ANDERS F. RÖNNBLOM – The 1970s albums

Approaching the work of Anders F. Rönnblom's from scratch must be a daunting task for someone who never did before – his discography is moving towards a whopping 40 albums at the time of writing! Just about everyone with such a long creative stretch has artistic dips, but Rönnblom's output has been strikingly consistent. His lesser albums are good, and there are some merely great, but most of them are simply brilliant. At 79 in 2025, he's still as active as a recording artist as ever before, and not only that: for the last decade or so, he has made some of his best albums ever.

Steeped in the American beat poetry tradition with names like Allen Ginsberg, Richard Brautigan and Lawrence Ferlinghetti, he has carved out a completely original niche of lyric writing within the Swedish language. It's as if he watches the world from his own sidelines, always with a sharp vision and often with a spiky wit. A serious admirer of Bob Dylan, Brian Wilson, Little Feat and The Grateful Dead, his musical sense is just as precise and precious.

Educated at Konstfack, the university of arts and design, Rönnblom has also worked as a graphic designer and he has provided artwork for books as well as record covers for artists such as Monica Törnell, Neon Rose, Telge Blues and Cornelis Vreeswijk to name but a few. He began playing music in the late 1950s and made his first appearence on a commercially distributed record with Bob Major & The G.I:s in 1964, an EP for which he wrote all four songs.

Although he was never an obvious part of the progg movement, he wasn't shunned by it either. ”I was on commercial labels, just like Pugh, Bernt Staf, John Holm and Ola Magnell,” Rönnblom told me in 2017. ”But the music movement still let us into their venues, the so called music forums. True there was a rigid nucleus of strongly politically charged journalists and concert promoters centered around the Musikens Makt magazine, but even if they didn't write a lot about me, I had no problems getting gigs. I even played at Gothenburg's Sprängkullen which was considered one of the movement's seats of honour.”

Then again, he's never been part of any movement. He had a few hits in the early 80s, and his biting 1980 Christmas song ”Det är inte snön som faller” (inspired by The Rolling Stones' ”Sympathy For The Devil”) is a perennial favourite to everyone who despise the commercialized hysteria of that particular December holiday. But he's always been satisfied with being a maverick. As he put it on his 2015 album ”The Subliminal Solo Inferno”: ”Who the hell wants to be beloved by the people?”

This piece will include Anders F. Rönnblom's 70s output only. His albums ”Rapport från ett kallt fosterland” (1980), ”Vit flagg” (1981) and ”Krig & fred & country music” (1982) would of course fit within the time frame of the blog, but they're more in a new wavish vein (comparatively speaking). All wonderful albums, among his finest, but not quite progg blog material.

Din barndom skall aldrig dö (Decca, 1971)
Swedish vocals
International relevance: **

I have a fetish for debut albums. It's something special watching artists' first steps, hearing their first voice and knowing it was the seed of the future.

”Din barndom skall aldrig dö” came out in 1971. Pugh Rogefeldt's ”Ja dä ä dä” was only two years old, Kjell Höglund's ”Undran” was released the same year as ”Din barndom”, as was Robert Broberg's ”En typisk rund LP med hål i mitten”, the first of his where he really displayed his special outsider talent. In short, Swedish singer/songwriter pop/rock was only in its infancy, and there was still room for original expressions because there were yet no fixed reference points. ”Din barndom skall aldrig dö” is one important piece of that puzzle.

The album title means ”your childhood shall never die”, a beautiful title that says a lot about this lovely, touching album's overall mood. It has a naivité but the innocence comes with a fledgling worry that it might not stay that way forever. There's a kind of a Peter Pan quality to it, but a Peter Pan with a beginning identity crisis.

The title track is an eternal fan favourite, but there are so many great songs here. ”Hon håller ut över vintern” is a cross pollination of The Beatles and Big Star. ”Kärleken är död” echoes of Paul McCartney's early countryside recordings and is a wonderful song. But my favourite song here is the final track, the seven minute ”Mamma hjälp mig” with Dylanesque imagery and desperate underpinnings further emphasized by a distortion-drenched guitar solo soaked in escalating panic.

”Din barndom” has been reissued a couple of times, most recently as a lavish 50th anniversary 3CD set with one disc being the original album, the second being new recordings of unfinished songs from the period finally finished in the early 2020s, and the third one being other artists covering the entire original album
.

Ramlösa Kvarn (Epic, 1972)
Swedish vocals
International relevance: **

I count ”Ramlösa Kvarn” among Rönnblom's top 5. The songwriting's more focused, the lyrics are stronger, the melodies are more precise and the arrangements are richer, with tastefully applied horns, tablas, accordeon, vibraphone and even an electric sitar on ”Ta väl hand om Louis”. An all-star cast of session players back Rönnblom up, and he himself sings with greater confidence than before. There's not one bad track here, and although the songs are varied, the album's very cohesive – a tight and carefully pieced together unit. Oddly enough, demon producer Anders ”Henkan” Henriksson appears as a musician but not as a producer. It was in fact produced by Claes Dieden, formerly of 60s pop band Science Poption, but he did a great work making the many elements gel. A masterpiece, up there with period Pugh, Mikael Ramel et al.

Måsarna lämnar Gotland och hela Sverige tittar på (Epic, 1973)
Swedish vocals
International relevance: **

The third album has the slightly unwieldy title meaning ”the seagulls leave Gotland and all of Sweden is watching”. After the majestic ”Ramlösa Kvarn”, the follow-up was perhaps destined to be a disappointment. I said already from the start that Anders F. Rönnblom hasn't made any bad albums, and ”Måsarna” does have qualitues, but it's just not on the same level as much of his other stuff.

Again released on Epic Records, the framework is very different from the predecessor, with a smaller ensemble opting for a jazzy and even funky sound. I get the feeling that Rönnblom deliberately tried to change push his songwriting forward not to repeat himself, and while that signifies a great visionary artist and should be applauded, choosing a slightly bluesy groove based mode doesn't work out that well. The standout track is ”Ulla Hau” with a vibe not dissimilar to Dylan and The Band's ”Planet Waves” which was released the same year.

Still, this might be one of Rönnblom's albums most easily accessible to a non-Swedish listener because of its international style.

A lesser known Rönnblom related album from 1973 is ”Glas” by Marita Mejstam for which both he and Hawkey Franzén contributed several songs. Although some songs are OK, it's a more commercial sounding pop album and mostly interesting as a footnote to Rönnblom's own releases.

Alternativ rock'n'roll cirkus (Epic, 1974)
Swedish vocals
International relevance: **

Third and final Rönnblom on Epic Records, and while not another ”Ramlösa Kvarn” it's definitely a step in the right direction after ”Måsarna”. The songs are sharper and the rock oriented sound is a lot more becoming to them. A great addition is drummer Pelle Holm, known from especially Scorpion, Resan and Kebnekajse. His loose, open kind of playing is very important to how ”Alternativ rock'n'roll cirkus” turned out. I'd even go as far as to call him the most important element here as I suspect it's his presence that inspires the other players (including Rönnblom himself) to open up a bit more than they did on ”Måsarna”. I like how the album sounds, but the specific song I like the best is curiously enough the most atypical one here, the brooding and oddly claustrophobic ”Guds rosor”.

 

Det hysteriska draget (Tyfon, 1977)
Swedish vocals
International relevance: **

After his stint with major label Epic he took a break for three years until 1977 when he scored a deal with Tyfon Records. Not known as a rock imprint, their output up to his signing consisted of particularly bad dance bands and budget albums of nameless artists covering hits from the last few years. The only other rock act they had was Rhapsody, so I suspect Tyfon's ability to market music of even the smallest merit was limited. Which might explain why ”Det hysteriska draget” is one of the rarer Rönnblom albums from the 70s. Which is a pity, as it's a return to form with plenty of great songs and inspired performances.

Rönnblom explains in his liner notes for the double CD reissue of the two Tyfon albums that he rediscovered Brian Wilson and Van Dyke Parks around that time, which inspired him to enrich the instrumental palette. A horn and string arranger, Jonny Blomqvist, was hired to give the album a fuller sound – a successful move that gave the album an extra push. As he explains: ”'Draget' became the album that 'Alternativ rock'n'roll cirkus' should have been.” Also, the lyrics turned darker. Rönnblom's earlier lyrics often had a romantic gleam, but now torn souls and broken people entered his lyrical world. That makes ”Det hysteriska draget” one of his most multifaceted albums up to then.

Komedia – En tripp nerför Tarschan Boulevard (Tyfon, 1978)
Swedish vocals
International relevance: ***

The modus operandi for the second Tyfon album was vastly different to ”Det hysteriska draget”. The drums were dragged out to the centre of the studio with all the other musicians standing around ”as if it was a rehearsal room gig” as Rönnblom puts it. Overdubbing and meticulous studio work was the order of the day, but producer Börje Forsberg wanted a raw and unpolished sound. Rönnblom's newest songs were too intricate for this method, so instead he had to present simpler and more straightforward material. And that's what you hear on the album.

And what an album it is! Hands down his best since ”Ramlösa Kvarn”, – better even! It certainly is much grainier than ”Det hysteriska draget”, and the no frills songs are in-your-face, almost like a documentary in music. The title track is among the best songs he's ever written with an ominous guitar line running through the verses, while ”Dom rätta kretsarna” captures the bleak mood of Sweden in the late 70s. But there's no point in singling out particular songs because they're all great. Easily one of the best Swedish albums of the era, still sounding fresh and vivid no matter how dark the colours of it are. Simply another masterpiece.

The 2CD reissue of ”Komedia” and ”Det hysteriska draget” features bonus tracks collectively named ”Garagesekvenser”. Songs Rönnblom kept on deteriorating cassette tapes but musically good enough to save for posterity, so as with ”Din barndom skall aldrig dö”, he recorded them anew in time for the reissue. Essential stuff, although it would have been great hearing what they would have been like if recorded properly during his Tyfon years.

 

Vem har satt mina änglar i bur? (Volym 1) (Mercury, 1979)

Swedish vocals

International relevance: **

”Vem har satt mina änglar i bur?” initiated a new phase in Rönnblom's career, a five album stretch for Mercury Records. A slicker album than ”Komedia” with the occasional influence from country music and old rock'n'roll. That had been part of his music already before, but it's a bit more obvious here. It's a good album; the title track and the lilting ”I ett snöfall” are fine songs, and there are a few more pleasant moments, but overall it feels a bit like an in-between album, like he's going somewhere but not quite sure where. As I decided to cut off at the end of the 70s, his next album ”Rapport från ett kallt fosterland” (subtitled ”Vem har satt mina änglar i bur, volym 2”) isn't included but it's a punchier and better defined album.

* * * 

I tend to think of Anders F. Rönnblom's discography as book, with his various phases being chapters and each album is a set of pages in each chapter. In that regard, he's a Dylan, or a Peter Hammill –  artists to grow with. Anders F. Rönnblom is indeed one of those. But I also realize that something vital is lost if you don't understand his language. A great songwriter for sure, but the lyrical dimension is a great part of why he's enriched my life so much.

Din barndom skall aldrig dö full album playlis
Ramlösa Kvarn full album playlist
Måsarna lämnar Gotland och hela Sverige tittar på full album playlist
Alternativ rock'n'roll cirkus full album playlist
Vem har satt mina änglar i bur? full album playlist
Det hysteriska draget:
Side A, part 1 
Side A, part 2 
Side B, part 1  
Side B, part 2 
from "Komedia - En tripp nerför Tarschan Boulevard":
Komedia 
bonus:
Marita Mejstam - Glas full album playlist 

BLÖDARNA – Diggar ditt hål (Heartwork, 7” 1979)

 
English vocals, Swedish vocals
International relevance: ***

I thought long and hard about how and where to fit this one in. There's no album to link it to as a postscript, and lumping it in with other singles seemed awkward too as it's such a solitary beast. So finally I decided it deserves a post of its own. But first, a little history lesson.

Stry Terrarie (née Anders Sjöholm) roared his way into music with punk band Kriminella Gitarrer (=”criminal guitars”) in 1978. Often heralded as the first Swedish punk band, they made an immediate impression with their debut single ”Vårdad klädsel”, which to this day remain perhaps the most violent and abrasive assault on your eardrums ever recorded in Sweden – it's so explosive that it has earned international recognition through its inclusion on one of the volumes of the ”Bloodstains” punk compilation series. Several acclaimed singles followed (although none had quite the same ballistic impact as ”Vårdad klädsel”), but it was a track off 1979 various artists compilation ”Svensk pop” that draw ”normal people's” attention to them. When ”Knugen skuk” was played on radio show ”Ny våg” it was immediately banned, contemplating as it did the nature of the reproductive organ belonging to the King of Sweden.

Following the disbanding of Kriminella Gitarrer in 1979, the musically restless Stry Terrarie initiated several different bands, all of them excellent: Besökarna (”the visitors”), Stry & Stripparna (”Stry & the strippers”), Garbochock and – Blödarna (”the bleeders”). It's often hard to discern where one band ended and the next one began; it's not unfair to say their line-ups are in a continuous fluxus state. What can be determined though, is that Terrarie gravitated towards a much darker sound in many of those bands, far removed from the foundations-rattling ferocity of Kriminella Gitarrer. You can for instance sense an air of The Doors in Garbochock, but his psychedelic leanings never manifested themselves as succesfully and profoundly as in Blödarna (which really was the seed for Garbochock)..

With only one single released plus a lo-fi contribution to the exquisitely rare V/A cassette-only release "Eldbegängelse", Blödarna are an almost mythological parenthesis. At least until you hear ”Diggar ditt hål” (="digging your hole"). Recorded live on stage, the twelve minute track moves slowly like menacing shadows in the dark. The lyrics switch between Swedish and English, but the vocals are barely audible anyway, and often come through like paranoid yelps among the persistent, droning organ and the piercing guitars zig-zagging their way between Television's brothers-in-arms Tom Verlaine & Richard Lloyd and a malicious Robbie Krieger. The creeping mood won't change until two minutes before the end when the song slowly speeds up to an almost ”Psychotic Reaction”-like frenzy with Terrarie definitely going over the edge vocally.

It still sounds sick, twisted and bizarre: a true gem, a classic, a masterpiece, a milestone. Is it progg? Is it psych? I don't know, but it grew out of the very same soil as once Älgarnas Trädgård, Träd Gräs & Stenar, and Arbete & Fritid's ”Petrokemi”, it only flourished differently.

Full single playlist (Bandcamp)

FREEDOM – Freedom (Bellatrix, 1978)

 

 Swedish vocals, English vocals

International relevance: *

Dan Tillberg's Bellatrix label was a confusing one. Anything could come out on the label – punk, progg, jazz, garage rock, polka (!), choirs and religious music. This one fits the last two categories.

Released as Freedom but actually performed by Kyrkans Ungdom I Finja Pastorat (=”the church youth of the Finja pastorate”, Finja being a small town in Skåne in the south) to the benefit of the Church of Sweden International Aid. Seemingly appealing to collectors of Jesus pop, it does have some progg characteristics. A few tracks would actually have been quite good hadn't it been a youth choir singing. The best track by far is album opener ”Vem var han?” which wouldn't have been out of place on Obadja's great album ”Testa”. However, it was resurrected on the "Frälst!" compilation – a good choice making "Freedom" redundant. As it stands, it is a youth choir album sounding like one.

Vem var han? (Bandcamp)

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

BLÅ TÅGET – På Fågel Blå (MNW, 1982)

 

Swedish vocals

International relevance: *

I suppose a lot of people assumed that when Blå Tåget disbanded in 1974, that was the end of it. The revamped version called Stockholm Norra was more like an afterthought, and besides, it wasn't the original band anyway. A one-off Blå Tåget reunion in 1980 was just that, but they returned again for several concerts in 1981. The first one was at Fågel Blå, resident stage of theatre group Tidningsteatern, and ended up on a double album the year after.

They performed several new songs (or at least songs never previously recorded), but the whole thing feels more like a nostalgia show. The playing is more accomplished than during their original years, but that means they lost much of their original amateurish appeal. Here they sound like a bunch of cabaret entertainers delivering dance band-like renditions of the Gunder Hägg/Blå Tåget repertoire – imagine The Fugs playing a backstreet Las Vegas joint with ”Nothing”, ”Kill For Peace” and ”I Couldn't Get High”. What a hoot. (Actually, thinking of it, that would be more interesting to hear.)

The original line-up is intact with one glaring exception: Roland Keijser isn't here and with him gone, it becomes ever so obvious that he indeed was one of the most important members of the group. At the same time, I'm happy he didn't lend himself to this. 

Full album playlist

PÄR LINDBLOM – I grönsakslandet (RCA Victor, 1973)

 

Swedish vocals, instrumental

International relevance:**

Pär Lindblom has had many ways of earning his living. He started out in music in the early 70s, releasing his first album ”I grönsakslandet” on major label RCA Victor appealingly produced by his old schoolmate Tomas Ledin, made his second album two years later, appeared on Mora Träsk's debut album, turned to acting with Fria Proteatern and Musikteatergruppen Oktober, became a household face after appearing in a lottery TV commercial before becoming an author and illustrator of children's books in the late 90s. He also did a temporary music comeback with two CD singles in the mid 90s.

All songs on ”I grönsakslandet” are originals, and probably thanks to Ledin's involvement, he managed to get a line-up of seasoned studio musicians to back him up. Which means the usual suspects Jan Schaffer, Björn J:son Lindh, Stefan Brolund and Ola Brunkert. Lindholm himself isn't quite up to their level. His songs are OK enough, a bit of singer/songerwriter with some flashes of folk, but his vocals have an everyday feel to them. His voice is a wee bit like Bernt Staf's, but less piercingly nasal. 

But the ordinariness is also the contradictory charm of the album: It's like talking to someone about the weather and the rising cost of living and even though nothing is really said, it's quite pleasant, and then you step on the bus and go home with your grocery bag and you think, ”that was a nice fella”. And this was an unspectacular, nice nice album.

Grönsakslandet
Siw färg-tv

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

KENNY HÅKANSSON – Beno's ben (Silence, 1981)

 

Instrumental, Swedish vocals
International relevance: **

A peculiar album lacking both direction and ideas. Those who expect electric folk rock à la Kebnekajse or Håkansson's first solo album ”Springlekar och gånglåtar” will be sorely let down. A couple of tracks sound like a heavier Isildurs Bane, including the best one here, ”Existensproblem”. Another in turn is an approximation of sequencer Tangerine Dream but with guitars instead of electronics. ”Om döden” is better in Dag Vag's live version on ”Almanacka”. The oriental touches in”Egna ben” can't hide it's really just an inferior postpunk song but still better than the pseudo melodic heavy metal of ”Encore”. All sounds like song sketches that should best have been left on hissy 4 track home tapes and not turned into a full, officially released album. I love Kenny Håkansson but this album just isn't any good.

Full album playlist

GERD – Radio Ellen Special (Radio Ellen, 1982)

 

 Swedish vocals, English vocals

International relevance: **

Radio Ellen was an important feminist show on Swedish national radio aired between 1981 and 1995. They did interviews with unknown women at ordinary jobs, and the content was sometimes controversial for its time. The program broadcast from three cities originally, Luleå, Umeå and Gothenburg, and presented female artists in special studio sessions. The first of those was Gerd Sjöblom-Ulander who appeared on the very first episode, from Umeå in September 1981. A full album of songs she performed on the show was eventually released on Radio Ellen's one-shot label, according to some sources in 1982 although no release date is specified anywhere on the cover or label.

Simply called Gerd on the album, she has quite a fine voice, a bit jazzy and a bit folkish. As a matter of fact, she sometimes reminds me a little bit of UK indie/folk singer Heidi Berry. A few songs are originals, but the majority are covers of the likes of Chi Coltrane, Carla Bley, Laura Nyro and Violetta Parra. Some are acoustic and some feature a band backing. It's not a masterpiece, but it's certainly better than I expected from the album cover. And like I said, her voice is really enjoyable.

Interesting to note is that Gerd's husband also appearing here was saxophonist Lars-Göran Ulander who had previously been in Berndt Egerbladh's quartet, has albums out with free jazz pianist Per-Henrik Wallin, and later joined forces with Mats Gustafsson in his free jazz powerhouse outfit Fire! Orchestra.

No links found

GRASSROOTS – Grassroots (Hit-Records Of Sweden, 1981)

 Swedish vocals, English vocals
International relevance: **

Seemingly entirely unknown local release from Landskrona in the Skåne county by an equally unknown eight-piece who only had this one LP out on a shortlived regional label. Singer, guitarist and songwriter Hans Greebach (sometimes Grebach) did some production work in the area and also released a solo single in 1983. The other guitarist and songwriter Sven Kikukel also played on B.L.Magnell's ”Idyllen” some years earlier, and it might be him firing off all those great, heavy leads on ”Grassroots”.

Half of the album is funky rock and has a vibe similar to several American mid/late 70s solo artist private pressings while the other half is decent reggae. It wouldn't be unreasonable to expect a Peps Persson involvement because of it, but the album is actually produced by Hans Greebach, Sven Kikukel and his brother Woffe. Being just a 4-track recording, the production is quite impressive. Although the songs are decent without being excellent, it's the warm sound I enjoy most about the album.

No links found 

SKY HIGH – Sky High (Good Vibes, 1980)

 

Swedish vocals

International relevance: *

Guitarist Clas Yngström had been active since the early 70s and appeared on disc already in 1971 on Acke Gårdenäs's (Acke & Gurra) single ”There Is A Man In The Rain”. He joined forces with Dennis Huntington (Love Explosion) in political rock band Röda Ropet and appeared on their lone album ”Spänn bågen” in 1975. In the same year he took a real step forward as a guitarist with Soffgruppen who released their ”Greatest Sits”, one of the most forceful fusion jazz albums released in Sweden. He stayed with Soffgruppen for a couple of years, and following their demise, he started power trio Sky High in 1978. Starting out as a lingonberry version of Jimi Hendrix performing mostly his songs, they later turned into a lingonberry version of ZZ Top.

Sky High's first single was released by Sista Bussen in 1979, featuring completely pointless and more or less note-by-note covers of ”Red House” and ”Stone Free”. They then switched to Swedish vocals for a second Sista Bussen single, the anti nuclear power track ”Säj nej... till kärnkraft” backed with ”Säj ja... till livet”. The 'A' side was a translated Earl King cover while the flipside was a funky original track. The Hendrix influence is still evident, and Yngström really loves his own guitar wanking.

The eponymous debut album also appeared in shops in 1980. Only one Jimi cover, a translated version of ”I Don't Live Today”, but Yngström's own songs sound so much like Hendrix covers too that it's almost identity theft. Plus, he's a very nondescript singer. The only thing that gives this album some character is that all lyrics are in Swedish, something that would change already to the even more unlistenable second album ”Still Rockin'” from 1982.

”Sky High” was reissued on CD in 2005 with ”Red House” from the debut single plus both tracks from the second one as bonuses. Also added were two further provocatively redundant Hendrix covers (in English), ”Voodoo Chile (Slight Return)” and ”Little Wing”.

Full album playlist with bonus tracks 
"Stone Free"

LILLEMOR LIND – Hjortronblom och kärleksört (Proprius, 1978)

 

Swedish vocals, a capella
International relevance: **

Lillemor Lind is a Dalecarlian singer who made her debut on record on the ”Tjejclown” album in 1974. She wrote one of the songs on Lena Ekman's second album in 1980 and also contributed some recordings to a couple of folk albums around the same time. Her full length solo debut came with ”Så draga vi upp till Dalom igen”, with songs from her native Dalarna region, something she passionately researched beside her singing. Lind also had a thorough interest in foreign musics, particularly from Latin America, the Near East and the Balkans as reflected by the two Macedonian songs on ”Hjortronblom and kärleksört”. Both her albums were released through Proprius, known to blog readers from Leif Strands Kammarkör, Lena Granhagen and Elisabet Hermodsson, meaning they have a very particular ambience.

”Hjortronblom och kärleksört” is Lind's most interesting album thanks to the musicians involved. It features Arbete & Fritid key members Roland Keijser and Ove Karlsson, as well as fiddler Anders Rosén who made several albums with Keijser plus took a leading role on ”Sen dansar vi ut”. (A further Arbete & Fritid connection is Rolf Lundqvist who took the group photo on the album cover.) Also present are members from jazz outfit Opposite Corner.

The sound and the arrangements are wonderfully moody and the songs– both traditional and original – are beautiful and melancholy with a prominent archaic character. The main problem is Lillemor Lind herself. Her vocal style has a kind of preciosity to it, as if she was classically trained and had lost some touch with the vernacularity of the songs. It's not a constantly up front problem, but you can always sense it under the surface and now and then it comes through. That spoils it somewhat for me and I can't help but imagining what this would have been like had Marie Selander or Lena Ekman been in Lind's place. As it stands now, it's an intrinsically great album that never reaches its full potential.

Full album playlist

AMBRA – Ambra (Symphilis, 2020; rec. 1975-1979)

 

Swedish vocals, instrumental

International relevance: ***

A symphonic quartet from Lidköping in the Western part of Sweden, existing from 1975 to 1979 but with only one single out, in 1977 on Anette, the same label Blåkulla were on. Both sides of the single ("Vandring" and "Scherzo") are here, but they obviously recorded a lot more than that – this archival disc is 80 minutes long.

Influenced by British symph rock bands, you can also spot traces from Kaipa. One blog reader described Ambra as a mix of Ragnarök and Atlas, and that's as accurate a definition as any. The synth sounds favoured by later symph bands are prevalent here supporting the fiddly guitars. They had a certain lyricism to their songs, but there's too much going on for any mood to properly settle – Ambra simply can't resist getting show-offy. I don't like the singer either; Michael Ellgren has a rather thin voice and sounds too much like a musicals reject.

Ambra indeed had ambitions and certainly some chops, but had they been a bit more economical about them, they wouldn't have become so overbearing.

Full album

NÄVGRÖT – Nävgröt (MNW, 1980)

 

Swedish vocals, instrumental
International relevance: **

A strange album, almost like an all African Archimedes Badkar stripped of everything except the percussion with (sometimes call-and-response) vocals added. Too bad the vocals are really bad. There are a lot of people involved in Nävgröt, and too many of them sing in an uninteresting, everyday manner. They make it sound like a children's program from the 70s; the kind where ten people sit in a ring dressed in plush dresses in poo brown, dirt orange and murky green with a backdrop of badly painted cardboard supposed to look like exotic trees and with crosseyed lions with weird proportions and a guy in a bowl cut and a beard that looks exactly like the bowl cut so if you turn him upside down he looks exactly the same telling you traditional tales from the curious continent of Africa. And then they play good and sing badly. ”Nävgröt” would have been much better if it was all instrumental, because the playing is indeed good with captivating rhythms. It's not surprising that Bengt Berger appears on one track – it actually sounds as if he could have been on the entire album. If only they would have shut up...

No links found 

HAUSSWOLF – Bark & is (Sista Bussen, 1980)

 

Swedish vocals, wordless vocals, spoken word
International relevance: *

Carl Michael von Hausswolf has been a driving force in Swedish underground culture for a long time, being a sound composer, visual artist and founder of one of the most important Swedish record labels in the 80s, Radium 226.05. His first appearance on record was as the bass player and guitarist on Claes Ekenstam & Sista Bandet's ”Sista tåget till Tasjkent” in 1979. His first solo album appeared as ”Bark & is” the following year featuring several Sista Bandet members.

The 'B' side points to his future of ambient tape compositions with the side long ”Is” (=”ice”). It does create some tension with chilly sounds, the spooky timbre of a zither, wailing free jazz sax and dead pan recitals of poetry, but it definitely overstays its welcome at 25 minutes. The first side is more rock oriented with traces of The Velvet Underground and the late 70s San Francisco scene with Chrome and MX-80 Sound. The noisy semi-psych tracks ”Forensisk buss” and ”Ljusa lockar” work fine but the most self-consciously affected bits are pretentious and pseudo-artistic in the same way that a lot of the period's industrial music is. Still an interesting historical artefact from a time when not a lot in this vein were made in Sweden – the closest might be parts of the much more improvised album by the mysterious Imp.Ink, also from 1980.

Carl Michael von Hausswolff is father of internationally acclaimed singer Anna von Hausswolff.

No links found 

ERIK ASCHAN – Erik Aschan (E. Aschan 73, 1973)

Swedish vocals, English vocals

International relevance: **

It took me a while to realize what my real problem with Erik Aschan is. He's part talented and part delusional – he probably holds the world record of mentioning his own name most times on a record cover, but although egomaniacs can be annoying, they're not necessarily scary. Then I realized that listening to Aschan is like talking to a friendly stranger in the street and suddenly catching a dark flash in his eye that gives you an uneasy feeling you can't quite explain. Not that I think Aschan is a violent man or anything, on the contrary, I think he's Mr. Peace himself, but something just feels off and it makes me feel awkward. 

This is Erik Aschan's first of six privately pressed albums up to 1986, and unlike several of his later ones an all acoustic effort. A couple of tracks are quite good like ”Om du inte fanns” and ”En sommarvind”, the latter a bit similar to Roy Harper around ”Folkjokeopus”. Others are melodically indistinct and just samy strummy which make me lose attention. And then there's ”Vilse i stora skogen”, ten very self-indulgent minutes that the album would have done better without. It's a thousand times better than John-Erik Axelsson, but a Kjell Höglund Aschan is not.

Full album

PETER ERICSON – Rouge (Piglet, 1980)

 

Swedish vocals

International relevance: *

Ex-singer/guitarist of Mobben and sometimes known as Peter R. Ericson. This was his first album released under his own name, but using three backing bands, Uppsala Rouge, Åby Hot Rats and the better known Teddybjörn Band. Released on the ever unpredictable Piglet, this is one of the label's most straightforward rock albums. Most of it isn't very good, but it does have a couple of songs that are above the rest. ”Så ska vi vinna” has a hard driving Bo Diddley-like beat and an urgency that I can't help but falling for. The second notable track is ”Söta Klara (La Luna)” which is a most unexpected two chord garage psych paraphrase with prominent organ.

Less surprisingly, there's some good guitar playing here as Ericson was a driven axe slinger who later joined brilliant rock singer/songwriter Anders F. Rönnblom's band. He has released several more solo albums.

Full album playlist 

MIXTURE – Dreamland (Miss Mindy Music, 12”, 1982)

English vocals, Swedish vocals, instrumental
International relevance: **

The release date on the cover says 1983 but the label states 1982 so I give Mixture the benefit of the doubt and include assuming the label date is correct.

This is not the same Mixture that had an LP on Coop in 1980. This five-piece came from Kalmar in the south east area of Sweden and recorded only the four tracks heard on this 12”. They gigged locally a fair bit and were highly regarded among their peers for their technical skills. Inspired by for instance American jazz guitarist Lee Ritenour they wanted an accomplished sound. The style isn't that exciting, somewhere between AOR and symphonic rock (especially on ”Preludium” by J.S. Bach obviously), but they were pretty good songwriters in their vein. They were skilled players especially for being only around 18 years old at the time. And I think Matz Larsson has a rather nice voice. 

I wouldn't call "Dreamland" great, but I've heard far worse examples of what music college students can cook up.

Back To Reality
Preludium
Mecanical [sic!]
Vem var hon

A SEVEN INCH SPECIAL, VOL. 6: Pop progg

 MIKAEL RAMEL – Förvånansvärt (Knäppupp, EP 1967)
Swedish vocals
International relevance: **

Mikael Ramel's first proper solo release is an EP with four tracks released while he was still in Steampacket. His melodic style was already there albeit a little but undeveloped at this early stage. The best song is ”Bara ett par dar”, an acoustic version of a Steampacket track released the same year. A very charming EP but not on the level of his later masterpieces.

 

ROWING GAMBLERS
A World Of Roses / My Very Special Dream (Parlophone, 1969)
A Present For Tonight / Taken For A Ride (Toniton, 1970)
English vocals
International relevance: **

A Stockholm band that already had three singles out before ”A World Of Roses”. They were really a commercial pop band covering Neil Sedaka and a bad Yardbirds song but got a wee bit psychedelic on their last two 45s. ”A World Of Roses” is a Göran Lagerberg composition not released by Tages and a rather good track at that with some nice guitar work. Both tracks on their final outing are Rowing Gamblers originals, and especially ”Taken For A Ride” has obvious psychedelic overtones with a drowsy beat and Paul McCartney styled bass. 

SOMMARFILOSOFERNA – På en sommardag / På en sommarnatt (Mercury, 1970)
Swedish vocals

International relevance: *

”På en sommardag” is a Swedish version of Mungo Jerry's ”In The Summertime”, a song I've tried to escape for my entire life. The slightly jazzy ”På en sommarnatt” is better but still not good. The single is mainly notable for having Björn Töpel and Göran Lagerberg from Tages, along with Björn J:son Lindh. and Jan Bandel on banjo, surprisingly enough. Sommarfilosoferna were a project put together by producer Anders "Henkan" Henriksson.

KENT-MORGANS – Balladen om Kalle / Brother Hood Feeling (Marilla, 1971)
Swedish vocals
International relevance: *

One of the strangest inclusions in the ”The Encyclopedia Of Swedish Progressive Music” as Kent-Morgans were nothing but a typical Swedish dance band in the vein of Sven-Ingvars. Tobias Peterson calls ”Brother Hood Feeling” ”basement psychedelia” but I don't know where he got that from. Bengt Dahlberg's fuzz guitar isn't enough. Dahlberg was later in Acke & Gurra.

TOM ZACHARIAS – Josephine / Roller (Green Light, 1971)
Swedish vocals
International relevance: **

This was years before his infamous ”Belinda” album, and there are no traces of the pornographic lyrics of that album here. Instead, this is debile folk pop and decrepit rock. Interesting only because of the Green Light label, MNW's early 70s subsidiary. 

XTRA – Vatten / Kaffepannan (CBS, 1971)
Swedish vocals
International relevance: **

The first of two Xtra 45s, a band best known for their album ”Oh! 10-15” from which the 'A' side was taken. ”Kaffepannan” is the interesting one here as it's a non-album track. It's not essential though, an instrumental sounding like a theme song to an imaginary drama documentary on royal life in the Middle Ages.

HASSE PERMBO
Soliga minnen / Nu piskar regnet (Playback, 1972)
Balladen om Karl Hubert / Satir i moll (Playback, 1973)
Swedish vocals
International relevance: */**

A singer/songwriter of sorts with peculiar lyrics. Something about him reminds of Kjell Höglund but without his talent for exact and well-phrased words. The second single is the better of the two thanks to ”Satir i moll” which is an entirely unexpected heavy track with an strange loop melody contrasting the lighter chorus. 

PERSONS BAND – Miljö-låt / När vi fått det för bra (Euphonic, 1973)
Swedish vocals
International relevance: *

Only recording from this Tranås band on local label Euphonic. The vocal credits are split between the two songwriters Lennart Ljungdahl and Peter Ljungkvist. Both sides are rather poppy with apple-cheeked vocals but with OK guitar playing. Ljungdahl's ”Miljö-låt” is a little better. Both songs have a diluted political message. A privately released CDr of rehearsal recordings from 1973-1974 also exists.

JACONNE – Earth / Polisen (TOR, 1977)
Swedish vocals, English vocals
International relevance:

TOR was a commercial pop and dance band label, and Jaconne falls in the first category. ”Earth” reveals a light Beatles and E.L.O. influence. ”Polisen” has an irritating melody and lyrics against police violence. The odd thing about it all is that the trigger happy guitar player who sounds as if he believes he's in a heavy metal band which he clearly isn't.

Mikael Ramel full EP
Sommarfilosoferna full single playlist
Kent-Morgans full single playlist
Persons Band full single playlist
Rowing Gamblers: 
A World Of Roses 
My Very Special Dream
A Present For Tonig
Taken For A Ride
Tom Zacharias:
Josephine
Roller
Xtra:
Vatten
Kaffepannan
Hasse Permbo:
Soliga minnen
Nu piskar regnet
Balladen om Karl Hubert
Satir i moll
Jaconne:
Earth
Polisten

MÖRBYLIGAN – Järtecken (Mistlur, 1980) / No. 003 (Bastun, 1982)

Swedish vocals
International relevance: -

As I mentioned in my review of their first album, Mörbyligan appealed to both proggsters, punks and so called ordinary people. Later albums didn't quite match the popularity of early songs like ”Ensamma Sussie” though. Their debut album ”Mörbyligan” hasn't aged well at all and appears hopelessly cringeworthy today, but already second album ”Järtecken” is worse. It sounds like a third rate Nationalteatern and their wishy-washy social pathos sounds fake. Especially in hindsight as their songwriter Åke Bylund later turned to nationalist politics. Their appropriately titled third album ”No. 003” is along those same lines and is downright dreadful with Mörbyligan going for a radio friendly classic rock sound and even shoddier songs.

from "Järtecken":
Lilla Sussie är död / Patrasket / 1902 (Nygammal kampsång) / Vi tjejer / Johnny Rumpvick / Varje vår / En ny dag / Davy Crockett / ABC för gossebarn / Kojan / Svarta oceaner / Kalles jul / Östermalm 
from "No. 003":
Det är nu som vi måste leva / Japaner, japaner (Vilket drag...) / Du / Frihetsgudinnan Hagen (Det är dags att sova igen) / Hon kunde dansa över ängarna / Lilla Sophie / ID 19 (CV2)