A SEVEN INCH SPECIAL, VOL. 10: Rock

  
RESPEKT – Den stora bron / Rebellernas afton (Respekt, 1977)
Swedish vocals
International relevance: *

It looks like an biker hard rock single but it sounds more like average singer/songwriter rock. ”Den stora bron” is quite OK (although overlong at 6+ minutes), with an acoustic rhythm guitar and a harmonica solo to put it firmly in the Ulf Lundell/Bob Dylan/Neil Young tradition. ”Rebellernas afton” is musically weaker and particularly suffers from singer Bengt O. Johansson's attempts at sounding Ulf-Lundell-as-John-Wayne macho.

 

MOTVIND – Plockepinn / Törst (Nacksving, 1979)
Swedish vocals
International relevance: *

First ever single by Motvind, released between their third and fourth album, and their only 1979 lifesign on vinyl. The style is typically Motvind with two songs approaching boogie rock and hard rock. Typically Motvind also means typically ignorable.

 

DRÖMPOJKARNA

 Sofi / Ny i stadens ljus (Musiklaget Slick, 1979)
Final Single (Svenska Popfabriken, 1980) as F.D.Drömpojkarna
Swedish vocals
International relevance: *

Featured here for the sake of completion as Drömpojkarna's only LP is already included. Both singles have some of their better songs, and doesn't suffer too much from the contrived 'controversial' tone that was evident on the album. The 1979 single was produced by Pål Spektrum, an underground legend responsible for most of what was released on Svenska Popfabriken, a label that was hot as a waffle iron in the late 70s/early 80s thanks to the strong regional air to their many pop and rock'n'roll styled releases. For the aptly titled ”Final Single” (actually released as F.D. Drömpojkarna – ”f.d.” meaning ”ex-” – signalling the band had split up before its release) they took the full step and became a Svenska Popfabriken act. I personally have a weak spot for Svenska Popfabriken and what they stood for, but neither of these singles are at all recommended to progg fans.

FRONTALROCK – Nattens barn / Angår oss inte (Gadd, 1980)
Swedish vocals
International relevance: *

Sometimes classified as punk or hard rock, this has very little of either. It was taped in 1979 but not released until 1980 at the band's own expense in a 500 copies edition. ”Nattens barn” shows very faint traces of the then popular neo-ska of the British 2 Tone label, but is basically a mid tempo rock song which is quite good with a discreet but ornate piano and a rather fiery lead guitar. The title of the B side means ”Doesn't concern us”, and that's how I feel about the song too. It sounds more like a Kylans Rockorkester throwaway, a silly rock'n'roll pastiche that is has none of the decent songwriting qualities of ”Nattens barn”. 

Bassist Christer Höglund was also in Musikgruppen ACP and Istid. 

 

DJUSH BAND – Just nu / Lilla Lisa (no label, 1980)
Swedish vocals
International relevance: *

Categorized as hard rock on Discogs, but that's wrong. It's a private release with a somewhat quirky track on the A side and the more straightforward proggish ”Lilla Lisa” on the flip. ”Lilla Lisa” sounds a bit like a later Nationalteatern song and deals with at-risk youth and related social issues. The phrase ”livet är en fest” even appears in the lyrics (alluding to one of Nationalteatern's best known tracks, meaning ”life's a party” which is purely ironic). Several clues lead to Gothenburg as the band's origin, which would further explain the Nationalteatern influence.

RENDEZ-VOUS – Plugget är slut / Åh dessa dagar (GMP, 1980)

Swedish vocals
International relevance: **

An outlier on the GMP (Great Music Production) label that was more into Swedish dance bands than the budget kind of commercial sounding symphonic rock of Rendez-Vous. Singer and keyboardist Thomas Nanor had an MNW single of classical interpretations out in 1971, a semi-rare space electronics album in 1982, plus another 7” in 1986. Needless to say, both ”Plugget är slut” and ”Åh dessa dagar” are heavy on keyboards. The latter is in fact a half-decent ”dramatic ballad” in itself, but I find Nanor's high pitched vocals with a threating vibrato quite irritating. Perhaps the symphonic vibe is too light to appeal to seasoned symph fans, but then again, I'm not sure who else would be very interest in this. Judging by the low market value and the fact it's fairly easy to come by, the answer is: no-one.

 

PER P – Ackumulerad skuld / Sabine / Novalucol / Hon var våt (Eko, 1980)
Swedish vocals
International relevance: *

Per Paulsson had previously released the album ”Tro, hopp och kaffe” in 1974 while his backing band Ruff is featured on the various artists comp ”Ruff & Fukt & Suck”. This four track EP was released with two B sides according to the sleeve and labels and was pressed in red vinyl. It's pretty pedestrian rock progg although some of the lyrics are a bit peculiar. I've never heard of ”drunken guitar picks” before I heard the punk inspired ”Ackumulerad skuld”... Probably the best track here, and as that's not very good you can take this as an encouragement to pass on this.

 

ICTUS – Jag vill ut / Yesterday Song (Plebb, 1980)

Swedish vocals, English vocals

International relevance: *

Released through the label run by Plebb/Purple Haze in an edition of reputedly only 285 copies, this might seem more interesting than it is. ”Jag vill ut” is a mediocre power pop track, so it's ”Yesterday Song” that has to offer up some progginess to justify its place here. It has a slightly off-kilter rhythm suggesting funk and reggae without being any of it plus some knotty guitar playing. The melody is oddly elusive. Elusive apparently also to the singer who seems to struggle with it. Rare yes, but that's really the only thing it has going for it. Avoid.

GRÖNA HISSEN – Statt! (Ori, 1980)
Swedish vocals
International relevance: *

Although titled ”Statt!”, the two songs on this small label release are named ”Ute” (several meanings, here ”out of fashion”, ”unpopular”) and ”Samhällets fiende No. 1” (=”Public enemy no. 1”). Often considered a hard rock band, Gröna Hissen were a more a plain rock band with a punk/progg edge. ”Ute” borrows shamelessly from ”Jumpin' Jack Flash” while the bass line on ”Samhällets fiende No. 1” is reminiscent of neo-ska band Specials. Which is not to say that Gröna Hissen were mere copycats. Although they weren't the most original band around, ”Statt!” nevertheless has a certain appeal thanks to its strong underground aura. They're not the best players, and not always tight, but these two songs have an urgency to them which I like. Prices vary, but not being an established sought-after rarity, it should still be fairly easy to come by relatively cheap for those interested (as of early 2026).

SPINNROCK – Nighttime Is The Righttime / I Remember You (Hit-Records, 1981)

English vocals

International relevance: *

Although there's nothing particularly wrong with this – ”Nighttime Is The Righttime” [sic!] even has some mildly interesting harmonic turns – it's pretty mundane. The lead guitar has some hard rock glitz to them, and the harmony vocals are OK for a release like this, but both tracks leave me cold and a little bored, especially the ballad ”I Remember You”.

Respekt 
Rebellernas afton 
Motvind
Plockepinn / Törst 
Djush Band
Lilla Lisa
Rendez-Vous
Plugget är slut 
Gröna Hissen
Ute
Drömpojkarna
Sofi full single playlist 
Final Single full single playlist 

Frontalrock full single 
Ictus full single playlist 
Spinnrock full single playlist 

Per P no links found 

LARS ALDMAN & HAFFSORKESTERN – Gud hjälpe! (Nacksving, 1977)

 Swedish vocals
International relevance: *

Of all the bad Nacksving albums, and there are many, Lars Aldman's two are among the very worst (his first one ”Nånting har hänt” from 1976 is already on the blog). ”Gud hjälpe!” is embarrassing political platitudes set to a B grade version of Nationalteatern styled rock music. In an eye-pokingly ugly sleeve at that. The 8 minute ”Och hör du” could possibly have been OK if done by somebody else. This is so bad that it's no surprise that Lars Aldman refused to discuss his albums when I once asked him about them.

Trädet

A SEVEN INCH SPECIAL, VOL. 5: Political and religious

THE VERGERS – Se dig för / Fader vår (Celesta, 1969)
Swedish vocals
International relevance: *

”Se dig för” is included on ”Frälst!” but B side ”Fader vår” remains uncomped. Not a very good one, weaker than the A side, so there's no need to look for this 45 if you have ”Frälst!”. This was the last of The Vergers' four singles.

 

FRIA PROTEATERN – Chile (Folksång, 1974)
Swedish vocals:
International relevance: *

Two tracks unique to this Chile solidarity single, although side one's ”Ett enat folk” is available in a live version on ”Koncert I København Okt. 1973”. Side B has ”IB, ÖB och SÄPO” about the political scandal described in some detail here. For Fria Proteatern fans only.

OPPONER – Alfa blues / Till min make (Opponer, 1975)
Swedish vocals
International relevance: *

Two tracks not on Opponer's full length album. ”Alfa blues” is exacrly that, a blues number of no particular merir, while ”Till min make” is a traditional tune with new lyrics by Opponer singer Anna Olofsson and bassist Mats Sönnfors. A much better song with that sweet melancholy typical to the best Swedish folk tunes. Released with the aid from the workers at pump facorty Alfa Laval.

ELEVER PÅ MUSIKLÄRARSKOLAN SÄMUS I GÖTEBORG / FRIA PROTEATERN – Vietnam Kambodja befriade (Befria Södern, 1975)
Swedish vocals
International relevance: *

As the Vietnam war ended in 1975, so did the stream of releases from De Förenade FNL-grupperna and their cohorts. This was the last of those, a three track EP split between Fria Proteatern and Elever på musiklärarskolan SÄMUS i Göteborg (students at the Gothenburg school for music teachers). Released to celebrate the war's end, it's typical political stuff very much in line with the other Vietnam albums and singles, and so best ignored. Fria Proteatern's ”Balladen om Rune Henry Johansson” is also on ”Sånger från ljugarbänken”.

BJÖRN AFZELIUS BAND / NATIONALTEATERN – Kamrater, Bodenarbetare / Rädda varven! (Nacksving, 1978)
Swedish vocals
International relevance: **

Two exclusive tracks, one by Björn Afzelius Band and one by Nationalteatern. Afzelius's ”Kamrater, Bodenarbetare” is in support of the strikers at Boden's car factory in 1978. It's a pretty good track with slight folk rock shadings, good especially for Björn Afzelius. Nationalteatern's ”Rädda varven!” is a call to save the Gothenburg boatyard threatened by shutdown which eventually happened. A weak track in an undistinguished Gothenburg/Nacksving rock style.

EN RÖD KÖR OCH SÅNGGRUPPEN DEN MÄNSKLIGA FAKTORN – Säj nej! (no label, EP 1980)
Swedish vocals
International relevance: *

A privately pressed single released in 1980, the year of the Swedish nuclear power referendum and has anti-nuclear message. It has two acts, the choir En Röd Kör and vocal folk group Den Mänskliga Faktorn, although it's hard to say if it all involves the same people. Acoustic as it is it could easily fall into the Fria Proteatern trap but there's something very charming and disarming about the unpretentious atmosphere. The rock & roll pastiche ”The Sysselsättning Rock” is pretty terrible but the other songs are in fact rather catchy. Well, perhaps I wouldn't call the title track exactly catchy, but it's a quite atmospheric adaptation of a Czech herding song. It's nothing I would particularly recommend, but I've heard far worse and way more self-important examples of political songs than these.

The Vergers:
Se dig för (Bandcamp)
Fader vår
Fria Proteatern:
Ett enat folk (El Pueblo Unido)
IB, ÖB och SÄPO
Opponer:
Alfa blues
Till min make
Vietnam Kambodja befriade:
SÄMUS - Vietnam är befriat
Fria Proteatern - Balladen om Rune Henry Johansson
SÄMUS - Kambodja är befriat 
Björn Afzelius/Nationalteatern:
Björn Afzelius Band - Kamrater, Bodenarbetare
Nationalteatern - Rädda varven!
En Röd Kör och sånggruppen Den Mänskliga Faktorn:
no links found

CONO SUR – Cono Sur (Nacksving, 1979)

Other languages, instrumental

International relevance: *

A Gothenburg trio of two Latin Americans and one Swede performing music from Bolivia, Peru, Argentina, Chile and Venezuela. Everything is obviously very heartfelt and honest with educational liner notes, but apart from the short ”Chaska” with a distinct renaissance flair, the album is as boring as a rainy summer holiday.

No links found

YALSA BAND – Life Vest Under Your Seat (Nacksving, 1981)

Swedish vocals
International relevance: *

Late to the game Gothenburg band with Hannes Råstam of Blåkulla and Text & Musik, and Motvind's Göran Ekstrand. Parts of this is horrendous disco rock while other parts sound like a Nynningen gone completely bad. ”Allt medan älven drar förbi” is a stillborn cover of Bob Dylan's ”Watching The River Flow” while ”Om blixten slår ner i datan” is an Ulf Dageby song he had the good sense of not recording himself.

No links found

A SEVEN INCH SPECIAL, VOL. 4: Late era progg

 BALL
Leaving (For A New Land) / Ballgame (Philips, 1977)
Busker / Frida's Bank (Hi-Hat, 1978)
English vocals
International relevance: *

A Finnish-Swedish band active in Stockholm. They only made two singles, the first one also released in Finland on Hi-Hat with sides reversed and a different cover, the second one only released in Finland. They are mentioned in ”The Encyclopedia of Swedish Progressive Music” but none of them is very proggish at all. Ball was more of a classic rock band who probably thought they were very metal, but only ”Ballgame” could possibly be called hard rock. Bass player Kaj Söderström and drummer Henrik ”Hempo” Hilldén were previously in Splash and later went on to the rhyming Trash, a heavy metal band who made two albums in the 80s. Hilldén also played with Pugh Rogefeldt and Mikael Ramel in the 70s and later had an international career. 

 

SYDKRAFT – Surfway / Så tung, så lång (EMI, 1978)
English vocals, Swedish vocals
International relevance: *

Two tracks both on Sydkraft's bad full length album but in different and better versions. ”Surfway” works vastly better as the surf punk number it's here than as the terrible fake reggae track on the LP, If you want great neo-surf pop, please go to UK band The Barracudas debut album instead. Flipside ”Så tung, så lång” has more energy in this early version than on the re-recorded album version. Yes, better, but still not good.

 

 

HETS – Uran / Valutatango (Alternativ, 1979)
Swedish vocals
International relevance: -

Peripherally interesting for being on Kjell Höglund's Alternativ label. The 'A' side is an anti-nuclear song and the 'B' side is a cabaret styled song against tax refugees. Not worth the effort. Another single exists plus a full album, both on Alternativ.

STAFFANS LÄRJUNGAR – Tures trumpet / Dresden '45 (Staffan Records, 1979)
Swedish vocals, instrumental
International relevance: **

Private 45 from a Gävle band with no further releases. ”Tures trumpet” sounds a bit like an inferior early Dom Smutsiga Hundarna track, with a whacky trumpet solo at the end. ”Dresden '45” is a bit more interesting, an instrumental with a bit of atmosphere with organ and clumsy guitars. Recorded in two days in Mora Träsk's studio. Bassist Bengt-Olof Tedeborg later went to other Gävle bands including new wave band Grenzfall. Trumpeter and organist Jan Lindström later changed his surname to Berglin and became one of Sweden's most brilliant cartoonists.

STEVE ROPER BAND – Freda'n är här / Betonglåten (Opel, 1979)

Swedish vocals

International relevance: **

Umeå band with Lars Gillén on drums. Gillén later co-founded Umeå label Garageland Records that did some early reissues of Lea Riders Group and Friends. ”Betonglåten” is the best and most proggish track of the two with some prominent guitar playing. ”Freda'n är här” is more pop oriented, and later Steve Roper Band releases are mediocre power pop. They also have a track on V/A compilation "Vi har rätt till jobb".

 

ALDRIG I LIVET – När Hyland sjunger lalala... / Brända barn (Fest Produktion, 1981)

Swedish vocals

International relevance: **

Yet another act from the north of Sweden, this time from Luleå. The 'A' side is a forgettable ska track but ”Brända barn” is OK, not entirely unlike a slow Nynningen or late Nationalteatern track in style. I suspect Tomas Forssell might have been an inspiration here as he moved to Luleå after Nynningen's demise.
 

 

DOM SMUTSIGA HUNDARNA – Festen är över / Sista dansen (Nacksving, 1982)
Swedish vocals

International relevance: *

Second to last outing from this Gothenburg band, only followed by their final album ”Framtiden rusar emot dig” in 1983. By this time they had lost their early scruffy appeal and become just another Nacksving band, and hadn't it been for the saxophone, this could have been any mediocre band of 1982.

 

GOTLANDS TEATER

Knark (Noon, EP 1982)

Rockpojken / Tonys sång (Noon, 1982)

Swedish vocals

International relevance: *

Gotlands Teater was a theatre ensemble who made its vinyl debut already in 1974 with single-sided LP ”Modell /74”. Eight years later three singles appeared, including five track 33 1/3 EP ”Knark” and ”Rockpojken”. Obviously styled after the edgier side of Nationalteatern, most of it is just unexceptional rock music. Best track is ”Horor och knarkluder” from ”Knark”. 

"Rockpojken" was released with three different covers. 

Worth noting is the theatre's creative director and actor Anders T. Peedú who was in garage band Friends in the 60s. 

 

CRUT

Efter 5 långa år / Tunnan (Ljudbarrikaden Spartacus, 1978)

Jönköping / Balladen om puben Lycka (Skivbolaget Sjöbo, 1980)

Hååvee / Grande Finale (Sjöbo Påpp, 1981)

Swedish vocals

International relevance: *

Crut is already on this blog with their album ”Världspremiär”. ”Jönköping” and ”Grand Finale” are both on the album in very similar versions, while ”Balladen om puben Lycka” is an entirely different recording. The basement hard rock of ”Efter 5 långa år” is the best thing they ever did while ”Hååvee” is absolutely moronic crap. Remaining tracks fall somewhere inbetween, but closer to crap.

GUNNAR EDANDER – Musiken ur ”Kameliadamens kärlek och död” (Skådebanan, 1981)
Instrumental
International relevance: **

Gunnar Edander composed the music for ”Kärleksföreställningen”, ”Jösses flickor”, and ”Sånger om kvinnor" to name but some of his best known work. This seven-inch belongs to his most obscure efforts however. It's two instrumental tracks from a play based on Alexander Dumas' ”The Lady of the Camellias” (also knowns as simply ”Camille”) and performed at Stockholm City Theatre in 1981. ”Kameliavalsen” (with French subtitle ”La Valse aux Camélias”) is almost akin to 20th century modernist piano music. Or perhaps even a spastic unknown recording by a completely psychotic Lars Hollmer. B side is the title track from the play, ”Kameliadamens kärlek och död” (”L'amour et la Mort de la Dame aux Camélias”) and a very different thing. Starting off like a variation on ”Fûr Elise”, it soon expands into a romantic, spacious piece with strong melancholic underpinnings. A very moody composition and quite captivating. This is by and large the most intriguing music I've ever heard from Gunnar Edander and it's a shame it remains virtually unknown.

Sydkraft full single 
Hets full single
Staffans Lärjungar full single 
Aldrig I Livet full single
Dom Smutsiga Hundarna full single
Ball:
Leaving (For A New Land)
Ballgame 
Busker
Frida's Bank
Steve Roper Band:
Freda'n är här
Betonglåten
Gotlands Teater:
Knark full single
Rockpojken full single
Crut:
Efter 5 långa år full single playlist
Jönköping full single playlist
Hååvee full single playlist
Gunnar Edander no links found

KARIN GREEN – Brinn (Nacksving, 1982)

Swedish vocals
International relevance: -

Karin Green made her debut already in the early 60s with a 45 on the Cupol label but the follow-up didn't appear until 1982! ”Nattfjäril” was the pilot single for ”Brinn”; the album followed shortly after on Nacksving with Bengan Blomgren (Nynningen et al), Mikael Krönlein (Skrotbandet), Niels Nordin (Skrotbandet, Sundance) and Olle Nyberg (Motvind) backing. And there end the progg credentials. Well-received upon its release (but without sales to match the reviews), ”Brinn” is dull singer/songwriter rock best avoided.

Green (who has a decent enough voice herself) is now a voice coach and has released several more albums on her own label, as well as a couple of books.

Full album playlist

TOTTA'S BLUESBAND – Live At Renströmska (Nacksving, 1981)

English vocals
International relevance: *

Totta's – or Tottas to use the Swedish possessive form – Bluesband began life as a side project to the other two bands Torsten ”Totta” Näslund was part of in the 70's, Nynningen and Nationalteatern. This side project was even called Nynningens och Nationalteaterns Fritidsorkester ("fritidsorkester" meaning something like ”hobby orchestra”), before eventually evolving into Tottas Bluesband with several members from the old Nynningen and Nacksving label coterie. With the blues always close to Totta Näslund's heart, this was a chance for him to fully immerse himself in songs by the likes of J.B. Lenoir, Otis Rush, Robert Johnson, Howlin' Wolf and Jimmy Rogers. They became a popular outfit during the 80's, and also had a weekly spot every Monday on Näslund's and bassist Nikke Ström's own restaurant C Von in hometown Gothenburg. This particular album, the band's debut, was taped live during two consecutive evenings at the Renströmska jazz club in the late summer of 1981.

A lot of people will disagree with me, but I don't think Totta Näslund was a good blues singer. His voice is dull and and colourless and while I'd never question his love for the blues was serious and honest, Tottas Bluesband still sound just like a band playing pubs to beer burping buddybuddies and the occasional married couple with the husband touching his wife in more appropriate ways the later the hour and the drunker he gets. To me, this simply sounds as any old bores with hats and sunglasses on and think they're ”bloooooze, man”. They go through every well-rehearsed move in the book but they never get the blues down for real. It's all form and very little real content. Put on a proper Howlin' Wolf track and this album will run home crying for mum. And if you want straight pub rock go for the real British stuff instead – any early Dr. Feelgood album with Wilko Johnson grinds this album to tiny shards between the teeth.

An equally uninteresting single coupling ”Ain't Your Business” with ”Too Bad” appeared in 1982, and a few more albums followed sporadically during the rest of the 80's. Totta Näslund later had several solo albums before passing away in 2005. His very last regular album was a tribute album to Bob Dylan together with Mikael Wiehe.

Full album playlist

SKROTBANDET – Övervintring (Nacksving, 1979)

 
Instrumental
International relevance: **

Skrotbandet's first entry to this blog was with their second album ”Afrocarib” which is quite different to this one, their first. While their infatuation with Latin and Caribbean rhythms is on display already here, this is more of a semi-fusion jazz effort with more groove than what your average in vitro fertilized jazz fusion album usually musters up. Maybe because ”Övervintring” is recorded live without having the spontaniety scrubbed off in the studio. It's still a bit too far into trapeze artist jazz for me (I particularily find the guitar solos pretty annoying), but it must be said that the music nevertheless cooks with a fair bit of enthusiasm and joy of playing. And it's better than "Afrocarib".

No links found.

SVARTVITT – Svartvitt (Nacksving, 1981)

Swedish vocals

 International relevance: **

Latecomers to the Nacksving roster, Svartvitt had a straightforward gritty style close to what you could expect from a late 70's/early 80's Gothenburg band. Their secret weapon was powerhouse singer Gerda Persson whose raspy and soulful voice gave them a certain edge that nevertheless set Svartvitt apart from most other bands at the time, giving guitarist and main songwriter Bernt Wahlsten's songs a touch of a revved-up working class version of Delaney & Bonnie at their heaviest. Svartvitt's style may not be something that automatically appeal to fans of the more experimental side of progg, but to those who fancy the no-nonsense approach of bands such as Rekyl, Huntington Band and Ensamma Hjärtan, Svartvitt will most likely come as a pleasant surprise. Gerda Persson did in fact appear on Ensamma Hjärtan's final studio LP ”Nam Nam” in 1981.

Svartvitt also had several singles out; their debut work was a self released 500 copies 7” in 1979, while the heavy ”Solsting” and the slightly punkish ”Gasmannen” were culled from ”Svartvitt” for a 1980 45. The album's most accessible track ”En gång till” was strangely enough only distributed as a promo 12” not available for general consumption.

The band's history goes back to 1976, but it wasn't until 1979 they settled for the name Svartvitt. They were active to at least 1983 when their second and final album ”En ny tid” arrived through Nacksving. While it still had its share of good songs, the production was marred by an 80's production seriously weakening its impact. Still, Svartvitt remain as one of the unsung heroes of latter-day progg in a wide sense.

Värdighet
Gasmannen
Jag vill ha mer
En gång till
Solsting
Kan du höra hjärtat slå

SKROTBANDET – Afrocarib (Nacksving, 1980)

 
Swedish vocals, other languages

International relevance: *

For their second album, Skrotbandet recruited previous members of Göteborgs Visgrupp and GöteborgsBrechtensemble and changed their direction from a once avantgarde constellation (as represented on various artists compilation ”LIM – Levande improviserad musik från Göteborg”) to a band taking most of their cues from afro-Caribbean music. The album title alone gives away the stylistic switch.

”Afrocarib” almost plays like a catalogue of styles from the region. We get Cuban rhythms, a couple of reggae tracks, a little touch of calypso and several dashes of fashionable salsa – everything bereft of the respective styles' original weight and meaning. This is a textbook example of when putting style before content. It's all mathematically precise, well-studied and competently executed but the most important thing, the one you've got to have within you, is conspicuously lacking: the passion that comes with the circumstances the music is rooted in.

Ignore this album and check out Skrotbandet's sources instead for the real McCoy - the list of recommended albums printed on the album's lyric sheet provides suggestions for more fulfilling listening experiences than the album itself (even though my personal recommendations probably would have looked different). Nacksving's label honcho and album producer Tommy Rander probably loved it though, given his penchant for dogmatically correct but soulless statements.

Their first album is reviewed here.

No links found.

VARIOUS ARTISTS – Ett anständigt liv (Nacksving, 1979)

Swedish vocals, instrumental

International relevance: **

The soundtrack from the second part of Stefan Jarl's documentary trilogy about Stockholm mods Kenta Gustafsson and Stoffe Svensson, the first being the 1968 classic ”Dom kallar oss mods (They Call Us Misfits)”. ”Ett anständigt liv (A Respectable Life)” was released in 1979 and is a very dark depiction of the Stockholm drug underground (see album cover for further insight in the movie's feel). 

The soundtrack often reflects the heroin hopelessness, especially on the chilling ”Gallret” and ”Horsefixen”, both composed by Nationalteatern's Ulf Dageby. He also contributed ”Streetan” and ”Gnistrande snö”, both sounding a fair bit like Berlin period Bowie (two years before director Uli Edel realized David Bowie's late 70's albums would provide the perfect musical backdrop to ”Christiane F.”), plus the kraut bluesy ”Centan (Köp hela livet)”. Dageby's contributions are the best on the album; Kenta's and Stoffe's tracks are inferior singer/songwriter tracks, and Göran Eklund's ”Heroinet, är du min älskling” (written by Dageby and Bernt Staf) is typical Gothenburg progg rock.

Full album playlist

NATIONALTEATERN - Complete albums 1972-1981

The origins of Nationalteatern can be traced back to Lilla Teatern in Lund that developed into Malmö based Gorillateatern. When they split in two in 1969, Dalateatern became one part and Nationalteatern the other. Nationalteatern relocated to Gothenburg in 1970, and the following year, songwriters Anders Melander and Ulf Dageby joined the troupe. Throughout the decade, Nationalteatern wrote plays and music that acknowledged the suburban youth that felt ignored by society and its politicians. Nationalteatern appeared at lots of youth centres in and around Gothenburg, slowly building an appreciative following with their straightforward music and socially aware lyrics. They also wrote several children's plays.

Ta det som ett löfte... ta det inte som ett hot (MNW, 1972)
Swedish vocals, instrumental

International relevance: **

Nationalteatern's first album was a product of its time, permeated by the idea that everybody should play an instrument to create a truly collective effort. Not everyone was keen on that, group member Med Reventberg admitted in an interviewfor Swedish pod radio show Snedtänkt in 2018. She had no interest in playing the guitar or whatever, and thought it would be much better if the musicianship was left to those who mastered better than she (and others) did. It's easy to get the impression that it was solely a concession to the era's fashionable collectivity ethos, and that impression grows even stronger upon hearing ”Ta det som ett löfte... ta det inte som ett hot”. ”Ut i kylan” is a decent track, and one of the few here not entirely lost to the communal/collective nonsense. This is easily the worst of Nationalteatern's 70's albums (”Kåldolmar och kalsipper” doesn't quite count).

Two cover variations exist, the original with a light green colour – a misprint – and a later version in a much darker green as seen above.

Livet är en fest (MNW, 1974)

Swedish vocals
International relevance: *

Nationalteatern's most classic album. ”Livet är en fest” is like a 'best of' album of sorts, collecting the musical highlights from several different stage plays. Many of the songs have an anti-drug message clad in irony that was easy to distinguish at the time. But irony's often lost over time, and today people unfamiliar with the songs original context misinterpret them as being pro drugs (which Anders Melander has commented on with a fair bit of unease). The songs have survived, but not so much the original meaning of them. In an awkward way, that proves that good songs have a greater longevity than the message.

And the songs are good, with plenty of memorable hooks. But that doesn't mean I want to hear them over and over again, not anymore. The title track was originally performed as a country song but transformed into a Rolling Stones inspired rock workout is overplayed, ”Lägg av” is simply embarassing today and ”Stena Olssons Compagnie” – a reworking of The Coasters' ”Riot in Cell Block No. 9” – is hard to listen to today, as is the irritating mock reggae of ”Speedy Gonzales” and the crypto calypso of ”Hanna från Arlöv”. But I still like Melander's ”Jack the Ripper” and ”Bängen trålar”, but two tracks are enough only for a single, not an album. A seriously overplayed album.

Beware of early CD editions, remixed with reverb added to the original recordings to make them sound more 'contemporary'. When confronted, Ulf Dageby replied ”who cares about mixings?” Well I, for one, do. And I, for one, don't like revisionism.

Kåldolmar och kalsipper (MNW, 1976)

Swedish vocals, spoken word
International relevance: *

Briefly mentioned in my children's progg post, this is a kids' record with a plot being a mish-mash of several different Nationalteatern plays. Heralded as a classic children's album, ex-members of Nationalteatern later said it didn't turn out quite as consistent as it should have. When they recorded it there were also fights over the overt political opinions expressed on the album. While Nationalteatern always had a left-wing bent, they rarerly stated it that openly, usually only describing social issues and problems, leaving the listener/spectator to draw their own conclusions.

Obviously, the songs on ”Kåldolmar och kalsipper” are aimed at kids and not very fun to listen to, but ”Agamemnons stora ballad om flykten från sitt hemland” and ”Jenny, havets skräck” are OK even to grown-up ears.

Vi kommer att leva igen (Nacksving, 1977)

as Nynningen & Nationalteatern

Swedish vocals
International relevance: *

In early 1977, the Big 2 of Gothenburg progg, Nynningen and Nationalteatern. joined forces for a stage play about the oppression of the Native Americans, just in time for the 200th anniversary of the United States of America. Despite the collaboration, ”Vi kommer att leva igen” is more of a Nationalteatern album as Ulf Dageby wrote all the songs for it. Not very good songs though, too dependent on the stage context.

1977 was also the year of Tältprojektet, a large scale collaboration between several independent theatre groups and musicians, and often considered the peak of the 70's music and theatre movements.

Barn av vår tid (Nacksving, 1978)

International relevance: *

Swedish vocals

Few album covers have captured the feeling of late 70's grey hopelessness as well as ”Barn av vår tid”, and the music reflects it. Nationalteatern's best album, with songs like ”Kolla kolla”, ”Spisa” and the majestic, eerie title track crowning the album – one of the major songs of the progg era. And ”Men bara om min älskade väntar” is perhaps the best Swedish Dylan translation ever, of ”Tomorrow Is a Long Time”, heartfelt and sincerely sung by Totta Näslund, originally of Nynningen but from ”Kåldolmar och kalsipper” more and more involved in Nationalteatern.

Rockormen (Nacksving, 1979)

Swedish vocals

International relevance: *

Recorded while on tour with the ”Rockormen” 'rock opera' in late 1978. With Ulf Dageby taking a step back only providing two songs and lyrics for another, members Peter Wahlqvist and Bertil Goldberg wrote most of the remaining material. With none of them being as driven songwriters as Ulf Dageby and the then ex-member Anders Molander, the album is weak.

Rövarkungens ö (Nacksving, 1980)

Swedish vocals

International relevance: **

Ulf Dageby had grown increasingly unhappy with the theatre format. He wanted to write songs without having to consider a plot or stage functionality. ”Rövarkungens ö” clearly demonstrates in what direction Dageby wanted to go. The tracks are longer, most of them around 5-7 minutes long, and the title track even clocking in at 12 minutes. It's obvious Dageby enjoyed his new-found freedom and Totta Näslund's vocals, but the album is pretty dull in that Nacksving way.

Luffarrock – en lurkmusikal (Nacksving, 1981)

Swedish vocals
International relevance: *

A 'musical' originally written and performed in 1974-75, the songs weren't recorded and released on disc until 1981. An often overlooked entry in Nationalteatern's discography, or should I say ignored? It's best left that way, unless you want silly songs sometimes performed in a semi-reggae style that doesn't sit at all well with the band. A terribly stiff production too. 

All Nationalteatern albums have been reissued. 9CD box set "Lägg av! Historien om Nationalteatern" compiled the albums in their entirety, adding numerous bonus tracks. A live session from "Lägg av!" is also featured in "Progglådan".

The theatre division of Nationalteatern released one further album on Amalthea in 1987 ”Peter Pan”, a children's play with the spoken parts interspersed with horrible synth laden musical bits, before dissolving in 1993. Nationalteatern's the rock band has reunited several times, released a live album in 1991, and another one in 2006. They're still active performing their old hits to nostalgic audiences across Sweden.

Ulf Dageby has released several solo albums, and also composed the soundtrack to Stefan Jarl's movie ”Ett anständigt liv”. The versatile Anders Melander has contributed music to a number of movies and television series, as well forming the shortlived band Cue with actor Niklas Hjulström.

Ta det som ett löfte full album playlist with bonus tracks
Livet är en fest full album playlist
Kåldolmar och kalsipper full album playlist
Vi kommer att leva igen full album playlist
Barn av vår tid full album playlist
Rockormen full album playlist with bonus tracks
Rövarkungens ö full album playlist
Luffarrock full album playlist
Tonkraft 1975 full album playlist

A VARIOUS ARTISTS SPECIAL – 3 Nacksving compilations 1975-1978

Established in 1975, the Nacksving label ran until 1981 when it went bankrupt. Label boss Tommy Rander bought it and became the sole owner after which he tranformed it to Transmission which kept going up until 1987. The Nacksving studio is still in use however; it was originally built because Rander didn't understand why the progg bands had to have inferior sound and lesser production values than the commercial music business. The label, always under ultimate direction from Rander, became the political epicentre of the progg movement at its tail end which led to its demise as creativity was choked by political dogma. When asked why the progg movement ended, Mikael Wiehe has said it ended because its time was over, and while true, the death of it was certainly hastened on by the narrowminded and unforgiving political bureaucrats at the Gothenburg headquarters.

NACKSVING – ETT SAMLAT GREPP FRÅN GÖTET (Nacksving, 1975)

Featured artists: Nationalteatern / Nynningen / Ariman / Soffgruppen / Motvind / Tintomara / Trio General Goof

Swedish vocals, instrumental

International relevance: **

First ever release on the Nacksving label, including both well-known acts and artists exclusive to this release. Tommy Rander worked at the Gothenburg department of Swedish Radio at the time, and the recordings on the album were made in session for the broadcasting company. With the budget of a fledgling record label, i.e. no money, Rander 'borrowed' the recordings from his employer. The Swedish Radio wasn't exactly happy with it when they discovered the caper, rebuked him, but let him stay on the job.

The album is a good cross section of what Gothenburg had to offer stylewise in the mid-70's, with jazz, rock and political folk pop. Most of it is rather unexceptional though, but the Nynningen and Nationalteatern collaboration ”Ta tillbaka Hagahuset” is powerful (in the same vein as Nynningen track ”För full hals”), and ”Parkeringshets” is the great Soffgruppen in a wonderfully violent mode.

FRISTIL (Nacksving, 1977)

Featured artists: Motvind / Ensamma Hjärtan / Dennis Huntington Band / Väsen / Björn Afzelius / Afzelius, Aldman, Hartelius, Löfdahl and Text & Musik

Swedish vocals, instrumental

International relevance: **

A showcase of various Nacksving artists, including the only record appearance of avant folk outfit Väsen (not to be confused with the 90's folk rock band of the same name) including later-to-be musicology professor Lars Lilliestam. Their two songs are OK, but the album is most noteworthy for the superior vocal version of Motvind's best track ”Lära för livet”. The Ensamma Hjärtan contribution is a disappointing 8 minute slow blues.

FRÅN FLYKT TILL KAMP (Nacksving, 1978)

as Lilla Nacksvingsligan

Featured artists: Björn Afzelius / Lars Aldman / Blues Annika / Sam Westerberg / Torsten "Totta" Näslund

Swedish vocals
International relevance: **

Released as Lilla Nacksvingsligan, this album was a charity album for prescription drug abusers and consists of songs recorded specifically for the purpose, with backing musicians from Nationalteatern and Nynningen. Blues Annika's ”I förvaring” is OK but not on par with her solo album (and country music deniers should know that it's much more of a country song than blues). Still the best track of the album, followed by Sam Westerberg's ”Opiets väg”. The rest of it is forgettable, and three Lars Aldman tracks are four too many.

from Nacksving - Ett samlat grepp från Götet

Nationalteatern & Nynningen - Maltesaren 

Nynningen - Batongerna ska dansa 

Motvind - Feta snutar 

Nationalteatern - Ettan 

Motvind - Fikapaus 

Nationalteatern & Nynningen - Ta tillbaka Hagahuset
Soffgruppen - Parkeringshets
from Fristil

Motvind - Bakfull 

Motvind - Lära för livet 

Ensamma Hjärtan - Hal som en ål 

Väsen - Avenyen + Blåskiten

from Från flykt till kamp

Blues Annika - I förvaring

Björn Afzelius - Missbruk

Sam Westerberg - Opiets väg 

Torsten "Totta" Näslund - En kugge i systemet