TORBJÖRN "TOBBE" RÜSSLANDER – Tobbe med egna låtar (no label, MC, 1978)

 
Swedish vocals, English vocals
International relevance: *

A very obscure and almost entirely undocumented cassette-only album, privately issued in 500 homemade copies in 1978, with songs written from 1974 up to the release date. Torbjörn ”Tobbe” Rüsslander was a singer/songwriter and a pretty good guitar player who recorded these twelve songs in his rehearsal room.

Recorded on a 4-track TEAC machine, the album shares the sound characteristics heard on several American private pressings from around the same time. Although the portastudio has its obvious limitations, I've always liked the dryness of it, as if the music was registered onto a chunk of wood. Rüsslander is quite good at using the technical limitations to his advantage. 

Most of his songs are melodic, and a couple of them have a more pronounced proggish feel, like ”Fredagsnatt” and ”En vän i nöden”, the latter nicely decorated with understated flute lines. Otherwise, the progg feel lies mainly with the sincere DIY vibe, not unlike Per Forssell. 

I can't quite put my finger on what, but there's something about ”Tobbe med egna sånger” that occasionally reminds me of U.S. underground legend D.R. Hooker whose 1972 album ”The Truth” is highly regarded by psych fans and collectors, even if Rüsslander doesn't have quite the same off-beat outsider vibe. At any rate, I enjoy listening to it. It may have its shortcomings, but those are overshadowed by the merits.

Rüsslander later re-emerged briefly with his band Zvenska Muskler who released one single in 1981. He still performs, and he also works a guitar teacher.

Full album  

RÄVJUNK – The Freaky Guitar Album (no label, 2002; rec. 1976-1979) / Jamsession (Bogus, 2022; rec. 1970s) / Live At Rackis 1979 (Bogus, 2002; rec. 1979)

The Freaky Guitar Album (no label, 2002; rec. 1976-1979)
Instrumental
International relevance: ***

There exist several unofficial (or semi official?) Rävjunk releases of indeterminate origin. Three albums appeared in 2002, ”Collage”, ”Never Played” and ”The Freaky Guitar Album”, with material recorded in the late 70s. ”Collage” is a compilation of their singles with previously unreleased bonus tracks (since then largely superseded by ”Uppsala Stadshotellbrinner igen”). ”Never Played” consists of tapes from 1976-1979, and appears to be a sister volume to ”The Freaky Guitar Album” covering the same period. It's quite possible, even likely, that Rävjunk themselves were behind those elusive discs.

Parts of what's on ”The Freaky Guitar Album” sound very similar to what's on ”Uppsala Stadshotell brinner”, while some of it is available elsewhere as bonus tracks. Even if Rävjunk's discography originally only extended to one full length album and a handful of singles, it's a total mess of bonus material, archival releases and what-not. There are a couple of things here I don't immediately recognize from elsewhere, but most of it appears to have been released in form or another since ”The Freaky Guitar Album” was sneaked out.

Jamsession (Bogus, 2022; rec. 1970s)
Instrumental, Swedish vocals
International relevance: ***

This is only available for streaming on platforms such as Spotify and Youtube, and it's a much more rewarding and coherent outing than ”The Freaky Guitar Album”. It should be mentioned that all of it is also available as bonus material on Transubstans's digital reissue of ”Uppsala Stadshotell brinner” along with a couple of songs not released on ”Jamsession”. The sound is great with a bearable dip in quality only on the final 20+ minute track ”Naturbarn”. My guess is that most of it was recorded on the same occasion, possibly during the sessions for ”Uppsala Stadshotell brinner”. All tracks are instrumental except for a few (improvised?) lines in ”Tro på livet”. For those into Rävjunk's jammy side, this is essential.

Live At Rackis, Uppsala, Sweden 1979 May 26 (Bogus, 2002; rec. 1979)
Swedish vocals, English vocals
International relevance: **

Another streaming-only release, this time representing Rävjunk's punkier side with four tracks recorded live at Rackarbergspuben (commonly referred to as Rackis) in the band's hometown Uppsala on 26th of May, 1979. The sound is generally good although the vocals sound a bit muffled. It's a short but tight and very inspired set including two songs not available elsewhere, the decent but not excellent ”Redneck” and a great, revved-up cover of Gudibrallan's ”Sprutan”. This is every bit as good as their singles, if not better. If you prefer this side of the band, this is something to check out.

One further track, a so called "raw version" of the track "Delerium" off "Uppsala Stadshotell brinner" was included on the V/A CD "Tänd mörkret", a compilation of experimental postpunk and fringe progg artists released in conjunction with an art exhibition in Gothenburg 2007. 

The Freaky Guitar Album full album
Jamsession full album playlist
Live At Rackis 1979 full EP playlist 
"Delirium (Raw version)" from "Tänd mörkret" 

NANNIE PORRES, TORGNY BJÖRK, BERNT ROSENGRENS ORKESTER & HERR T OCH HANS SPELMÄN - Horisontlinje (YTF, 1974)

 
Swedish vocals, spoken word
International relevance: *

Consider this a peripheral inclusion, as it's in fact rather low on progg content. It still might interest the occasional reader as it features the great talent of Bernt Rosengren. And one of Rosengren's tracks, ”Tortyr” (=”torture”), is in fact an excellent free jazz blast. Unfortunately it's tainted by a poem recital, but that's actually the theme of the album: It's all centered around the works of poet Per E. Rundquist, some with a clear anti-war and anti-fascist stance, so lots of spoken word here. 

On the other hand, you also get the wonderful voice of Swedish jazz singer Nannie Porres which I consider to be just one notch below the untouchable queen of Swedish jazz singers, Monica Zetterlund. Other participants here are visa singer Torgny Björk and folk outfit Herr T & Hans Spelmän. Some fine arrangements and efforts, but as a totality, the album is disjointed and frustrating to listen to. 

Full album playlist

RUBBET – Skörden är stor (KN, 1982)

 
Swedish vocals, instrumental
International relevance: **

I hoped this would be a great lost Christian hard rock album. I was right in three respects: it's lost, Christian and hard rock but it's not particularly great. More than half of the songs come from a musical Rubbet wrote about a fictional character named Ben Josef who witnessed the crucifixion of Christ and then turn to him just in time for the resurrection. All songs except one have vocals, many of them with rather dark lyrical concerns which is a rather welcome change to the usual rose-coloured jubilation marring so many Christian releases. The lyrical level isn't too impresive though, and pretty much like the album in general: a rather mediocre effort with uninteresting vocals and a mish-mash of then current hard rock clichés. But the clichés are still preferable to the lame attempts at reggae (”Hej BJ”) and funkiness (”Vaktens sång”) plus a couple of dutiful and unimaginative ballads.

”Skörden är stor” looks like a private pressing but was in fact released by the small Skellefteå label KN – initials for label owner Kjell Nästén – which had a couple of progg related items out (including a late 7” by Kurres Kapell) before folding in the mid 80s. The production is rather professional sounding but a little bit to close to the sound aesthetics of the era.

Rubbet had two songs on the "Rockplock" compilation, and a second album in 1984.  

RÖDA RÖTTER – Kom igen (Röda Rötter, 1982)

 
Swedish vocals
International relevance: -

But for fuck's sake...

This is a perfect example of an album I wouldn't even touch with a twelve feet stick and eight pairs of gloves if it wasn't for this blog. It's a private pressing released by Röda Rötter (="red roots"), a women's choir affiliated with the local Social Democratic section of Staffanstorp in the south of Sweden. So expect the sloganeering to be a bit more watered down than on your regular Stalinist shout fest. Also, the acoustic guitars are swapped for accordeons (not a positive thing). The B side has a couple of solo performances but of course they suck too.

Now if you excuse me, I have an album to smash.

No links found 

ROTPULS – Rotpuls (Amalthea, MP 1981) / Rotpuls (Amalthea, 1982)

Swedish vocals, English vocals
International relevance: *

A reggae band from Lund in Skåne with a very hands-on Peps Persson involvement. They had released two singles before making their 12” debut with six-track mini LP ”Rotupuls” in 1981, produced by Peps and also featuring musical contributions from him. They had a few less likeable traits in common with  Peps as displayed on his albums with Ronny Åström and ”Fyra tunnland bedor om dan”, i.e. silly songs of a traditional Skånish type. Then again, there are a few good tracks on both the mini album and their first and only full-length, confusingly enough also entitled ”Rotpuls” and again with Peps producing and playing. ”Stig Andersson” from the 12” and ”Vik ut dig” from the LP are fine enough, but the best track is the spacious organ-laced reggae cover of John Coltrane's ”A Love Supreme” which works really well, not only as a cool idea but as a cool piece of music. Too uneven to be considered essential, but the good tracks would make a pretty OK short LP length compilation. Plus there were so few Swedish reggae bands from this period, and the Peps relation makes Rotpuls worth mentioning.

Rotpuls (1981) full album playlist
Rotpuls (1982) full album playlist

MONGEZI FEZA & BERNT ROSENGREN QUARTET – Free Jam (Ayler, 2004; rec. 1972)

 

Instrumental

International relevance: ***

This is a double punch knockout! Recorded around the same time as trumpeter Mongezi Feza's albums with Johnny Dyani and Okay Temiz, this is miles above them all. (It should be said that Temiz is present here as well, but in a much more appropriate context.) The secret weapon here is Bernt Rosengren's quartet who really goes for it, and his band is a much better match to Feza.

Double CD ”Free Jam” was recorded during two shows in mid and late November 1972, and the title explains it all: this is collective improvisations. A dangerous game if you can't find the flow, but these five gentlemen sure do. They touch on multiple jazz styles, or more like referencing them, because it's all free jazz in the best sense of the word. Powerful, energetic, symbiotic, osmotic. It's so exhilarating when it happens and this is an exhilarating release.

The sound quality isn't top notch, it's a slightly distant audience recording from a somewhat echoey venue, but the force of the music still comes through with crystalline focus. If you're used to listening to free jazz it shouldn't be much of a problem, as many obscure free jazz albums aren't any hi-fi experiences anyway. And this is one of the finest examples of the style recorded and released in Sweden.

Selective album playlist (Bandcamp)

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

BERNT ROSENGREN – Notes From Underground (Harvest, 1974)

 

Instrumental
International relevance: ***

Tenorist Bernt Rosengren is one of the major Swedish jazz musicians, and if you're at all into Swedish jazz, you neither should nor could pass him by. He played with so many, both domestically and internationally, from Sevda to Krzysztof Komeda, from Nature to Don Cherry, from later era Eldkvarn to George Russell. Not to mention his great albums as a leader of which ”Notes From Underground” stands out as his major opus. Yes, it is a jazz album, but it's so sprawling and free-spirited, spanning so many expressions that you soon just forget about genres and simply think of it as music delivered with an amazing joy of playing. And just look at the line-up: Maffy Falay, Okay Temiz, Salih Baysal, Gunnar Bergsten, Bengt Berger, Tommy Koverhult, Torbjörn Hultcrantz, Bobo Stenson, Björn Alke, Leif Wennerström, Bertil Strandberg and of course Bernt Rosengren himself. With such a heavy lot you just know that this can't go wrong. And of course it doesn't.

There's the bluesy lyricism of the short version of ”Markitta Blues”, there's the Pharoah Sanders permeated spirituality of ”Iana Has Been Surprised In The Night”, there's the 'free bop' of ”Gerda” and ”Splash”, there's ”Some Changes V” – almost a miniature throwback to Rosengren's participation with G.L. Unit. Not to mention the Turkish portions from the holy trinity of Falay/Temiz/Baysal that breaks through like sudden dreams from another world once on each of the two discs. ”Notes From Underground” is a double album, but never one to feel overstretched and presumptuous – itself an achievement. The whole album is so well composed, so sensitively balanced that it almost surprises you when it's already over.

I sometimes use the word 'monolithic' and I'm going to use it once again. This album is monolithic. And once you've got it, don't stop there – go on to 1971's splendid ”Fly Me To The Sun” and the two volumes of ”Live In Stockholm” recorded in 1974 and 1975 respectively – volume 1 is particularly powerful. And the continue.

Full album playlist minus first track
"Theme From Piano Concerto No. 2 in C Minor, Op. 12" (first track)

RÖDA LACKET – Röda Lacket (Ljudspår. 1974)

Swedish vocals, instrumental
International relevance: *

Ljudspår was the musical outlet of film studio Europa Film and managed to release several highly credible albums 1972-1976 including the first Mikael Ramel, second Fläsket Brinner and the final album from Vildkaktus. Röda Lacket's only LP isn't quite one of them. Not fusion, not really jazz rock but more of a horn rock album with vocalist Göran Folkestad sounding like a Christian commercial singer. Well, both commercial and Christian is right insofar he appeared in the Eurovision Song Contest twice in the 80s and bassist Thomas Lindbjer was in both Vatten and Salt. The musicianship is OK enough but the songwriting is blunt and undistinguished. It doesn't matter if they dabble in jazz (”Gasen pyser”), instrumental Latin soul (”Jättarnas dans”) or pop ballads (”Våra statsmän”), nothing here has any personality. ”Röda Lacket” is a perfectly pointless album by a perfectly pointless band.

Jättarnas sång 
Jättarnas dans
1848

ROCKVINDAR – Första gången (MNW, 1980)

 Swedish vocals
International relevance: *

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

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

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

Full album playlist

VARIOUS ARTISTS – Festplatsen 1974 (Happy Cop & Hiphop Bee, 2024; rec. 1974)

 Featured artists: Monica Törnell / Risken Finns / Nynningen / Mikael Ramel / Peps Blodsband / Cornelis Vreeswijk
Swedish vocals
International relevance: ***

”Festplatsen 1974” follows obscure label Happy Cop & Hiphop Bee's overwhelmingly brilliant ”Hälsa på som förr” by Mikael Ramel & Unga Hjärtan, and what it is is best explained by the liner notes: ”Festplatsen (='the festival grounds') was an entertainment show made for both radio and TV and recorded live at small festival grounds in July and August 1973, The music and the talk should, as much as possible, reflect the locality by mixing local talents and invited national and sometimes international personalities.” The show was aired in five episodes and was hosted by Mikael Ramel and Bengan Dalén of Fläsket Brinner and at the time also member of Ramel's band. Satirical duo Risken Finns were musical regulars on the show.

This album has selections from three of the five episodes, and apart from the obvious inclusions of Risken Finns and Ramel himself, there are appearences from Monica Törnell, Peps Blodsband, and Sweden's prime troubadour Cornelis Vreeswijk. There's also an unusual example of Nynningen backing Risken Finns in a wonderfully raucous version of Risken's chestnut ”Du känner väl mig”. If Nynningen's own albums would have been that unhinged they'd have been way better! Risken's two other contributions are good too although more in their usual acoustic vein.

Mikael Ramel's songs with Dalén are more low-key than those on ”Hälsa på som förr” but still absolutely great. These four tracks are an essential addition to his regular albums and the splendid live album mentioned earlier.

I'm a bit disappointed with Peps Persson and his Blodsband though. This was around the time when Peps switched from blues to reggae, and here they occasionally sound as if they're not sure which to choose. Both ”Falsk matematik” and ”Djupt i mitt hjärta” sound confused, especially with the addition of accordeon which seems to have a hard time finding its place in the mix. The Swedish cover of ”Little Red Rooster” – ”Liden rö tocke” – fares better by being a straight-ahead blues, but all four Peps tracks seem a bit off.

The sound quality is excellent mono all through and the album was released in a minimal edition of only 100 copies on vinyl, no CD.

The full fifth episode of ”Festplatsen” is available for streaming on Mikael Ramel's website and has a couple of Kebnekaise tracks not on this album. 

 No links found

RENA RAMA – Live (Organic Music, 1983; rec. 1975)

 
Instrumental
International relevance: ***

Recorded with the second Rena Rama line-up with American Leroy Lowe on drums instead of Bengt Berger who left after their first album. Not released until 1983 on Urspår's sublabel Organic Music, but taped live at Stockholm's premiere jazz club Fasching one winter's evening in 1975. The other Rena Rama albums are mostly OK but not really top shelf material to my ears; it always sounds to me as if they hold something back. That's not the case here. Housed in a beautiful cover, ”Live” bursts with free jazz energy, especially Lennart Åberg who blows his saxophone harder than I think I've ever heard him blow before while Bobo Stenson attacks his piano with a fervour that from time to time makes me think of Cecil Taylor. Leroy Lowe is everywhere but bassist Palle Danielsson follows his every step. There's a sizzling energy even in the softer passages, as if they just wait for the next blowout that will come any moment. Some might think ”Live” is just a complement to the regular Rena Rama albums, but I think this is their absolutely finest moment on record. Essential!

Full album playlist

MIKAEL RAMEL & UNGA HJÄRTAN – Hälsa på som förr (Happy Cop & Hiphop Bee, 2023, rec. 1973)

Swedish vocals, English vocals
International relevance ***

Like a gift from above, this album appeared without much ado in late 2023. Who would have thought it? A vintage live recording to add to your collection of glorious Mikael Ramel albums! Just like that! But... in only 200 copies on vinyl, no CD, and no streaming. It's a somewhat secretive release in general -- it's an official release, not a bootleg, but it has no record label name anywhere. (The Spinroad logo on cover and label is for the pressing plant.) It's bound to become a massive rarity which is a great shame as this is an essential album to any Ramel head.

So what exactly is it? It's a recording made for the Swedish Radio live show Tonkraft in March 1973, in pristine sound quality. Who are backing band Unga Hjärtan? Basically a diminished Fläsket Brinner with Gunnar Bergsten, Bengt Dahlén, Erik Dahlbäck and Göran Lagerberg. Where has this been tucked away for years? Who knows, but it's not a newly discovered, long forgotten recording as it's been available to listen to on Mikael Ramel's website. It should be pointed out though that the website has more songs – ”Hälsa på som förr” actually loses two tracks plus the coda to ”Pengar” from the original broadcast. Very strange as they kept the radio presenter's intro to the show, wasting a couple of minutes that could have been used for something more uself. And the Dahlén sung cover of ”Heartbreak Hotel” is unnecessary – I'd much rather have seen the half-deranged live take of ”Artificiell prana” in its place. The set list is also jumbled. So, some small flies in the ointment but you can live with it. Because most of what you do get is bloody marvellous! And the mix sounds better balanced too.

The show was recorded before Ramel's second album ”Extra Vagansa” was released, and several songs are presented here in vastly different versions than how they appeared in their finished studio forms. ”Så länge're svänger” that kicks the whole thing off is a light and swiftly moving number on the album, but here it's immersed in a heavy and incredibly sexy groove bordering on the nasty. ”Apfigur” is brooding enough on the album but almost ominous here. ”Lukter runt holken” is lilting sweetly in the studio but goes bonkers here, almost approaching chaos in the best sense of the word. And so on.

The playing is sometimes ragged (but again in the best sense of the word) but as you'd expect, also brilliant – Bengt Dahlén is particularly striking on guitar (no news there). Even the slower tracks generate so much energy that you could light up a room with it. Ramel's studio albums never sounded this mean and halfway out of their seats, so ”Hälsa på som förr” isn't just one hell of an album, it also adds something important to what we already knew about the genius of Mikael Ramel. 'Tis a consummation devoutly to be wished that this will get a CD release too, preferably in complete, unalduterated form. It deserves to be heard in full by more people than the tiny vinyl edition can satisfy.

Full show on Mikael Ramel's website

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

ROLAND KEIJSER & ANDERS ROSÉN – Forsens låt (Hurv, 1975)

Instrumental

International relevance: **

One of the true masterworks to come out of the Swedish folk music scene of the 70's, and a pioneering work too when it came out in 1975 as the first release on the Hurv label: ”Forsens låt” was the first time ever than the soprano sax was used on a record with Swedish folk music. Handled by Arbete & Fritid illuminary Roland Keijser, it beautifully supports, chases and embraces Anders Rosén's fiddle in a number of traditional tunes augmented by a slew of carefully crafted Rosén originals. The music moves in a space of its own, familiar yet different. Explained Rosén in an interview I did with him and Keijser in 2014:

”'Forsens låt' is an obvious attempt at creating a 'fantasy dialect' within folk music. It sounds like a clearly defined style, but you can't really place it in time or geography.”

”We were careful not to sentimentalize the old folk music,” Keijser elaborated, ”and we didn't want to jazzify it or dress it up in nifty chord progressions or adapt it to God-knows-what. We just wanted to play the songs straight without any hidden intentions, only adding a new timbre through the soprano sax.”

The results are stunning, thick with rich textures of the intertwined timbres of the fiddle and the sax, and melodies dense with equal parts of pertinence and alluring ancient lore. It's Swedish blues without any stylistic evidence of American blues as we know it.

I realize that Swedish fiddle music isn't everyone's cup of tea, but if there's one album I'd like to recommend to listeners to the uninitiated, this is it. It's a masterpiece.

Springlek

ANDERS ROSÉN & OVE KARLSSON – Låtar med Anders Rosén och Ove Karlsson (Hurv, 1979)

Instrumental
International relevance: **

A rarely seen album with a tight Arbete & Fritid connection. Ove Karlsson was of course one of the most prominent members of Arbete & Fritid, while folk fiddler Anders Rosén joined them for their 1977 double album ”...sen dansar vi ut”, like this album released on Rosén's Hurv label. Here Karlsson provides cello, zither and guitar, while his compadre sticks to a fiddle with sympathetic strings. The combination of fiddle and cello in particular adds baroque sounding characteristics to these original Rosén pieces which is very pleasing to listen to. And both participants are of course class 'A' musicians with good ears for complementing interplay.

While not a surefire recommendation to people not used to music deeply rooted in traditional tunes and folk fiddling, the album has a fine atmosphere with plenty of droning qualities that might appeal to fans of ”...sen dansar vi ut”.

The front cover drawing is by Anders Rosén's daughter.

No links found.

ROCKAMÖLLAN – Var ska du ta vägen? (Sonet, 1979) / Tron om varann (Marilla, 1980)

Rockamöllan was a reggae band from the small town of Eslöv in the deep south of Skåne, initially fronted by charismatic singer Ronny Carlsson.

 Var ska du ta vägen? (Sonet, 1979)

Swedish vocals, English vocals

International relevance: *

The first album by Rockamöllan recorded in late 1978, and the first album to showcase the talent of the troubled and raspy voiced singer Ronny Carlsson, with his lyrics dealing with social issues and the hard side of life (see the album's front cover picture). Reggae demands good playing, especially from the drummer, but Rockamöllan was credible enough. ”Var ska du ta vägen?” indeed has some fine songs, closer to the UK brand of reggae than the original Jamaican one. It's certainly not on Peps Persson's level, but it's OK.

Tron om varann (Marilla, 1980)

Swedish vocals, English vocals
International relevance: *

Carlsson left Rockamöllan before their second album to form Onna Taas Band, leaving the songwriting duties to the other Ronny of the band, Jönsson. Unfortunately, that meant weaker songs and not as good vocals. ”Tron om varann” tries hard to convince but fails too often.

Vart ska du ta vägen full album playlist

Tron om varann full album playlist

RENA RAMA – The 1970's albums

Rena Rama were founded in 1971 by drummer Bengt Berger, bassist Palle Danielsson and pianist Bobo Stenson. Soon after, saxophonist Lennart Åberg joined. The newly formed band did a session for Swedish television, and toured in Germany in 1972. The following year they received Rikskonserter's yearly Jazz i Sverige (”jazz in Sweden”) award, and as a result they released their first album ”Jazz i Sverige '73”. Rena Rama was influenced by Indian and African music and their initial music may be described as a kind of 'world jazz'.

Jazz i Sverige '73 (Caprice, 1973)

Instrumental

International relevance: **

Everything is right about ”Jazz i Sverige '73”, the intentions, the musicians, their skills, their outlook on music, but somehow the album just don't take off. It sounds like a collection of great ideas they never manage to quite set into motion. The music often sounds forced, as if Rena Rama try hard to push it forward to where they want it, to a point where it takes on a life of its own, but it never really happens. ”Jazz i Sverige '73” is a rare example of a Bengt Berger driven album that doesn't fulfill its potential.

Landscapes (Japo, 1977)

Instrumental

International relevance: **

In 1975, Bengt Berger left the band and was replaced by American born drummer Leroy Lowe who had played with trombonist Eje Thelin prior to Rena Rama. He has a lighter touch on ”Landscapes” than Berger had on ”Jazz i Sverige '73” which makes for a smoother running albeit less 'ethnic' sounding music where Palle Danielsson in particular seems to be more at ease – his elevated ”Rumanian Folk Song” is the best moment on here. ”Landscapes” reaches further than Rena Rama's debut but still isn't quite there. 

 
Inside-Outside (Caprice, 1979)
Instrumental
International relevance: **

In 1979 Rena Rama was back with Caprice for an album that moves between the obvious traditional influences of the first album and the more straight ahead jazz of ”Landscapes”. It's all well played but not too inspiring.

Rena Rama existed for a long time still with a couple of line-up changes, and released a few more albums. A 1975 live recording with Leroy Lowe on drums was released in 1983, simply entitled ”Live”.

Rena Rama full album playlist

From Landscapes:

"Romanian Folk Song"

"Royal Song from Dahomey"
From Inside-Outside:

På hal is 

Lisas piano 

Banguana Song 

Inside-Outside

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

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

Röda Bönor (MNW, 1976)

Swedish vocals, a capella
International relevance: *

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

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

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

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

A 1977 Tonkraft recording is featured in "Progglådan".

Röda Bönor full album playlist

Sköna skrönor full album playlist
Tonkraft 1977 full album playlist