It's hard
for a progg fan not cross paths with Skäggmanslaget as they were one
of the most popular traditional folk outfits in the 70s whose
popularity was only elevated by their collaboration with Contact on
most notably ”Hon kom över mon” which remains a celebrated progg
chestnut to this very day. Contact, of course, also appeared on
Skäggmanslaget's debut album ”Pjål, gnäll och ämmel” to great
effect on the track ”Gråtlåten”.
”Kniviga låtar
tillägnade länsman i Delsbo” is their third album and it's a
straight-up folk effort with no rock music involved. Unless you count
their fiery playing that is that was rock'n'roll enough compared to
many other traditional fiddle constellations of the time. The album
consists of fifteen tracks from their native Hälsingland, an area in
the southern part of Northern Sweden known for its rich musical
history. Skäggmanslaget is smack dab in the middle of tradition, and
born and raised straight into it, they are as credible as they are
engaging. The liner notes declare ”it sounds genuine, and fun it
is, and rocks it does”, and that description is as good anything I
could come up with to describe the album. Having an interest in Swedish folk fiddling of course helps, but the Skäggmanlaget's contagious enthusiasm should be obvious to anyone. This is one pretty great album in its field.
Full album playlist
Showing posts with label Skäggmanslaget. Show all posts
Showing posts with label Skäggmanslaget. Show all posts
Wednesday, June 1, 2022
SKÄGGMANSLAGET – Kniviga låtar tillägnade länsman i Delsbo (Sonet, 1973)
Friday, July 27, 2018
SKÄGGMANSLAGET – Pjål, gnäll & ämmel (Sonet, 1970) / Snus, mus och brännvin (Sonet, 1971)
Instrumental, Swedish vocals, other languages
International relevance: **/ **
Skäggmanslaget was one of the best
known folk music groups, partly due to their involvement with
Contact, playing on their best known track ”Hon kom över mon”.
They also worked with accordionist Leif ”Pepparn” Pettersson on
his 1973 album ”Nää, nu jäsicken!” and others, and they
released a number of albums of their own.
They were
serious about what they did, but had a more easygoing
approach than, for instance, Norrlåtar.
”Pjål, gnäll & ämmel” was
their first album and nicely demonstrates their abilities. Apart from core members Peter Logård,
Thore Härdelin and Wilhelm Grindsäter, Kjell Westling joins in a
couple of tracks, as do noted singer Marie Selander. Contact makes an appearance here, backing Skäggmanslaget on the excellent
closing track ”Gråtlåten” – what a pity they never made a
full album together!
”Snus, mus och brännvin” followed
suit in 1971, again with a guest appearances from Kjell Westling
along with Bengt Berger, Urban Yman and nyckelharpa player Ceylon
Wallin. It's an even more self-assured album than its predecessor. A
fun take on famous Swedish tune ”Trettondedagsmarschen” almost
sounds like a cheerful Arbete & Fritid recording features tablas,
as does ”Polska efter Nils Hägg” which rounds off the album in a
nice way.
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