit as maddening as his singing voice. And then he whistles...

Vingslag (Metronome, 1972)

Swedish vocals

International relevance: *

Full band backing provided by Sten Bergman, Ola Brunkert, Lasse Wellander, Göran Lagerberg and others. Which obviously gives Staf the occasional excuse to holler away like a Dylan with a stomach pain. No harmonica honks; instead Staf whistles... again...

Valhall (Metronome, 1973)

Swedish vocals

International relevance: **

This could possibly have been an OK Kvartetten Som Sprängde album – they're the backing band here (plus a cameo from Bo Hansson). Had it actually been an album of theirs, it would have been instrumental, and had it been instrumental, you wouldn't have to endure Staf's vocals.

Vår om du vill (YTF, 1976)

Swedish vocals

International relevance: *

Substituting Kvartetten Som Sprängde with a slick radio friendly lush laidback West Coast sound was Staf's worst idea since the day he decided to sing. And that smug grin on the album cover...

Hycklarnas paradis (Best, 1981)

International relevance: *

Swedish vocals

Mocking reggae on the title track (a pathetic Swedish cover of Bob Marley's ”Pimpers Paradise”) was Staf's worst idea since substituting Kvartetten Som Sprängde with a slick radio friendly lush laidback West Coast sound on ”Vår om du vill”. Not even having Kenny Håkansson among the session musicians can help this privately released mess. And oh, Staf whistles too...

Bernt Staf made one further album on his own Best label ('Worst' would have been a better name) in 1983, ”Hammenhög Airport”, and a comeback album in 1996, ”Klockor”. He also appears on several various artists compilation, including ”Progglådan” that features an early live recording for Swedish Radio show Midnight Hour.

När dimman lättar full album playlist

Live full album playlist

Vingslag full album playlist
Midnight Hour 1971 full album playlist

from Valhall

"Göteborgsposten"

"Arbetarblot"

"Zaïre" 

No links found for Hycklarnas paradis.