TED STRÖM – The complete 1970's albums

Following Contact's demise in late summer 1972, Ted Ström swiftly embarked on a solo career. Some of his songwriter characteristics prevailed. You can trace Contact's well known folk influence also on his solo albums, especially in the instrumentation of mandolin, clarinet, accordion etc.

Knut Teodor Ström (Grammofonverket, 1973)

Swedish vocals

International relevance: **

”Knut Teodor Ström” is not only the title of Ström's first solo album, but also his full birth name. The album was written shortly after Contact broke up. with some fine musicians of which Göran Lagerberg, and Fläsket Brinner's Erik Dahlbäck deserve a special mention, as does Björn Holmsten adding a special nuance to the music with his sax, clarinet and accordion. The album sounds what Contact could have sounded like within a somewhat rockier framework. Fine songwriting, with ”Anders Jansson, nyckelbarn” (written with a little help from Ström's friends), ”Frost” and the jazz tinged ”Tidig morgon” highlighting the set.

Kärva lägen (Manifest, 1977)

Swedish vocals

International relevance: **

With the formation of Norrbottens Järn following ”Knut Teodor Ström”, it took Ström four years to complete his second solo album, using Luleå band Rekyl as a back-up band, and augmented by Nynningen's Tomas Forsell on guitar and mandolin, and Christer Ödberg on horns. Writes Ström about the album on his website (my translation): ”The album is largely influenced by the time and place; an interest in social issues and the environment of Luleå in those days. Ray Davies and Randy Newman were my idols which is obvious on the tracks 'Alkohol' and 'Idolen' which are translations of songs of theirs.”

However, the album opens with Ted Ström's own version of ”Låt i framstegstakt”, originally written for Norrbottens Järn (released on their 1977 album ”Järnet”). The reggae beat here unfortunately doesn't do the song much good, and to be honest, ”Kärva lägen” is generally not Ström's finest hour. It has some good songs for sure but the album sounds dry and surprisingly unspired. Is it because of Rekyl, or is it because it was mixed by Nacksving producer Johannes Leyman? 

För evigt ung (Sonet, 1979)

Swedish vocals, instrumental

International relevance: **

Involving Kornet might not look like a good idea on paper – they're probably the most boring of all Swedish fusion bands of the 70's – but they adapt well to the circumstances and don't let loose too many of the instrumental acrobatics that make their own albums so unlistenable. Lasse Englund also appears with his typical acoustic sound, but he too is sympathetic to Ström's songs. Not all of them are good – the title track is just dreadful, and the reggae influence spilling over from ”Kärva lägen” is still awkward. But some songs are fine, better than ”Kärva lägen” including the Dire Straits influenced (yes, Dire Straits, you may stop choking now!) ”Vinterresa” bearing Ström's melancholy stamp.

Ted Ström has continued making records to and fro over the years. Monica Törnell's version of Ström's ”Vintersaga” became a huge hit in 1984. One of the best songs Ström has written, so good you can hear the qualities even through the layers and layers and layers of production polishes smeared all over Törnell's recording.

Knut Teodor Ström full album playlist

Kärva lägen full album playlist

För evigt ung full album playlist

REKYL – Rekyl (Manifest, 1976) / I himlen är det för sent (Manifest, 1979) / Vi blir aldrig som ni vill (Manifest, 1980)

Rekyl was an important part of the Northern Luleå scene. Apart from being a much appreciated band in their own right, their members participated in other projects such as Anton Svedbergs Swängjäng and Vi Var Tolv Man I Laget, and helping Tomas Forssell out on his ”Ingenting står stilla” album, and Ted Ström on his ”Kärva lägen”.

Rekyl (Manifest, 1976)

International relevance: *

Swedish vocals

Rekyl appeared as a fully fledged band already on their maiden work. Blues based rock with an obvious Rolling Stones bent (not only because of their Swedish take on ”Street Fighting Man”, ”Slagskämpens sång”) with political and sometimes very graphic lyrics. I'm sure it helps getting along with Rekyl if you're a Stones fan. Which I'm not, so the best tracks to me are ”Mardröm” (more progg than Stones) and the melancholy album closer ”Grå grönska”. Great cover art though!

I himlen är det för sent (Manifest, 1979)

Swedish vocals
International relevance: *

The second album follows along the tracks of the first, with more Stones infused rock, only a little tighter production-wise with horns added to ”Låt dom inte få dej” and ballads ”Då behöver jag dej” and ”Vi behöver dina ögon”. Tight playing and often well written lyrics. I can understand how this appeal to a lot of people but the album fails to move me. 

Vi blir aldrig som ni vill (Manifest, 1980)

International relevance: *

Swedish vocals

The horns introduced on ”I himlen är det för sent” come further up on Rekyl's final album for Manifest. Rolf Hedberg's sax has a strong Clarence Clemons vibe, pushing tracks like ”Arbeta hårt” and ”Gasen i botten” closer to Bruce Springsteen than the Stones. I don't consider that as a problem per se, but there's something about ”Vi blir aldrig som ni” that makes it the weakest of the band's Manifest albums. There's still some good lyric work going on here but the bigger production makes the songs unnecessarily fluffy. 

Following ”Vi blir aldrig som ni”, Rekyl signed with the Frituna label and released live album ”Levande i Luleå” plus two 45's on the same label. They're also featured on ”Norrbottenplattan 2", ”Tonkraft 1977-78”. A 1975 radio recording can be found in the ”Progglådan” box set.

Rekyl full album playlist
I himlen är det för sent full album playlist
Vi blir aldrig som ni vill full album playlist

Tonkraft 1975 full album playlist (tracks 1-10)

ANTON SVEDBERGS SWÄNGJÄNG – Anton Svedbergs Swängjäng (Manifest, 1975)

Swedish vocals, English vocals, instrumental

International relevance: **

Anton Svedbergs Swängjäng (sometimes spelt differently) was a Luleå based collective of musicians also involved with other bands including Rekyl, Norrlåtar, Kornet and Norrbottens Järn. With input from a whopping 36 members from such different genres the music moves wildly between folk, rock, jazz, progg, and singer/singwriter music. The style changes from track to track and one could almost think the band's main purpose was to confuse as many people as possible. Because of its entertainment value mention should be made of their cover of ”Sgt. Pepper's Lonely Hearts Club Band”, in Swedish with the original title appropriately changed to ”Anton Svedbergs Swängjäng”. Best track is the hard driving ”Den olympiska maskinen”. The album was recorded live and features some amusing between song banter (in Swedish). 

A curio more than anything.

A live recording was also released as part of  ”Progglådan”.

"Anton Svedbergs Swängjäng"

"Disco Dick"
"Kärlek"

"Den olympiska maskinen"

Tonkraft 1975

"Nödrop från ett betongghetto" 

"Sedelmakaren"

"Lillan snusar i skönan säng"

TOMAS FORSSELL – Ingenting står stilla (Manifest, 1977)

Swedish vocals, instrumental

International relevance: **

First solo album from former Nynningen member Tomas Forssell, here with back-up from Luleå bands Rekyl and Skottes Musikorkester, including an appearance from Contact's Ted Ström on grand piano. Noted singer/songwriter Turid also makes a vocal appearance. The music sounds like expected with the people involved, steadfast rock music with sprinkles of folk music from Europe and the Near East. The playing is competent but the songwriting isn't particularly exciting. The album has a dull edge and fails to satisfy.

One 1977 track appears on "Too Much For Sale", a 2021 compilation album of previously unreleased recordings.

Forssell appeared on several albums by other artists over the years and later turned to children's entertainment. He's also the father of Swedish TV personality Gry Forssell.

Full album playlist