VARIOUS ARTISTS – Sånger och musik från Kvinnokulturfestivalen (Silence, 1977)

Rut Hermansson / Eva Blomqvist / Sabina Kristensen / Monika Lundin / Frankie Armstrong / Lena Ekman / Jan Hammarlund / Marie Selander / Lena Granhagen / Monica Törnell / Andra Bullar / Lava / Ulla Bendrik-Johansson / Turid / Margareta Söderberg / Monica Törnell / Cyndee Peters / Röda Bönor 

Swedish vocals, English vocals, a cappella
International relevance: **

Kvinnokulturfestivalen (Festival of Women Culture) was a three day event held in Stockholm in late October 1977 with many of the usual suspects coming together. This album is a selection of songs recorded at the festival and features Marie Selander, Turid, Lena Granhagen, Andra Bullar, Margareta Söderberg and Röda Bönor to name a few. Most of it is acoustic and most of it sounds exactly as expected, meaning political folk with a righteous message.

A couple of tracks have electric backing and those selections are also the best. Marie Selander's ”Carcara” even manages to work up a physical groove very rarely heard on political albums. Lava, a seemingly temporary grouping assembled specifically for the festival, is Lena Ekman backed by the likes of Sigge Krantz (Archimedes Badkar, Stockholm Norra, Torkel Rasmusson, Lokomotiv Konkret et al) and Ola Backström (Stockholm Norra, Torkel Rasmussion, Dag Vag). Their ”Svartsjuk” starts out a bit trying and uncertain but grows organically as it goes on. Ola Backström's slide guitar isn't exactly Elmore James – more of a slurry Robbie Krieger – but it works to good effect and pushes the song almost to the six minute limit. And Monica Törnell is far better here than on any of her own albums from around this time.

The performers are perhaps more interesting than the performances, but as said above, the album isn't entirely without musical merits. It's not a great album by any means, but remains one of the better feminist albums from the period, for what it's worth.

Full album playlist

JAN HAMMARLUND & KJERSTIN NORÉN – Några här, några där... (Amalthea, 1981)

Swedish vocals
International relevance: *

I've already written about Jan Hammarlund's entire 1970's catalogue here, but he continued making records long after that, with a discography reaching well into the 2010's. Never foreign to working and performing with other (predominantly female) artists, there are several releases co-credited to others. This is one of them, made together with Kjerstin Norén. She was one of the original members of Röda Bönor, and subsequently had another band called Kjerstin Norén & Damorkestern with members from Husmoderns Bröst.

”Några här, några där” – with the unweildy subtitle ”Jan Hammarlund Och Kjerstin Norén Sjunger Sånger Av Il Nuovo Canzoniere Italiano: Ivan Della Mea - Giovanna Marini - Paolo Pietrangeli” – consists of songs by contemporary Italian songwriters (as the subtitle says) translated to Swedish. The vocals are split rather evenly beteween the two singers, and although Norén might not be the greatest voice ever heard, her songs are still a welcome break from Hammarlund's always annoying warbles.

The album as a whole has a somewhat different feel than many other Hammarlund albums which has a lot to do not only with Norén's involvement but also the arrangements. The most different-sounding track is ”Balladen om Ardizzone” with its renaissance-styled framework. A well seasoned line-up surely helps too; how about Kjell Westling, Fred Lane, Lena Ekman, Ale Möller and his mate from various constellations Dan ”Gisen” Malmquist to name but a few? Recorded in Copenhagen, a couple of Danish musicians get on the payroll too.

But all in all, this remains too much of a Jan Hammarlund album, and unless you're a fan of his, you may just as well pass on it.

Full album playlist

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