A SEVEN INCH SPECIAL, VOL. 13: FRINGE PROGG

 
BRUNO WINTZELL
Idag sköt jag ihjäl en okänd man / Du och jag – en kärlekshistoria (Polydor, 1970)
Balladen om Joe Hill / Som en seglande mås (Polydor, 1971)
Swedish vocals
International relevance: *

Roger Cook's ”Today I Shot A Man I Didn't Know” proved very popular when translated by Hawkey Franzén. There are four Swedish versions from 1970, that I know of, but there might be even more hiding away somewhere. The antiwar message was of course perfectly in tune with the times with the mindless Vietnam war raging like a tameless beast so loud the entire world could hear it. Actor (known for his role in ”Hår”) and singer Bruno Wintzell must have found it irresistable to record it as it's a perfect song for his voice and rather haughty vocal style. Vocally speaking, the best Swedish version is probably Tommy Körberg's, but the arrangement and the production is more to my taste with Wintzell. Still, the calculated maudlinness of the song is always overbearing. The sound and arrangement is what's best with the flipside as well. ”Du och jag – en kärlekshistoria” isn't progg but nice (if you like that kind of stuff) albeit undistinguished orchestral pop lacking the necessary distinctive features.

"Balladen om Joe Hill" was originally known as "I Dreamed I Saw Joe Hill Last Night", and was first recorded in Swedish by Fred Åkerström. That one and "Som en seglande mås" (which is Leonard Cohen's "Bird On A Wire" in Swedish) are country tinged but both of them are pretty terrible, with Wintzell taking himself even more seriously than usual.
 

VARIOUS ARTISTS – Jukebox JSEP 5601 (Jukebox, EP, 1970)

Featured artists: Tommy Körberg / Mike Castle / November / Diddlers

 English vocals, Swedish vocals

International relevance: *

The so called Jukebox EPs were a long running series of budget compilation seven-inches known for mixing completely unrelated bands and artists, usually four at a time. They're in low demand as most of the tracks chosen for the EPs were taken from already existing releases. This one here is an exception, as blues artist Mike Castle's ”Walkin' Blues” was unavailable elsewhere at the time. It's a not very imaginative rendition of Robert Johnson's classic and was later added as a bonus to the digital reissue of Castle's lone (and Peps related) album ”Kaligyga Express”, also from 1970. But this is the only place to get it on vinyl, why I mention it here. The others are non-exclusive tracks by November, Diddlers and Tommy Körberg..
 

BJÖRN JANSON – Det är skönt / Sommar i en skärgård (no label, 1976)
Swedish vocals
International relevance: *

Apart from music, Björn Janson was a boat designer and a restaurant owner, and he released this single at his own expense. The B side is pure dross, a nondescript piano ballad I wish a long and painful death, but ”Det är skönt” has some nice features of which the soaking reverb isn't one. It's certainly on the commercial side, but the fake funky drive is pretty catchy, and it has some semicool and semiheavy guitar passages which unfortunately are too short. You could probably remix ”Det är skönt” and bring a better track out of it, but I suppose the master tapes are long gone. Probably very rare, but I suppose nobody wants it and that most likely includes you too.

ENVOYS – Kräv Bryggeriet kvar / Så svårt (Marilla, 1976)
Swedish vocals
International relevance: *

Envoys were more than anything a pop band, having started already in 1964 (then with future journalist and TV personality Robert Aschberg as a singer). Their first single appeared on MNW in 1969, a cover of The Beatles' ”I Saw Her Standing There”. Their best known track however is ”Almarna åt folket”, a translation of John Lennon's ”Power To The People” released in support of those who fought for the preservation of the elm trees in Stockholm in 1971. The next single had David Bowie cover ”Starman” on the 'A' side, which was followed by their second charity single ”Kräv Bryggeriet kvar” in 1976. Bryggeriet's full name was Münchenbryggeriet (=”the Munich brewery”) and was built in the 19th century. From the early 1970s, it was a node for various cultural activities, but the powers in charge wanted to tear it down and make room for a new housing area. It caused an outrage with the people, and the protesters against the teardown included several well-known musicians, actors and writers. As in the case of the elm battle, the authorities eventually backed down and Bryggeriet was spared. Envoys' call to arms isn't as powerful as their Lennon interpretation from five years earlier. ”Kräv Bryggeriet kvar” is fairly rocking, especially in the choruses, but it doesn't have the same punch, coming across like a mix of Björn Afzelius and Nationalteatern. The 'B' side is a sappy ballad that sounds more like teenybopper singer/songwriter Ted Gärdestad than a progg band, revealing Envoys' true commercial nature.

 

GOG – The Beatless E.P. (Magog, 1979)
Instrumental
International relevance: *

Not only fringe progg, but on the fringes of everything. Gog was a one man project by Gothenburg's visual artist and musician Dan Fröberg. Gog's self-released EP is basically an abstract sound sculpture in four parts with fractured musique concrète characteristics. It's not without artistic merits, but it's best suited for adventurous listeners accustomed to prototypical tape music and primitive EAM. Might interest those who consider Imp.Ink, Psynkopat and Friz Be too mainstream... Some, perhaps all, copies had extra, off-centre, hand-carved spindle holes so you could choose between a regular playback and a wowy one. 500 copies were pressed, some came with a picture sleeve and an insert. A rare item today, sometimes fetching €100 on the collectors market.

TOMAS BERGH – Upp till kamp / Oh... tryggare kan ingen vara (Frituna, 1979)
Swedish vocals
International relevance: ?

A very peculiar single with no clear target audience. Because who would possibly want a disco version of ”L'Internationale” in five different languages? Studio 54 strings, perky horns, cheesy basslines and a high BPM number – huh?! And a deconstructed punk version of the hymn ”Children of the Heavenly Father” on the B side?! I mean, what the hell is really going here??? It's obviously tongue-in-cheek but it's still so bizarre and absurd that I dare say that you've never heard anything quite like it before and never will again unless you play it a second time. And you might as well want to, just to figure it out.

I've no idea who Tomas Bergh was, if it even was his real name, but the guys backing him up were sessions musicians including Anders Eljas who thought up the concept. Eljas was a music conservatory graduate who worked with opera singers as well as pop stars (he played keyboards on ABBA's 1977 world tour for instance); he orchestrated the ”Chess” musical; produced stage shows for Povel Ramel (Mikael's dad), and conducted the London Symphony Orchestra during a Hyde Park show featuring guest stars like Kylie Minogue, Jamie Cullum, Lulu and Chaka Khan – to mention just a few things he's done. But I still think this very single must be the most askew thing he ever did. Do I like it? Not at all, but I'm intrigued by it. 

It was also issued as a 12” with an extended disco mix of the A side. Burn, baby, burn!

MAKE UP – Hot Love Street / My First Love (Wave, 1980)
Swedish vocals
International relevance: - 

Included here more as a warning. Make Up are often classified as a hard rock band, but there are not many features on this single to back up such an assertion. ”Hot Love Street” is a really terrible discofied pop rock track while ”My First Love” is a sappy ballad where the singer's linguistical and vocal shortcomings really come to the fore. A full length album followed in 1981.

DYNAMO VARBERG – Ayatollah Khomeini / Anwar Sadat (Nacksving, 1980)
Swedish vocals
International relevance: **

Dynamo Varberg made their debut with a very rare cassette-only album called ”Filiberts höna” in 1978. The 1980 single at hand is a fairly elusive Nacksving release with two songs taking a clear leftist stand against Middle Eastern dictatorship and oppression, with an additional stab at Sweden's then rightwing prime minister Gösta Bohman, like Rävjunk did on their legendary ”Bohman Bohman” single. The music itself has in fact a wee bit in common with Rävjunk's more rock oriented style. It's not as punkish, but Dynamo Varberg had a similar sleazy vibe. There's some biting guitar playing including wah-wah going on, and the songs are quite good – especially ”Anwar Sadat” where singer Björn Spåls also manage to sound a bit like Eldkvarn's singer Plura Jonsson. The worst element is the sitar on the A-side which sounds as if it was played by a stoned-out Edward Scissorhands. Apart from that, this quite appeals to me, and it's certainly one of the more vital releases on Nacksving.

CALCUTTA TRANSFER

Mannen (som på tunnelbanan sket) / Howrah Station (Mistlur, 1980)
India Waits (Mistlur, 1981)

Swedish vocals
International relevance: **

If Calcutta Transfer hoped for any radio play with their first single, they probably shouldn't have named it ”the man who shat in the subway”, so a lot of people probably missed the lyrics' environmental worries. Like almost everything coming from the Transfers, ”Mannen (som på tunnelbanan sket) is outlined from Dag Vag, more precisely ”Ogräs” from their debut album. It's still one of the Transfers' best songs. The clavinet sounds like a spider tapdancing on a hot hob. It's either bloody annoying or oddly effective depending on your mood. ”Howrah Station” isn't their typical reggae but closer to disco. It was a live favourite apparantely, and I can imagine they could stretch it out with plenty of Kenny Håkansson styled guitar soloing on stage, but here it's as dull as yesterday's pasta leftovers.

Their second single is called ”India Waits”, but there's no track here by that title. Both songs are non-album tracks, and the Dag Vag influence is intact. The 'A' side ”Plus minus noll” is a fast paced ska track with a debt to pay to Dag Vag's ”Glappkontakt” but the 'B' side ”Fet guru” shows more originality. It's a slightly spacey track with a rock beat, thick layers of tasty organ and soaring guitars. The band whips up quite some energy the longer it goes on, and it stands out not only as one of their proggiest efforts but also one of their very best.

PAJ VAJ – Med hacka och spade / Flum e dum (Bums, 1980)
Swedish vocals
International relevance: *

It's actually rare that I hear something that leaves me stumped, but this eccentric 45 knocks me off course. What on earth am I listening to? Is it for real or is it a joke?

I've no idea who's behind it because I can't find any valuable info on it anywhere. The songs were written by Bask (who?) and Lindström (which one?), and the Bums label mostly released commercial artists. Paj Vaj were anything but. The singer sounds like Blå Tåget's Torkel Rasmusson trying to cure a hangover from hell by eating three pounds of chalk. He remains hungover but with a demolished voice. Ot maybe he sounds like a Kenta with a rubber ball stuffed down his throat? Is he fucking around or does he need a doctor? Is he immaculately groggy? Deranged? Is he, at all, for real? His idea of enunciation is, er, unusual but it's obvious that the singer (or lyricist, or both) holds a grudge against... parents, teachers, the police, the authorities, actually the entire society. Kill them and bury them. Problem solved.

The music is pretty straightforward with a certain lilt; it's standard rock setting plus harmonica, but thanks to the off-kilter vocals, it has some bizarre gravity. It's too straight qualifying as outsider music, and it's way too odd for any mainstream appeal. I can't really recommend it, but I can't not recommend it either. I'll probably play it a lot more, if only to find out what the hell is going on here. If the discofied "L'Internationale" was puzzling, then this is completely bewildering.

ROCKTEATERGRUPPEN SMÅFOLKET – Nu drar vi ner på stan (Rainbow, EP, 1980)
Swedish vocals
International relevance: *

Little known four track E.P. by a self-appointed 'rock theatre group' which immediately makes you think of Nationalteatern. Which is perfectly true because it's hard to imagine this would exist without the source inspiration from said group, But it lacks the sharpness of the Ulf Dageby's and Anders Melander's songwriting, and the instrumental prowess that Nationalteatern developed is surely lacking here. Småfolket sounds like a local group (more precisely from Malmö) performing at youth clubs to a less than excited underage audience. The drummer is rudimentary, the guitarist is far from experienced, but the the two singers – male and female – are especially amateurish. Esther Nordenbrink in particular sounds shrill and shouty which suggests a punk awareness in a Mörbyligan way.

The four songs were featured in the play that gave the E.P. it's title, roughly meaning ”let's go downtown”, and while the B side is a wee bit better with ”Nu är jag ung” (=”now I'm young”) being the best song of all, none of them is up to snuff. A 'B' grade effort that time rightly forgot.

HS3 BOYS – Fel tåg / Hon är ett lik / Pia Love (no label, 1983; rec. 1981)
Swedish vocals
International relevance: *

Little information availabe for this one as well. There's no print on the colour-coded labels and only the members' first names are stated on the cover. However, HS3 Boys might originate from Östersund as Myrbein's bass player Johan Von Sydow is featured here, and both bands used the Tommys Musiklab studio. While this three-track EP wasn't released until 1983, it was recorded already in 1981 according to information presented to Swedish Radio. With no drummer present, the rhythm is provided by a drum machine which defines their original sound. It's hard to pinpoint it, but there's definitely a Latin influence there. I also sense a touch of Mikael Ramel, but that's possibly only in my head. Still, it's not a very good disc, so not worth the effort hunting it down. 

LJUDLÖST ÖS – Jerry / USA (Natty Records, 1981)
Swedish vocals
International relevance: *

Reggae has always been pretty popular in Sweden after Peps Persson introduced the style in the mid 70s, and we had a few quite good or at least decent reggae bands already back in the day. Not only were there high profile names as Dag Vag, Rotpuls and to some extent Rockamöllan following Peps in his footsteps, but there was also a pretty widespread undergrowth of local bands. Ljudlöst Ös was one of the unknowns trying to adapt to the Jamaican backbeat, but thay had certain problems succeeding. If anything, reggae demands a drummer who can forget everything he learnt about the standard rock beat, and Matte Pettersson of Ljudlöst Ös struggles a bit. I've heard far worse examples of drummers losing the concept when switching to reggae, but a Bosse Skoglund he is not. Both songs on their lone, privately released single speak out against racism and cultural colonialism. With female singer Maria Johansson, Ljudlöst Ös sound like I imagine Nationalteatern would sound like if they attempted to be a reggae band. It all sounds a bit chunky and awkward proving that good intentions won't always come out as good results. 

MANTRA – Made In Japan / Här är jag (Mercury, 1981)
Swedish vocals
International relevance: -

This is probably Mantra's biggest claim to fame being released on major label Mercury, produced by Janne Schaffer and with lyrics for both tracks written by Mikael Ramel. It's not Mantra's typical test tube jazz fusion but it still sucks. ”Made In Japan” is some misguided attempt at synth pop an while ”Här är jag” is a bit better, the quasi-punkish rock falls on its feet just the same. 

ZVENSKA MUSKLER – Fyra årstider / När elden har brunnit... (no label, 1981)

Swedish vocals

International relevance: **

One-off single from a band that grew out of probably unrecorded band Dr Rockford, and with a name would translate into "Zwedish Muscles, featuring singer/guitarist Tobbe Rüsslander. ”Fyra årstider” isn't that great and not too proggish either, while the slower ”När elden har brunnit” is OK with some extended guitar workouts, electric piano and a peculiar, almost ghostly atmosphere – perhaps due to the decidedly non-professional mix. It's not as good Rüsslander's 1978 solo cassette, but it's still worth hearing once for "När elden har brunnit".

JSMB – Låt fler forma... / Håll mej varm (JSMB, 1982)
Swedish vocals
International relevance: *

More progg in the socially concerned lyrics than in the actual music. The lyrics are unusual in the sense that singer Magnus Sjögren declares he's a liberal (i.e. not a leftist), but he proclaims care for your fellowman whoever and wherever he or she is, so the fundamental tone is that of humanism rather than politics. Sjögren's phrasing suggests he's an Ulf Lundell fan although I wouldn't call the vocals exactly epigonic. ”Låt fler forma...” is decent enough in a rock singer/songwriter style, and certainly much better than the other track. ”Håll mej varm” is totally terrible, a rheumatic rockabilly pastiche which is entirely embarrassing complete with a bathroom reverb to make it sound 'authentic' which it of course does not.

Sjögren later reappeared in Örebro band Big Deal who had some success in the late 80s and is still active. I know nothing about the other members' whereabouts – there are no credits on the label and the single came in a plain white sleeve when originally released.

COREY – Havet / Livet är en dröm (GAT, 1982)
Swedish vocal
International relevance: *

A Gothenburg band apparently with some connections to the Social Democratic Youth Association SSU. Corey's lone single was a private release and features two pop/rock tracks with some semi-heavy and progressive elements. It's quite OK for what it is, especially ”Havet” which is actually rather good, but although it has some nice touches of the right kind, there may not be enough prog/progg here for most blog readers. Two versions of it exists, one in black vinyl and one in red.

Bruno Wintzell
Du och jag - en kärlekshistoria / Balladen om Joe Hill / Som en seglande mås  
Jukebox EP
November - Cinderella / Mike Castle - Walkin' Blues  
Björn Janson
Det är skönt (poor sound)
Envoys
Kräv Bryggeriet kvar  
Gog
Full single 
Tomas Bergh
Upp till kamp / Oh... tryggare kan ingen vara  
Make Up
Hot Love Street  
Calcutta Transfer
Howrah Station / Plus minus noll  
Paj Vaj
Med hacka och spade  
Rockteatergruppen Småfolket
Nu drar vi ner på stan  
Ljudlöst Ös
Jerry / USA 
Corey
Havet 
 
HS3 Boys, Dynamo Varberg, Mantra and JSMB no links found

SJÖN SUGER – Complete albums 1974-1978

I kustbandet (Polydor, 1974)

Sjön Suger (Strike Of Sweden, 1976)

Värre än vanligt (Strike Of Sweden, 1977)

Fina fisken (Marianne, 1978)

Swedish vocals, English vocals, instrumental

International relevance: -

Mentioned in the "100 other artists to listen to" in ”The Encyclopedia Of Swedish Progressive Music”. Similar in style to Grus I Dojjan but better playing. Cheerful roots music, tongue-in-cheek trad jazz and interwar period goodtime songs with ”humourous” lyrics. There's no need to distinguish the albums, they all sound the same and they're all bad.

I kustbandet no links found
Sjön Suger full album playlist
Värre än vanligt full album playlist
Fina fisken full album playlist

DAY DREAM – DAGDRÖM (Polydor, 1978)

Swedish vocals
International relevance: *

Another shortlived project from the rather illustrious character Janne Goldmann (of Gin & Grappo and albums with his band Rock Und Roll Gruppe). He's one of those artists I don't know if I actually like, but still appreciate for his off-kilter character. I never really feel like listening to his records, but I'm glad he made them because they're always oddly unruly and peculiarly off and I want things like that to exist in this world. His music's almost always grounded in straight-ahead rock music, but Goldmann always seemed to enter it diagonally from behind. And coming out of it not quite where you expected.

”Dagdröm” is the only album by Day Dream, and the only Goldmann album released on Polydor. It would hardly have been released on that particular major label hadn't it had its prominent share of commercial appeal, but I doubt there are any other Swedish major label albums with lyrics like ”and so one day he caught gastritis” or ”your kids are tiny, tiny insects”. And there are probably not too many others namechecking fellow artists Peps, Ola Magnell and Motvind in the same song either.

The songs themselves indeed have some proggish shadings but what really stands out already during early listens is Ola Boström's guitar. He delivers several fiery solos that wouldn't be out of place on some 70s heavy rock rarity that costs a lot more than ”Dagdröm” ever will.

So, as with most Goldmann albums, this isn't one I spin very often at all, but I find it mildly amusing the few times I do. 

No links found

BRUNO WINTZELL – Debut (Polydor, 1971)

Swedish vocals
International relevance: *

I really don't know what to do with this album. It's actually not very strange, but I pick up some weird vibe in it I can't quite identify. I don't know if I'm just creeped out by the unnerving album cover where Wintzell seems a little bit to friendly with a piglet on the front and where he appears to seduce a cow on the back. If this is supposed to allude to Beach Boys' ”Pet Sounds” cover, this has a much darker and unpleasant aura. Especially for coming from someone who in his time was considered a sex symbol. (Decades later, in the 90's, he was also a host for a TV show called ”Tutti Frutti” styled after Italian entertainment shows with prominent display of female breasts. The show inspired to a new Swedish expression translating to ”tit television”.)

There are many bizarre turns in Wintzell's career which extends beyond the purely musical, but he later became an opera singer and he was also in the Swedish stage version of musical "Hair" along with Baby Grandmothers, Mecki Bodemark (Mecki Mark Men), Hawkey Franzén and Bill Öhrström (Fläsket Brinner, Ramlösa Kvällar, Tillsammans and others). ”Debut” is just that, his solo debut album. It's short on information who plays on it. The thorough arrangements are credited to John ”Rabbit” Bundrick, Björn J:son Lindh, and Sven-Olof Walldoff, and I suspect that it's Walldoff's orchestra and backing singers performing. Walldoff's gang was an oft-used lot in those days when a lavish and proficient backing was needed, as in Eurovision Song Contest in Brighton 1974 when ABBA won. A lot points in his direction as ”Debut” is heavily orchestrated.

The songs are all Swedish covers of Elton John, Leonard Cohen and Lennon/McCartney, three of them translated by Hawkey Franzén. They're all very well executed, but there's something in Wintzell's voice that suggests something else is going on here, a weird strain of something unknown that worries me. Like I said, I can't put my finger on what exactly it is but it runs through the entire album. Or maybe it's just me. Or the album cover. Who knows?

There is however one track that really stands out. ”The Fool On The Hill” is one of McCartney's dullest songs in the Beatles catalogue, but Wintzell and whoever accompanies him brings something entirely new out of it. Have you ever wondered what happens after a song fades out? Does the song just end cold, or do the musicians go on for several more minutes, freaking out completely as they know nobody will hear it anyway since the track will fade early on the record? Well, ”När solen går ner” may be the answer to that. The track could end at around four minutes but goes on for another two as the whole song jumps in at the deep end and becomes crazed-out psychedelic. There's nothing on the album with its slightly high-brow presentation of contemporary singer/songwriter material to prepare you for this final blow-out. You may not like the rest, but that track alone is certainly worth hearing!

Full album playlist

INGEMAR OLSSON MED FLERA – I alla fall (Polydor, 1973)

Swedish vocals
International relevance: *

Ingemar Olsson has already appeared on this blog once, with his 1970 debut album ”Livs levande”. This is Olsson's third album, and inbetween the two albums he had acquired a higher degree of self-confidence. ”I alla fall” is basically a Christian singer/songwriter album with upfront rock and pop aspirations, but it has nevertheless a few progg ties which I think make it worth mentioning. Tomas Ernvik collaborator Agneta Gilstig appears on backing vocals on most of the tracks, and guitarist Björn Linder is known from albums by Sam Ellison, Blues Annika, Runeson and Ola Magnell to name but a few. Also, two of the album's three cover choices are fairly stirring, namely ”Kom om du vill” which is an energetic Swedish take on Bob Dylan's ”Quinn the Eskimo” and a rowdy and similarly Swedish version of Joni Mitchell's ”Woodstock”.

Beware of later re-recordings of the songs!

Tänker man efter

MONICA TÖRNELL – Ingica (Polydor, 1972) / Alrik (Polydor, 1973)

Ingica (Polydor, 1972)

Swedish vocals

International relevance: **

Swedish troubadour Cornelis Vreeswijk discovered Monica Törnell in 1971 when she was only 17 years old. Polydor released her debut the following year, an album that reveals Törnell had a surprisingly mature voice despite her young age. The label engaged a stellar cast of studio musicians for the recordings, including Björn J:son Lindh, Jan Bandel, Hawkey Franzén, Janne Schaffer and Vreeswijk himself.

”Ingica” features songs written specifically for the album by Vreeswijk, Carl-Axel Dominique (of Solar Plexus) and J:son Lindh, plus Franzén and Vreeswijk translated covers of Melanie, Eric Anderson and Jethro Tull. The album is in a melancholy folk rock vein with Törnell's raspy voice to the fore. A consistent work, especially for such a young artist as Törnell was at the time.

Alrik (Polydor, 1973)

Swedish vocals, English vocals

International relevance: **

”Alrik” is similar in tone and style to the debut, only with deeper running folk strains. The album uses more or less the same set of musicians, and Törnell herself sounds a bit more confident here, bringing in more songs written by herself than on the previous album. The best track however is the album's first, the traditional ”Öje brudmarsch” with some mean Schaffer guitar.

Ingica full album playlist
Alrik full album playlist

THE GIMMICKS – Mixed Up Lydia's Pickin' Up Painted Ping Pong Balls (Polydor, 1970)

English vocals
International relevance: ***

”Mixed Up Lydia's Pickin' Up Painted Ping Pong Balls” (say that fast) is to me what people say Tropicalia spearheads Os Mutantes are to them. It's a flowering mix of everything available – psych, easy listening, bossa nova, jazz, baroque pop and then some. All tossed into the air and then put back together again in kaleidoscopic patterns with the healthy craziness of mavericks and wild curiosity, all for the love of music and all for the fun of possibilities.

Before and after ”Mixed Up Lydia”, The Gimmicks were a pretty straight-forward Latin loving lot à la Sergio Mendes & Brasil 66, but everything exploded in 1970. It actually exploded twice, because also in 1970, they released the equally whimsical ”Make Feel Good” 45 with ”Bermuda Inn” on the flip – two tracks that would have blended in perfectly with the others on the album.

”Mixed Up Lydia” is so vivid and vital and effervescent and playful and bright there's no way I couldn't love it. It's so beautifully void of dead serious pretentions; intricate yes, and acheiving, but always inviting and never exclusive. I can honestly say there's no other Swedish album sounding like this, not before and not after. A lovely little gem! (Great cover by Swedish horror painter Hans Arnold too.)

Full album playlist

7":

Make Feel Good + Bermuda In:n

HETA LINJEN – Won't You Step Inside? (Odeon, 1971) / Feta Heta Linjens supershow (Polydor, 1971)

Won't You Step Inside? (Odeon, 1971)

English vocals

International relevance: ***

After their uncredited back-up work for Doris on her ”Did You Give the World Some Love Today, Baby?” in 1970, Heta Linjen took a shot at an album of their own for the same label Odeon in 1971. Lead by jazz pianist Berndt Egerbladh and drummer Janne Carlsson (of Hansson & Karlsson et al), ”Won't You Step Inside” is a musically solid affair, inspired by the jazz rock of the day (not fusion) – think Blood Sweat & Tears without the horn section, or Solar Plexus with a greater late 60's emphasis. Bengan Karlsson is a bit undistinguished as a singer, and someone like Tommy Körberg would have elevated the album. Still, ”Won't You Step Inside” is much better than it sounds, and it grows over time. Worth checking out.

Feta Heta Linjens supershow (med Kisa, brass och brudar) (Polydor, 1971)

English vocals, spoken word

International relevance: **

”Feta Heta Linjens supershow” mixes music with comedy skits and that's not a good idea. The spoken bits are incredibly annoying already the first time (not to mention dated) but the music is overall better than on their debut. Good news is that the vocals aren't left to Bengan Karlsson alone, bad news is that powerful singer Kisa Magnusson goes a bit over the top. The musical segments are often fine (the jazz freaky ”You Shall Find Your Way” and ”Mama”) and even great (the incredibly powerful and funky ”It's Risi'n Up Real” [sic]). The best tracks from the first album and the proper songs from the second would make for a much more cohesive album overall. 

Hideous album cover by the way.

Won't You Step Inside? full album playlist
from Feta Heta Linjens supershow
It's Risi'n Up Real
Mama

HANSSON & KARLSSON – Complete albums 1967-1969

Hansson & Karlsson emerged from the late 60's psychedelic Stockholm underground scene with the shortlived but highly influential Club Filips as home base. Club Filips was the place where international acts used to hang out, including the likes of Spencer Davis Group and Jimi Hendrix. Hendrix's jam sessions with Hansson & Karlsson are legendary, but the circulating tapes are of very poor sound and features Hendrix on bass only.

Using only Janne Carlsson's drums (he changed the spelling of his last name reputedly because it looked better with a 'K' on the album covers) and Bo Hansson's organ, they were the source inspiration to contemparies such as Sound Express and much later bands like Sagor & Swing and Trummor & Orgel. Their vinyl debut was the wonderful 1967 45 ”Lidingö Airport” backed with ”Canada Lumberyard”.

Monument (Polydor, 1967)

Instrumental
International relevance: ***

Their classic album debut features milestones like ”Richard Lionheart”, the brooding ”Triplets” and ”Tax Free” (later covered by Jimi Hendrix), perfectly capturing Hansson & Karlsson's sound with Janne Carlsson's intimidating drums underlining Bo Hansson's spooky organ."Monument" is their best album with all their elements in the right places. The only Hanssson & Karlsson album that I consider essential.

There's also a German edition of "Monument", retitled "Swedish Underground".

Rex (Polydor, 1968)
Instrumental

International relevance: ***

 

Hansson & Karlsson's style quickly wears thin, especially when they're stuck in a bluesy Hammond jazz rut. The live recorded ”Rex” demonstrates the duo's shortcomings, emphasizing sound before content. The jamming is energetic for sure, but honestly, how much of this do you really need? Definitely their weakest album.

Man on the Moon (Polydor, 1969)

International relevance: ***

Instrumental

Inspired by man's first landing on the moon this is indeed more spacey than the duo's previous albums. It's not as good as ”Monument” but it's more interesting than ”Rex” since they try to expand their two man format as much as possible instead of succumbing to it. Carlsson in particular impresses, using every jazz trick he know, adding power and pulse like never before on a Hansson & Karlsson album. (Carlsson was an excellent drummer, and way too underrated.)

For People in Love 67-68 (Treffpunkt, 2010; recorded 1967-68)

Instrumental

International relevance: ***

A two disc set of previously unreleased live and studio recordings. (The vinyl version was limited to 444 copies – are these prefabricated hipster drivel rarities ridiculous or what?) Great sound quality all through but the music isn't particularly interesting unless ”Rex” is your favourite Hansson & Karlsson album. Some powerful moments, but ”For People in Love 67-68” is mostly the duo in standard charter travel jazz mode.

Apart from the ”Lidingö Airport” 45, there exists a couple of other less common Hansson & Karlsson tracks. In 1968, daily morning paper Dagens Nyheter released a cardboard disc to their subscribers, called ”P som i pop”. Given the volatile nature of the release, it's hard to say just how many copies have survived, but then again, it's not particularly good. One untitled track is featured in Caprice's box set ”Svensk jazzhistoria vol. 10: Watch Out! Swedish Jazz 1965-1969” released in 2017. In 2023 Mellotronen unearthed a previously unknown 1968 performance with Bengan Dalén at club Crescendo in Norrköping and released as a two volume vinyl set. For those who wants a condensation of their small original discography, there's an eponymous compilation that will do the trick just nicely, including "Monument" in its entirety expanded with tracks from their other releases.

There's also a great 1967 performance on Swedish TV show Popside that just has to be seen.

Monument full album playlist
Rex full album playlist
Man On The Moon full album playlist
For People In Love full album playlist

VILDKAKTUS – Vindarnas vägar (Polydor, 1971) / Natten (Ljudspår, 1973)

Vindarnas vägar (Polydor, 1971)

Swedish vocals
International relevance: ***

Another very fine effort from Vildkaktus. Not quite as good as ”Tidsmaskinen” but not far from it. ”Vindarnas vägar” is a more 'typical' prog than their debut, whatever that means and besides, nothing about Vildkaktus is exactly typical anyway. ”Vindarnas vägar” reveals influences from late 60's harmony laden American bands with jazzy inclinations. But it's isn't an epigonic work; it's tight, meticulously constructed and imaginative. The songs are excellent and confirm Vildkaktus as one of the most original bands of the era.

The album had a Record Store Day reissue in 2017.

Vildkaktus had a non-album 45 out on Polydor in 1972, "Vila vid denna källa"/"Natur du kämpar", before leaving the label for their third album.

Natten (Ljudspår, 1972)

Swedish vocals, English vocals
International relevance: ***

Vildkaktus' third album is their weakest. It's less intricate than their previous two, on one hand opting for a little heavier sound (case in point: ”Ånglåt”) and on the other for a more straight-ahead West Coast sound, as on ”Substitute Woman”. It sounds as if Vildkaktus had lost a bit of interest in their music, and not surprisingly they disbanded after ”Natten”. Guitarist Olle Nilsson, pianist Gösta Nilsson and bassist Tommy Johnsson reappeared in Ibis a couple of years later.

A 1971 session for the Tonkraft show is included in "Progglådan".

Vindarnas vägar full album playlist

Natten full album

Tonkraft 1971 full album playlist (Vildkaktus starts at track 8)

SPLASH – Ut på vischan (Polydor, 1972) / Splash (PLA, 1974) / Splash (PLA, 1978)

Splash was a band founded in Söderhamn 1969, initially with a strong influence from Blood Sweat & Tears and similar acts, but their music grew increasingly intreresting by each album. Their debut however was an unremarkable self-produced single in 1972, ”Gobby's Train” b/w ”Way Up North”. Their full length debut followed later the same year and they soon earned a dedicated following in Norway, Belgium and former Czechoslovakia. 

 Ut på vischan! (Polydor, 1972)
Swedish vocals

International relevance: **

 

Signing to Polydor, Splash benefitted from the higher production values after the relatively primitive debut single. ”Ut på vischan!” is competent in every regard. It has a few prog moves, but has vague hints at Kebnekajse styled folk harmonics on the best track ”Smutsig jord” (with some appealing guitar work). But there's no mistaking early Splash was a horn rock band at heart, with ”Ut på vischan!” sounding like a poor man's Solar Plexus. It ought to please genre fans but others should listen before paying the relatively high prices asked for the album, and better yet, look out for their later albums.

Splash's Polydor deal ended abruptly after a truly terrible 45 of two cover choices including Edgar Winter's ”Keep Playin' That Rock'n'Roll”.

Splash (PLA, 1974)

Instrumental, wordless vocals
International relevance: ***

Splash released their first of two self-titled albums on their own PLA imprint. Self-released, it sounds professional enough, and here it's clear they were aiming at a new style. The side-long ”Karottorokokrockokrokorock (Elephant Nilson)” (say that fast) touches on Uriah Heep (not good), symphonic rock, prog, jazz and avantgarde during its 20+ minutes, while ”Tiokronorspolskan” adapted from Hjort Anders Olsson's vast catalogue of classic fiddle tunes is similar to Skäggmanslaget with Contact backing them. ”Sambahmadu” adds an Latin-cum-African flavour thanks to percussionist Ahmadu Jarr. Overall a much more interesting and rewarding effort than ”Ut på vischan!” Brilliant and eye-catching cover art by Ardy Strüwer.

1974 also saw the release of two Splash seven inches. The first of them featured more Uriah Heep heaviness on ”Orangutang Boomerang”, backed with the rather excellent ”Sunday Ride”, with lyrics by German born Swede Linus Kal X Blue (who made garage rock history with Something Wild's ”Trippin' Out” 45 in 1966). The second 1974 Splash single was recorded as a backing band to the incredibly annoying folk singer Maritza Horn.

Splash (a.k.a. Splash 2) (PLA, 1978)

Instrumental

International relevance: ***

Four years down the line and Splash's music had developed a lot. Opening track ”Variations on polska & hoppdans” is an occasionally atonal clash of styles – traditional folk tunes, fusion, cajun and what not. ”Nina” is furious fusion that works. ”El Greco” sounds like Zappa in the Near East. ”Hueå” is back in horn rock territory, but with a twist (of Zappa). The only relatively straight track here is ”Snusa” which also happens to be the least exciting selection (but with still more Zappa in the guitar department). Engineered by Mikael Ramel and hands down their most satisfying album.

Another Maritza Horn single appeared in 1975 (funky but bad), and a 1974 Tonkraft session circulates in good sound. Splash disbanded in 1979. A meaty 5CD box set of their complete recordings plus previously unreleased material was released in 2018, "Splash 1970-1979 (Samtliga inspelningar)" The archival stuff includes some rather splendid live recordings.

Ut på vischan full album

Splash full album playlist

Splash 2 full album playlist

POP WORKSHOP – Vol. 1 (Grammofonverket, 1973) / Songs of the Pterodactyl (Grammofonverket, 1974) / WLODEK GULGOWSKI – Soundcheck (Polydor, 1976)

A super group of sorts including Jan Schaffer, Wlodek Gulgowski, Ola Brunkert, Stefan Brolund, and on ”Songs of the Pterodactyl” drummer Tony Williams of Miles Davis and Lifetime fame. Just by reading those names you should get a clear idea of what the music's like, funky fusion permeated by technical talent. Which it is. 

POP WORKSHOP  – Vol. 1 (Grammofonverket, 1973)

Instrumental 

International relevance: ***

”Vol. 1” is a heavier and proggier album than expected though with some riveting guitar work from Schaffer. The powerful ”Perforated Mind” should appeal to Zappa heads while Magma fans ought to be delighted by ”Equinox”, but ”Vol. 1” is a solid affair way too good to be held hostage by the fusion crowd!

POP WORKSOP – Songs of the Pterodactyl (Grammofonverket, 1974)

Instrumental

International relevance: ***

”Songs of the Pterodactyl” is good too, almost great but lacks some of the debut's freshness, as if they tried to consciously repeat the quirky angularity of their first album. Everything is in the right place with thorough compositions by Gulgowski and his Polish countryman Zbigniew Namysłowski, but it doesn't thrill quite as much as ”Vol. 1”. Still a fine effort though, with fantastic cover art by Swedish horror painter Hans Arnold.

 WLODEK GULGOWSKI – Soundcheck (Polydor, 1976)

International relevance: ***

Instrumental

Wlodek Gulgowski had two albums of his own out in the 70's, although the first one he made was co-credited to Rory Vincent, ”Dream World”, so ”Soundcheck” is technically his first to count as a solo album. Unfortunately it's a very disappointing album coming after the two he did with Pop Workshop. It's full of slick fusion, very polished and not dissimilar to some of the weaker funky library albums that have gained collectors' interest in recent year.

Both Pop Workshop albums cry out for a reissue but ”Soundcheck” is definitely one to pass on.

Vol 1 full album playlist
Songs of the Pterodactyl full album playlist
Soundcheck full album

CONTACT – Complete albums 1969-1972

One of the most popular of all progg acts, known for their successful song ”Hon kom över mon” which ironically enough wasn't released as a single 'A' side, but on the flipside of to ”Jag är lite lessen ikväll” from 1970.

The seeds to Contact were sown in the early 60's when Ted Ström and some friends formed Ruperts in Lidingö outside of Stockholm. As Ström later attended art school Konstfack, he met drummer Leif Reinholds and they started cover band Hårbandet which became the first rock combo to perform at the Konstfack parties where jazz had been the preferred music up until then. They changed their name to Yellow & Blues (playing in a John Mayall influenced style) and Grand Canyon (backing a young and then still unknown Peps Persson, and The Scaffold featuring Paul McCartney's brother Mike McGear) before settling for Contact in 1968. Their line-up changed a few times during their original 70's period.

A Fairy Tale / Convul'sions (7”, MNW, 1969)

International relevance: ***

English vocals

Contact's first release was this much likeable 45 on MNW. They hadn't yet developed the folk rock sound they're known for, but ”A Fairy Tale” does have a faint folk touch to it. The real knockout however is the 'B' side. ”Convul'sions” is a hard and primitive track reminiscent of Scorpion (with Contact collaborator Bo Anders Larsson) and the heavier side of The Troggs, with a persistent caveman beat and featuring an unexpected saxophone solo courtesy of Björn Holmsten. Bassist Thomas Larsson was replaced by Lorne de Wolfe after this release. 

Nobody Wants to Be Sixteen (MNW, 1970)

International relevance: ***

English vocals

Produced by American svengali Kim Fowley, Contact's album debut was intended for an international launch that never happened. It's clearly the work of a band looking for an identity, restlessly searching among 60's pop, psychedelia and folk pop – probably due to Fowley's well documented flair for interferring with the artists's material. (”He changed basically every one of our songs and arrangements,” Ted Ström reveals when asked about the collaboration.) Thus, it's unfair to compare it to Contact's later albums as it sounds like a completely different band (or rather Kim Fowley), but it's actually my favourite album bearing Contact's name. The songs are really good, with Ted Ström's ”Wounds”, Fowley's ”How Was Your Summer”, and ”Conquest of a Red Rose” by the band's other songwriter Ted Steerling on top. (An observation: Steerling's ”Visions of Apple” almost sounds like a Big Star ballad before Big Star even existed.) I like the trying and sort of underproduced feel of the entire album. It's a delightful but underappreciated little record, which was brought out of its relative obscurity when reissued on Record Store Day vinyl in 2016 – including the rare pre-album 45 as a separate bonus 7”.

The ”Sixteen” sessions also produced an entire Kim Fowley album with Contact backing him up, released by MNW in 1970, entitled ”The Day the Earth Stood Still”. The sound is similar but Fowley's album is more in his typical exploitation rock style.

Hon kom över mon (MNW, 1971)

International relevance: ***

Swedish vocals

There's a bit of chronological confusion as regards the Contact discography. The 45 ”Jag är lite ledsen ikväll” was actually recorded three months before ”Nobody Wants to Be Sixteen”, with the famous ”Hon kom över mon” on the flipside, a year before the album of the same name was released. Recorded with traditional folk group Skäggmanslaget, ”Hon kom över mon” instigated the latter day notion of Contact as an out and out folk rock outfit. Which they weren't and which becomes evident once you listen to an entire album by them. ”Hon kom över mon” was indeed written to emulate a traditional song, and there are other tracks on the album with a folk ambience, but some of the selections are much closer to rock, such as ”Fisken”, ”Nattens drottning”, ”Vargarnas natt” (that almost sounds like a Nynningen track). 

The album is a bit uneven and it would have been nice to have had the fine ”Jag är lite ledsen ikväll” instead of, for example, ”Samma vindar, samma dofter” which despite being a classic Contact song would have fitted Blå Tåget a lot better with its fake jazz touch provided by violin and clarinet. But make no mistake, this is a good album that was awarded with a Swedish Grammy for best group effort of the year, in competition with NJA-gruppen and Fläsket Brinner.

Utmarker (Polydor, 1972)

International relevance: ***

Swedish vocals

Contact left MNW and signed with Polydor for what came to be the band's last album, something that caused an outrage within the music movement, not unlike what happened to Turid when she left MNW to join Metronome. Ted Ström remembers:

- I tell you, it caused one heck of an outcry. For instance, we were put on trial before a 'public court' with people from Silence and some others too... 'Public court' was irony. Silence might have been out fishing for us when we left MNW. But the meeting was probably more about some obscure principles...

”Utmarker” kicks off with one of the greatest progg tracks ever, ”Fyrvaktarns dotter”, again in a folk inspired vein but even better than the famous ”Hon kom över mon”. The track was also released as a single with the brilliant non-album track ”Fly mig en sommar” on the 'B' side. With a major label budget to back them up, they made a bigger sounding album without losing their integrity. ”Utmarker” is a better album overall than ”Hon kom över mon”, with more distinctive songwriting from Ström, Steerling and de Wolfe alike.

Compilation ”Samma vindar, samma dofter” is a 'best of' CD that picks most of the best tracks from Contact's last two albums, adding ”Jag är lite lessen ikväll” and ”Fly mig en sommar”, unfortunately not in chronological order. It also features a 2004 track by the reformed Contact. They have reunited several times over the years, and is performing again in 2018 with a line-up including two of Ted Ström's sons. A couple of 1970/71 Contact radio recordings can be heard in ”Progglådan”.

After Contact, Ted Ström went on to play with Norrbottens Järn before embarking on a solo career. He's also a highly skilled watercolour painter. Lorne de Wolfe formed Vargen that later developed into successful band Hansson de Wolfe United.

Special thanks to Ted Ström.

Nobody Wants to Be Sixteen full album playlist

Hon kom över mon full album playlist

Utmarker full album playlist

"Fly mig en sommar"