RADIO BALKAN – Radio Balkan (Mistlur, 1981) / Direktsändning (Mistlur, 1983; rec. 1981-1983)

Instrumental, Swedish vocals

International relevance: **

Before Anton Karis became a domestically well known radio journalist, he played the flute in Berits Halsband and also made a guest appearance on obscure band Occident's only album. After Berits Halsband disbanded, Karis went on world music band Radio Balkan who had two albums plus one single (with a non-album 'B' side) on the Mistlur imprint in the early 80s.

While there's nothing particularly wrong with any of them, they're a bit lacking. I'd love to hear a bit more oomph, it's too polite to really capture the real spirit of Balkan music. The first half of ”Direktsändning” was recorded live in 1982, and it's a bit better – the live setting probably triggered them a bit – but it's still not enough. The 'A' side of their single, ”Ella min vän” from 1981 is included, while remaining four tracks were recorded in 1983.

Radio Balkan full album playlist
Direktsändning full album playlist

MÖRBYLIGAN – Järtecken (Mistlur, 1980) / No. 003 (Bastun, 1982)

Swedish vocals
International relevance: -

As I mentioned in my review of their first album, Mörbyligan appealed to both proggsters, punks and so called ordinary people. Later albums didn't quite match the popularity of early songs like ”Ensamma Sussie” though. Their debut album ”Mörbyligan” hasn't aged well at all and appears hopelessly cringeworthy today, but already second album ”Järtecken” is worse. It sounds like a third rate Nationalteatern and their wishy-washy social pathos sounds fake. Especially in hindsight as their songwriter Åke Bylund later turned to nationalist politics. Their appropriately titled third album ”No. 003” is along those same lines and is downright dreadful with Mörbyligan going for a radio friendly classic rock sound and even shoddier songs.

from "Järtecken":
Lilla Sussie är död / Patrasket / 1902 (Nygammal kampsång) / Vi tjejer / Johnny Rumpvick / Varje vår / En ny dag / Davy Crockett / ABC för gossebarn / Kojan / Svarta oceaner / Kalles jul / Östermalm 
from "No. 003":
Det är nu som vi måste leva / Japaner, japaner (Vilket drag...) / Du / Frihetsgudinnan Hagen (Det är dags att sova igen) / Hon kunde dansa över ängarna / Lilla Sophie / ID 19 (CV2)

CANTALUCHA – Sånger till Kuba (Mistlur, 1979)

 

Swedish vocals, other languages
International relevance: -

What an incredibly tepid album. The title means ”songs for Cuba” and I suppose the album was made in support of Fidel's country but the performances are so debile it's more like an insult than a tribute. All of it sounds like tourist shop muzak, entirely devoid of any passion Cuban music may have. The vocals are so ninnyish I almost feel sorry for them. Cantalucha sound like a bunch of daycare teachers on soporifics. Needless to say, there's not one real Cuban among them. Had there been, they'd surely have stopped this hogwash from ever happening.

Full album playlist

DAGENS UNGDOM – Pick-nick på bilparkering (Mistlur, 1982)

Swedish vocals

International relevance: **

Avid blog readers might remember I have a certain weakness for bands straddling the fence between progg and punk. Something interesting happens when the twain meet, when traceable remnants get energized by a new attitude. Sometimes the results are excellent like Kräldjursanstalten, sometimes they're just... Boojwah Kids. You can't always win.

From Hudiksvall, Dagens Ungdom stormed the stage in 1980 with the four track EP ”Den sanningssökande hunden” (”the truth-seeking dog”) on Mistlur, a label that like Dagens Ungdom walked the thin line between progg and new wave/punk. The EP is more a lot more punk and reggae than their subsequent full length album – the best was yet to come.

Dagens Ungdom stayed with Mistlur, and in 1982, their first and only album appeared on the label. It's a more accomplished work than their EP, rich with angular rhythms and sudden changes, sometimes reminiscent of a less bombastic, more skeletal Cardiacs. Some tracks are a bit contrived but their compositional grasp had tightened a lot overall in the two years that had passed since their somewhat trying debut EP. It's hard to single out any particular track – ”Pick-nick på bilparkering” works best as a whole despite a slight inconsistency due to a couple of less than potent pastiches. It's not as exciting as Kräldjursanstalten, but if you too are interested in the progg/punk borderline style, it's well worth hearing.

Full album playlist
Full EP

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

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

THOMAS ALMQVIST - The Journey (Mistlur, 1980)

 Instrumental

Iinternational relevance: **

Thomas Almqvist's second solo effort is an altogether different beast to his debut "Nyanser" released a year earlier. Gone are (most of) the tranquil new age styled relaxation pieces for acoustic guitars, and in its place, more complex and fusion invoked workouts with a full band on several of the cuts. The title of the opening number "L.A. Exit" suggests the same studio gloss of L.A. Express's stockbroker fusion as the the music itself. While some tracks are still acoustic, they too reveal a change in aesthetics. Although I'd never listen to fusion unless I had this blog or was threatened by blunt force to my head (perhaps not even then), I can still distinguish good fusion from bad fusion, and this falls heavy in the latter category.

At least "Nyanser" had its qualities as unintrusive and faceless background music perfect for watering your plants or wiping the dust you've put of wiping off the shelves for far too long already, but this is just plain boring. 

Full album playlist

MÖRBYLIGAN – Mörbyligan (Mistlur, 1979)

Swedish vocals

International relevance: * 

Mörbyligan was a unique band insofar they appealed to both the progg minded, some punks and 'ordinary people' who helped making the songs ”Snälla pappa” and ”Ensamma Sussie” immensely popular at the end of the 70's. Their name translate to ”the Mörby gang”, Mörby being a part of wealthy Stockholm suburb Danderyd – not a place that usually leaps to mind when socialist oriented bands like Mörbyligan are mentioned. Leader Åke Bylund later took a sharp turn towards nationalist views – was Mörbyligan's stance an honest one to begin with, or were they just being opportunists cashing in on the general left wing atmosphere still prevalent at the end of the 70's? One thing's for sure, we can't ask Bylund as he died in 2005 from diabetes related complications.

Bylund had been a drummer for late 60's band East-West who released one 45 with an impressive version of Neil Young's Buffalo Springfield song ”Mr. Soul”. In 1974, he founded Chilly Chimes who released the ”Join the Army” 7” the following year and also had two tracks on the 1978 various artists compilation ”Ljud från Friberga”. They changed their name to Mörbyligan the following year, and released two EP's before making their eponymous album debut.

It doesn't really matter if the opinions Mörbyligan expressed were genuine or not, because the album doesn't sound at all as fresh as it did upon its original release. Their heavyhanded rock music comes off as faked and the humour apparent on some of the tracks just sounds silly today. At best, ”Mörbyligan” sounds like the work of some Nationalteatern wannabes of limited talent.

Mörbyligan made six further albums up until 1995, including the equally ignorable ”Järtecken” in 1980. They stopped touring in the mid-80's due to Åke Bylund's illness and hearing loss. He eventually took a swing to the far right and had a nationalist solo project as Odalmannen, and wrote books inspired by Norse mythology, using different nom de plumes.

Full album playlist with bonus tracks from second album

PSYNKOPAT – Har vi någon stil? (Mistlur, 1978)

Swedish vocals, English vocals, spoken word, instrumental

International relevance: **

A curious piece that merges poetry, jazz rock and avantgarde to an immature mess of Myrbein garage recordings played at 16 rpm and experimental post punk band Boojwah Kids throwing up in the gutter. Psynkopat had no ideas but tried to mask it with fundamentally failed attempts at improvisation. Their lack of talent is gargantuan. ”Have we got any style?” the album title asks, and the answer is NO, you don't, you've got nothing except a record company that should forever grieve the amounts of vinyl ruined by this abysmal joke of a record.

Unfortunately, Psynkopat also released a single in 1979. 

Full album

TRETTIOÅRIGA KRIGET – Complete albums 1974-1981

Prog and symph fan favourites Trettioåriga Kriget were founded in the Stockholm suburb Saltsjöbaden in 1970 as a clumsy gang with ambitions higher than a skyscraper and a competence level sometimes not higher than a newly mowed lawn. But if their band beginnings were humble, their social origins were not – Saltsjöbaden was and is one of Stockholm's wealthiest areas. 

Trettioåriga Kriget (Epic, 1974)

Swedish vocals

International relevance: ***

Trettioåriga Kriget's eponymous album debut came in 1974 and until then they had had the time to rehearse enough for their music to gel. Which unfortunately doesn't make the music better, only terrible in a different way. The ”Glorious War” recordings are largely instrumental, without long standing singer Robert Zima . Once he's present, there's someone to sing the impossibly pretentious lyrics. Really, they're unbearable, hopeless boy's room existentialism. Sad to say, the music has the same swanky feel. This is intellectually constipated arty-farty adolescent dross in a black polo shirt. Still, their best.

Krigssång (CBS, 1975)

Swedish vocals

International relevance: ***

 

Same thing over again, only with a breathier production. The vocals are highly-strung and egocentric, and worse still, they're occasionally 'augmented' by Zima's Uriah Heep falsetto. This album is like a yoga position known as 'head up your arse'. Strenous and full of itself.

Hej på er! (Mistlur, 1978)

Swedish vocals

International relevance: ***

 

Three years later and a new label. Trettioåriga Kriget stayed with Mistlur until disbanding in 1981. For ”Hej på er!” they downplayed their pretentiousness a little bit which could have been a good thing hadn't it turned them into some kind of proto new wave ”Solo” era Kaipa instead. And Robert Zima still annoys me to the verge of breakdown – and lets out his tortured cat falsetto in ”Natten som alltid”. The title track is a decent pop tune of sorts though.

Mot alla odds (Mistlur, 1979)
Swedish vocals 

International relevance: *

 

The 'proto new wave' reference above wasn't chosen at random, as Trettioåriga Kriget moved closer towards a contemporary late 70's style with each Mistlur album. Diehard fans usually dismiss the later albums, and I can see why – Trettioåriga Kriget's new found new wave influences didn't sit well with the expectations of fans of their former style. It worked for Van der Graaf Generator on ”Vital Live”, but it only makes Trettioåriga Kriget sound ridiculous. I mean, more ridiculous than before. Just look at the album cover – who did they suddenly want you to believe they were? The Ramones? Pathetic.

Kriget (Mistlur, 1981)

as Kriget

International relevance: *

Swedish lyrics

Following the release of ”Mot alla odds”, internal conflicts arose which led to Trettioåriga Kriget's demise in 1980. Very soon after some of the members reunited. Most importantly Robert Zima was gone, leaving the vocal duties to bassist Stefan Fredin. He's not a great singer, mediocre, but at least he isn't as nerve-grating as Zima was. Not being the same band anymore, neither in line-up nor style, they shortened their name to Kriget. As such, they released their final album in 1981. It's not very good, mostly standard fare turn of the decade pop/rock that other bands did so much better, but a little irritating than their other pompous drivel.

Trettioåriga Kriget full album playlist
Krigssång full album playlist
Hej på er! full album playlist
Mot alla odds full album
Kriget full album playlist

GREG FITZPATRICK – Det persiska äventyret (MNW, 1977) / Bildcirkus (Mistlur, 1978)

 

Swedish vocals, instrumental

International relevance: ***/***

Beverely Hills born Gregory Allan FitzPatrick was the son of director and documentary maker James A. Fitzpatrick who began making movies in the 20's and whose career spanned five decades. He left the States in 1966 and spent a year in Finland before settling down in Sweden. He earned his living as a street musician, and eventually formed a band with Jan Bandel and Sten Bergman. They turned into Atlantic Ocean and recorded one album in 1969 (released the following year), then FitzPatrick left for Asia. Upon returning to Sweden, he initiated Handgjort that in turn spawned the Tillsammans project with a line-up large as a small city. In 1976 he teamed up with Samla Mammas Manna for ”Snorungarnas symfoni”. His first solo album appeared in 1977.

”Det persiska äventyret” is an unintentionally funny album. FitzPatrick sings in Swedish – or he thinks he does. With an American accent so thick you could chop bricks out of it to build a house with, it's sometimes almost impossible to understand what he says. You've got to admire his linguistical braveness though, more than the album itself. It's more peculiar than good due to his lack of proper Swedish. For some reason the album has a several cover versions of songs by Hoola Bandoola Band, Bo Hansson/Fläsket Brinner, Stenblomma, Robert Broberg, Gläns Över Sjö Och Strand and Philemon Arthur & The Dung's ”Du var min enda vän”. His passion for Sweden and the then contemporary music is endearing for sure but ”Det persiska äventyret” is actually rather dull apart from the curious pronounciation.

For his second album ”Bildcirkus”, released under his full birthname, he dropped the lyrics altogether in favour of an all instrumental semi-symphonic music that's closer to ”Snorungarnas symfoni” than ”Det persiska äventyret”. His pioneering infatuation with synthesizers shows. He uses them a lot on the album, making it sound dated and sterile. Parts of it remind me of Samla Mammas Manna member Lars Hollmer's solo albums, but ”Bildcirkus” isn't as heartfelt as say ”XX sibiriska cyklar”.

Greg Fitzpatrick later became an in-demand session player, and opened a synthesizer shop in Stockholm in the 80's. He then turned to jingles making for commercials, and he's also worked in the field of music pedagogy.

Det persiska äventyret full album playlist
Bildcirkus full album playlist

THOMAS ALMQVIST – Nyanser (Mistlur, 1979)

Instrumental

International relevance: **

Often hired session musician Thomas Almqvist has recorded several albums of his own; ”Nyanser” was his first and reveals his appreciation for classical guitar. The music also incorporates elements of jazz thanks to Hans Peter Andersson's various saxophones, Elise Einardotter's Fender Rhodes piano and Peter Öberg's drum patterns. It's a soothing album with Almqvist's acoustic guitar to the fore, sometimes reminiscent of new age guitarist Michael Hedges, and sometimes in the style of John Renbourn's 80's albums. Pleasant for background listening but not very engaging when you turn the volume up.

Intro
E.M.
Horisont
Quebeck
Coral Reef
Sortie

TELGE BLUES - Telge Blues (Philips, 1975) / BLUE FIRE - Blue Fire (MIstlur, 1978)

TELGE BLUES – Telge Blues (Philips, 1975)

English vocals

International relevance: **

BLUE FIRE – Blue Fire (Mistlur, 1978)

English and Swedish vocals

International relevance: **

In my very first post to this blog, I said that Södertälje was a blues city, with Sven Zetterberg being of paramount importance. Zetterberg rose to local stardom in the 70's before earning international reverence in the 80's and beyond. Deservedly so, as he was a great harp blower, an even better guitarist and as years went by became one of the most soulful singers ever to come out of Sweden.

Zetterberg moved from his native town of Skärblacka to Södertälje in the late 60's, and in 1972, he founded Telge Bluesorkester with excellent drummer Stefan ”Stoffe” Sundlöf among others. (Telge is an older name for Södertälje.) The following year the band did a session for the Tonkraft radio show, bringing the yet unsigned band to national attention. This in turn led to several commitments as support act to international blues stars visiting Sweden. In 1975, Telge Bluesorkester, with their name abbreviated to Telge Blues, Philips Records signed them for what was to become their only album. (For those taking notes, the drawbridge seen on the album cover is one of the best known local landmarks.)

 

Although ”Telge Blues” can't compare with Zetterberg's later victories (his solo albums in particular), it's a rough and ready urban blues effort. Tracks like ”Wish Me Well” and Billy Boy Arnold's ”I Wish You Would” are too crude to make their point, but ”Act Like You Know Me”, ”Hard Road” and ”Checkin' Up” are credible enough.

After the demise of Telge Blues, Zetterberg and Sundlöf went on to form Blue Fire who later changed their name to Chicago Express and became Sweden's prime blues band for fifteen years. Blue Fire were a more self-assured band and an all around more efficient machinery than Telge Blues. Zetterberg grew as a singer, and while his greatest achievements were still years ahead of him, his and the band's potential was already evident in slower numbers, ”Suicide Blues” in particular.

”Telge Blues” was the first ever album released on the Mistlur label, later home of Trettioåriga Kriget, Thomas Almqvist, Torkel Rasmusson and other progg acts, as well as several noted Swedish punk bands.

Special thanks to Tor-Björn Lyrhed for his kind permission to use his early 70's pic of Sven Zetterberg.

Telge Blues full album playlist
Blue Fire no links found