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

LENA EKMAN – Det beror på ögonen som ser (Mistlur, 1980)

 
Swedish vocals
International relevance: ***

I didn't expect this to be anything but a disappointment after Lena Ekman's first proper album: ”Hjulspår” is simply one of the best yet-to-be-properly-discovered progg albums, at times a haunting LP that beats Turid in her own game by a mile and gives Stenblomma a run for her money too. With three years apart and a new label (Mistlur instead of Silence), ”Det beror på ögonen som ser” was deemed to have lost something, or at least be different enough to be a let down. Not that change is a bad thing, but ”Hjulspår” is in a special league with qualities that are hard to repeat, and even harder to follow up on a second album.

And no, it's not another ”Hjulspår”, but do not repeat my mistake: ”Det beror på ögonen som ser” is a very fine achievement. Ekman's slightly husky, mature voice is as inviting as ever, and the songs are mostly very good. As a matter of fact, it's hard to pick a weak one and much easier to choose a favourite, which is the excellent ”Vänner ändå”. Almost all of them are Ekman originals, but she manages to sneak in a cover of Danish singer/songwriter Trille as first track. Name players such Hasse Bruniusson, Marie Selander, Turid, Thomas Almqvist and, at the top of the heap, Kjell Westling offer a very pleasing lowkey backdrop that puts Ekman's appealing vocals in the sweet centre spot. The album has a pronounced acoustic feel; a delicate setting for Ekman's delicate songs.

”Det beror på ögonen som ser” is definitely worth picking up by those into the singer/songwriter side of progg, and it's good enough also for those who just happened to have a love for well-crafted and subdued songs well-equipped for playing at dusk.

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BJÖRN EHRLING – Frihetens legender (YTF, 1978)

 
Swedish vocals

International relevance: *

Björn Ehrling was a 'visa' singer, that particular Swedish brand of singer/songwriters that was widely popular in the 60s and 70s. Ehrling released only a few albums during his recording career, two of them on the YTF imprint. This is his second LP, and with a title like ”Frihetens legender” (”the legends of freedom”) you might expect politically inclined songs with a possible Spanish or Latin flair. If so, you're almost right – the material is chosen entirely from the Portugal's rich fado tradition and then translated to Swedish.

Ehrling's got a decent voice used in the same slightly over-zealous style that often comes with the visa genre. It's a largely forgettable album included here only as a favour to the Turid completists out there as she adds backing vocals to the track ”Nu är vi fria”. Bear in mind though that her effort is of minimal proportions, and unless you knew it's actually her, you could mistake her for just about any angel-voiced chanteuse.

Nu har vi fest

VARIOUS ARTISTS - 2 anti-nuclear compilations

It was an era of engagement and activism. You were expected to stand for something, and what people stood for was sometimes good, sometimes not. Standing up for environmental issues was one of the best things you could do – if more people had done it, perhaps we wouldn't be where we are today, with on one hand a scorched earth and on the other a flooded one. The anti-nuclear movement was particularly strong towards the end of the 70's and early 80's, engaging several artists. Two 'no nukes' various artists albums were released, one in 1975 and one in 1980.

Vi kan leva utan kärnkraft (Silence, 1975)

Featured artists: Bernt Staf / Tore Berger / Elektriska Linden / Turid / Roland von Malmborg / Nynningen / Røde Mor / Thomas Wiehe / Thomas Tidholm

Swedish vocals

International relevance: **

Silence put out this album in 1975, with both label acts and non-Silence artists. All tracks were recorded specifically for the album. Qualitywise it's a bit hit and miss, but stylistically it's surprisingly coherent despite the disparate contributors. The oddest ones out in this predominantly acoustic lot are Røde Mor, actually a Danish band but here augmented by Nynningen's Totta Näslund on vocals. Roland von Malmborg provides "Stoppa all atomkraft", one of his best songs, and Thomas Tidholm's ”Fortsättning följer” is a great and moody way to end the album. 

Nej till kärnkraft! (MNW/Silence, 1979)

Featured artists: Lill Lindfors / Anders Linder / Monica Dominique / Ola Magnell / Marie Bergman / Robert Broberg / Dag Vag / Monica Törnell / Bernt Staf / Lasse Tennander / Hjördis Petterson

 Swedish vocals

International relevance: *

 

A referendum on the future use of nuclear power was held in March 1980. There were three alternatives to vote for. No. 1 was a definite yes to nuclear power, supported by Moderata Samlingspartiet (The Moderate Party, right-wing). No. 2 stood for a slow phase out of nuclear energy, and was supported by Socialdemokraterna (The Social Democratic Party, left-wing) and Folkpartiet (The People's Party, right-wing liberals). No. 3 represented a definite no and wanted a quick stop to the use of nuclear power, and it was supported by Vänsterpartiet Kommunisterna (The Communist Party, left-wing obviously) and Centerpartiet (The Centre Party, right-wing). Alternative no. 2 won but the phasing out still hasn't happened.

A vast number of artists supported the third alternative, and to raise money for the no nukes campaign, the two most notable progg labels MNW and Silence joined forces for a mutual release in 1979, ”Nej till kärnkraft!”. If ”Vi kan leva utan kärnkraft” has a diverse line-up, it's nothing compared to this release. Bringing together mainstream artists such as Lill Lindfors and Marie Bergman, actress Hjördis Petterson who had her heyday in the 1930's-50's, progg singer/songwriters like Bernt Staf and Ola Magnell, the one-of-a-kind visionary Robert Broberg, and jazz singer Monica Dominique (previously in Solar Plexus) to mention but some of the participants sure makes for a spastic listen. Which is not to say it's without merits. Most notably, it has ”Många gånger om”, one of the best track the excellent progg/rock/reggae band Dag Vag ever did. But the album is certainly subordinated to the cause and I can't think of anyone who would actually enjoy it from start to finish.

From Vi kan leva utan kärnkraft

Roland von Malmborg - Stoppa all atomkraft 

Nynningen - Det löser sig 

Thomas Tidholm - Fortsättning följer

Nej till kärnkraft full album playlist

VARIOUS ARTISTS – Alternativ festival (MNW, 1976)

Featured artists: Fungus (NL) / Amerindios (CHL) / Sume (GRL) / Nynningen / Viltstråk / Anton Swedbergs Swängjäng / Konvaljen / Slim Notini / Margareta Söderberg / Pojkarna Från Storholmen / Harpan Min / Turid / Balkan (DEN) / Arja Saijonmaa / Gregoris Tzistoudis (GR) / Gunnar Thordarsson (ISL) / Ville & Valle & Viktor / Adolf Fredriks flickkör / Silverdalskören / 3 På En Pall / Þokkabót ‎(ISL) / Slim's Blues Band / Solvognen (DEN) / Södra Bergens Balalaikor / Peggy Seeger (UK/US) / Ewan MacColl (UK) / Amtmandens Døtre (NOR) / Risken Finns / Nationalteatern / Sillstryparn

Swedish vocals, instrumental, spoken word

International relevance: **

When ABBA won the Eurovision Song Contest in 1974, Sweden was to host the show in 1975. The music movement responded with a festival of its own under the banner of ”fight against the commercialization of the culture”. Alternativfestivalen, ”the alternative festival”, took place in Stockholm during six days in March 1975. An array of performers from Sweden and abroad (including Greenland!) gathered for the occasion; Anton Swedbergs Swängjäng, Kebnekajse, Nationalteatern, Nynningen, Risken Finns, Solar Plexus, Solen Skiner, Södra Bergens Balalaikor, Hoola Bandoola Band, Konvaljen, Turid, Slim Notini, Margareta Söderberg, Francisco Roca, Fungus, Shit & Chanel, Kevin Coyne, Ewan MacColl & Peggy Seeger... A total of 950 musicians appeared before an audience totalling 12,000 people. The event was recorded for a future double LP on MNW, and filmed for what became the ”Vi har vår egen sång – musikfilmen” documentary, both in 1976. A staggering 5,000 people partook in the protest march against the contest held on Saturday 22 March, 1975, the very same day of the ESC broadcast, which led to the Swedish cancellation of contest the following year.

Alternativfestivalen culminated with Sillstryparn – a character invented by Nationalteatern's Ulf Dageby – performing the acidic satire ”Doin' the omoralisk schlagerfestival” (”doin' the immoral Eurovision Song Contest”) backed by members of Nationalteatern and Nynningen. The song was featured on the album and also released as a 7” and became not only a hit but a progg anthem plenty of people still know today. (The 45 also includes two non-album tracks by Risken Finns and Nationalteatern & Nynningen respectively.)

Featuring such disparate artists, the album itself is a stylistic roller coaster ride. Traditional folk music from several countries, choral music and spoken word performances mix with rock. blues and fusion. It doesn't hold up as an album – the symbolic value as a commemorative piece from the manifestation exceeds the listening pleasure. That said, it has a couple of OK selections. Dutch band Fungus offers up a nice albeit unashamedly derivative slice of Fairport Convention styled folk rock with ”Kap'ren varen”, Nynningen gives ”Skuldkomplexet” a spirited performance, and Danish trio Balkan (led by Bazaar's Peter Bastian) are great. ”Doin' the omoralisk schlagerfestival” is, well, not exactly great but very amusing. Oddly enough, neither Solar Plexus nor Kebnekajse are on the album but they do appear in the movie which is an overall better document than the album. An alternative festival was arranged in the spirit of the original event in 2007 with contemporary artists.

Arja Saijonmaa & Gregoris Tzistoudis - Moderns klagosång 

Ewan MacColl & Peggy Seeger - Song of Choice

Nationalteatern, Nynningen & Sillstryparn - Doin' the omoralisk schlagerfestival

VARIOUS ARTISTS – Festen på Gärdet (Silence, 1971; recorded 1970)

Featured artists: Original Homesick Band / Östan Sol, Västan Måne / Fire / Stockholms Spelmansgille / Love Explosion / Låt Tredje Örat Lyssna In & Tredje Benet Stampa Takten / 2000 Spenar / Det Europeiska Missnöjets Grunder / Turid / Samla Mammas Manna / Grönsakslandet / Solen Skiner / Charlie & Esdor / Fläsket Brinner / Gudibrallan / Brownsville Jug Band / Södra Bergens Balalaikor / Old Timey Stringband / NJA-gruppen / Handgjort / Träd, Gräs Och Stenar

Swedish vocals, English vocals, instrumental

International relevance: *** 

It's hard to imagine an album with a greater symbolic significance than the 2LP set ”Festen på Gärdet”, recorded at the second of the two festivals held at the Gärdet field in Stockholm in 1970, with Träd Gräs Och Stenar and especially Bo Anders Persson as the driving force behind them both.

Those festivals are often regarded as the starting point of the music movement. It's convenient having a fixed date of course, but as with any historical event, it was the product of a process, with one thing evolving into something else. So while the date isn't historically valid, the Gärdet festivals' importance to the music movement is unquestionable. This was the first time that several of the soon to be most important bands presented themselves to a larger audience. Most bands didn't have a record contact at the time, and some of them would never get one, such as Det Europeiska Missnöjets Grunder and Låt Tredje Örat Lyssna In & Tredje Benet Stampa Takten.

With the huge cultural impact of the festivals, it may be a bit hard to separate the actual music from the historical importance of the recordings included herein. How does ”Festen på Gärdet” actually sound if the layers of legend are peeled off and the music is judged solely on its own terms?

First of all, it's a lot more varied than one who's never heard it may think. It's not all Träd, Gräs Och Stenar, Fläsket Brinner and Samla Mammas Manna. For instance, the album suggests there was a pretty lively American old-timey music scene in Sweden during this period, here represented by The Original Homesick Band, Brownsville Jug Band and Old Timey Stringband.

Second of all, it's full of the joy of playing and pioneering spirit.

Third of all, the sound quality isn't very enjoyable.

Fourth of all, the music ranges from the unlistenable to the great. Love Explosion and NJA-gruppen/Fria Proteatern are crap as usual. Turid is more annoying than usual. Låt Tredje Örat Lyssna In... sounds like a drunk acoustic Velvet Underground. Träd, Gräs Och Stenar sound like they always do. Gudibrallan might not be featured with their finest hour but they're still as who-gives-a-shit anarchic as I want them to be. Samla Mammas Manna's in their infant stage and it's interesting hearing them this early on. Fläsket Brinner are great but their appearance (with ”Bosses låt”) unfortunately suffers a fair bit from the low fidelity. Etc.

So, all in all, the documentary value is impossible to deny, but the music often leaves a whole lot to be desired. It sure has its moments, but they are few and far between.

A radio documentary about the Gärdet Festival was broadcast in 1970 with otherwise unavailable performances and is included in "Progglådan". A 30 minute TV documentary was also made and can be seen on Youtube (part one, part two).

The album was released in two editions, the first in coloured vinyl with inner sleeves, the second in black vinyl and no innersleeves.

Fire - Nu är det sommar

Samla Mammas Manna - Tripp Harley

Fläsket Brinner - Bosses låt

VARIOUS ARTISTS - 3 FEMINIST ALBUMS

It's no wonder that the feminist movement gained momentum in the politically charged 70's. The fight for social equality between men and women connected well with the struggle for working class liberation. It paved way for #1 feminist band Röda Bönor, and later Andra Bullar, but prior to that, several feminist projects had already received attention.

SÅNGER OM KVINNOR (MNW, 1971)

International relevance: *

Swedish vocals

The first album entirely devoted to the topic of feminisim was ”Sånger om kvinnor” in 1971 with its origins in a stage play called ”Tjejsnack” written by Suzanne Osten and Margareta Garpe for Stockholms Stadsteater (Stockholm City Theatre). MNW wanted to release an album with the music used in the play, but as there wasn't enough material for a full LP, additional songs were written specifically for the release.

Much appreciated upon its release ”Sånger om kvinnor” was also questioned. While the lyrics were written by women, the music was composed by Gunnar Edander (formerly active in independent theatre group Fickteatern), and the backing musicians were an all male cast of Bengt Berger, Urban Yman, Kjell Westling, Roland Keijser, Tord Bengtsson, Leif Nylén and others. Ironically enough, it's the musical backing that impresses the most, with several fine efforts from the musicians involved. The album sports a massive lot of singers including the aforementioned Suzanne Osten and Margareta Garpe, but also Ulla Sjöblom, Lise-Lotte Nilsson, Lena Söderblom, Louise Waldén, author Sonja Åkesson and the excellent Marie Selander. Not all of them are as good singers as Selander. Also, the music is annoyingly silly and yippee jolly from time to time, but it has a couple of good moments – ”Innerst inne är du en riktig kvinna, Louise”, and Leif Nylén's excellent ”Törnrosa” (sung by Marie Selander). ”Vi måste höja våra röster” became an instant classic feminist anthem.

TJEJCLOWN - MED LIVMODER I STRÄNGARNA (MNW, 1974)

Swedish vocals, spoken word

International relevance: *

 

In response to ”Sånger om kvinnor”, ”Tjejclown” was made with only women writing and performing the songs, some of them spilling over from ”Sånger om kvinnor”, but also including such well-known names as Anita Livstrand, Turid, Hélène Bohman (of Stenblomma) and Lena Ekman. Obviously of greater symbolic value than ”Sånger om kvinnor”, but if you don't want to listen to political symbols just for the sake of it, it's a bad and largely amateurish album. There's not one track here of the same stature as ”Innerst inne är du en riktig kvinna, Louise” and ”Törnrosa”, but ”Flugsvampens visa” is passable.

JÖSSES FLICKOR - BEFRIELSEN ÄR NÄRA (YTF, 1975)

Swedish vocals

International relevance: *

”Jösses flickor – befrielsen är nära” was originally highly successful musical/play premiered at Stockholms Stadsteater in 1974, depicting the evolution of the women's liberation movement (three years before ”Tältprojektet” did a similar thing with the working rights movement). Again the music was written by Gunnar Edander, meaning it was a little more carved out than ”Tjejclown”. Unfortunately, he borrowed so much from the pamphlet progg style so fashionable among the communist crowd at the time that the best thing I can say about the album is that the songs at least are short...

To sum it up, all this is (mostly) bad music for a good cause. For more enduring, digestible and entertaining feminist progg, please turn to Röda Bönor.

 

Sånger om kvinnor full album playlist

Tjejclown full album playlist

Jösses flickor - befrielsen är nära full album playlist

TURID - Complete albums

There seems to be a cult of die-hard followers surrounding Turid Lundqvist and her albums. Sometimes it's almost impossible to have an opinion of your own, especially if it contradicts the prevalent 'holy cow' notion of her. It's annoying, and so is her voice. Soaring towards Joni Mitchell with an added fairy femninity warble. I choose Lena Ekman over Turid, any given day.

I actually won't bother with any biographical facts this time – I advise anyone interested in her background to check out her entry in Tobias Pettersson's ”The Encyclopedia of Swedish Progressive Music 1967-1979”. That's a good summarily overview of her doings and dealings. I'll go straight to the albums instead.

Vittras visor (Silence, 1971)

Swedish vocals, English vocals

International relevance: ***

Turid's debut album is a mix of songs in Swedish and English, with the English tracks in particular sounding like serial Joni Mitchell ripoffs. The album carries the seeds for that Jan Hammarlund style vibrato heard on most of her albums, which is just as maddening when it comes out of Turid's throat as out of his. And you know how birds of a feather flock together – Hammarlund wrote the lyrics to ”Crystal Shade of Loneliness” on ”Vittras visor”, thereby initiating the occasional collaboration between the two that would continue for many years. The album's best feature is Kenny Håkansson's delicate guitar work that creates a certain atmosphere which in itself is very appealing. Håkansson also wrote the music to one of the songs, ”To the Children of Song My”.

Bilder (Silence, 1973)

Swedish vocals

International relevance: ***

Second album sports a framework of sensuous arrangements courtesy of a fine line-up of progg personalities including Kenny Håkansson, Mats Glenngård, Bo Skoglund and Fläsket Brinner's Gunnar Bergsten. But Turid's voice keeps whirling up into her patented, grating falsetto. This time she comes clean though, translating Joni Mitchell's ”I Had a King” into ”Jag vet en prins”. Album highlights: ”Låt mig se dig” and Thomas Wiehe cover ”Vargen”. Like "Vittras visor", "Bilder" has a gracedul mood, but the voice is too piercing.

Tredje dagen (Silence, 1975)

International relevance: ***

Swedish vocals

”På tredje dagen återuppståndna” is a great track, featuring drum master Bengt Berger on tablas and thankfully with only a minimum of Turid's fairy yodel. Includes ”Om snällhet” written by Lena Ekman. Features on all-star cast with members from Kebnekajse, Elektriska Linden, Blå Tåget, Egba, and Vargavinter.

Selma, världserövrare (Metronome, 1977)

International relevance: ***

Swedish vocals

Turid's switch to commercial major label (major by progg standards anyway) prompted progg magazine Musikens Makt to publish a mean-spirited piece about how she 'lets the Movement down' and being too wrapped up in her 'personal concerns'. The album isn't better or worse than any other Turid album, only displaying higher production values. And more of the Hammarlund vibrato. But the title track is probably Turid's best song ever.

Tistlar från tundran (Metronome, 1980)

Swedish vocals

International relevance: **

Her second album for Metronome, and her last and weakest solo album. ”På väg” sounds like another female Metronome artist, Marie Bergman,”Personligt brev” mimicks Joni Mitchell period with backing band L.A. Express.

Flow Soma (Silence, 1982)

with Thomas Wiehe

English vocals, instrumental

International relevance: *

 

Turid's last original outing was an all English collaboration with Thomas Wiehe, released as simply Thomas and Turid, but Wiehe's input is limited to guitar and percussion. Turid is the singer and songwriter. The album is basically a jazz album with antiseptic new age production. A different term would be 'muzak'. Or 'terrible'.

Turid also appears on two albums by Finnish weirdo M.A. Numminen, ”Haren satt i gropen” (Love, 1973) and ”Fårskallevisor” (Svenska Love, 1978). She also made an album with Jan Hammarlund and Lena Ekman, ”Igår, idag, i morgon” (Silence, 1976). ”Progglådan” features various live recordings from 1969-1976. There are also a few other various artists albums with exclusive Turid contributions. Of note are also her collaborations with Kebnekajse, especially on their second album.

Bottom line: Anything Turid did, Joni Mitchell did so much better. In that sense, Turid is like a Swedish Linda Perhacs who gets all record collector cognoscenti praise instead of the real thing. There are good songs among here albums, but they're not original enough to justify any 'holy cow' status that certain vinyl high priests so readily declare her.

Vittras visor full album playlist
Tredje dagen full album playlist

Selma, världserövrare full album playlist
Tistlar från tundran full album playlist
Flow Soma full album playlist

from Bilder

Välkomme-hus 

Bilder 

Tintomara 

Låt mig se dig 

Den gamla vanliga historien 

Och sommaren kom 

Tom i bollen 

Ödegårdar 

Vargen

JAN HAMMARLUND – The 1970's albums

Jan Hammarlund was a controversial figure to some, especially to the far left. One of the first in Sweden to come out as gay, Hammarlund became a spokesman for the Swedish gay rights movement. He wrote songs where he openly criticized homophobia including that of KPML(r) communist party leader Frank Baude. Remember, Sweden in the 70's wasn't as open as some might think as far as gender equality and sexual minority liberation go, and openly declaring your homosexuality was a bold move back then (and in some quarters still is, sadly).

Befriade från skolan (Silence, 1972)

Swedish vocals, English vocals

International relevance: **

Hammarlund got in trouble for other reasons too. His first album was withdrawn as the track ”Flamma stolt” used the music of classical composer Hugo Alfvén without clearing copyright issued before the release. A second editions was quickly pressed with the song substitued for a recitation of the lyrics. A pretentious panic solution that doesn't work very well.

It was obvious from the start that Jan Hammarlund was a gifted songwriter in the UK folk and singer/songwriter vein (Tobias Petterson mentions Donovan, an appropriate comparison). What you think of him largely depends on what you think of his vocals. He possesses a thin, high voice with a vibrato that reminds me of Buffy Saint-Marie. To me, that style soon becomes hard to stand and mawkish which makes it hard for me to sit through more than a couple of songs, even if the music itself is pleasant. Those who can listen beyond those mannerisms can probably enjoy ”Befriade från skolan” a lot more than I.

The album also features a Hoola Bandoola Band cover, a mellow take on the classic ”Vem kan man lita på”.

När bandet slutar spela (Silence, 1973)

Swedish vocals

International relevance: **

His second album blends original compositions with well chosen covers of Nationalteatern, Richard Fariña (the beautiful ”Swallow Song”, turned into ”Svalornas sång”) and the aforementioned Buffy Saint-Marie. ”När bandet slutar spela” is his best album by far, but I still have a rough time with Hammarlund's gossamer voice.

Tusentals stjärnor över Chile (Chilekommittén, 1974)

Swedish vocals, other languages

International relevance: *

Hammarlund's first foray into Chilean music that helped popularizing political singer Violetta Parra in Sweden. Half of the tracks were written by her, with additional songs by for example Brecht/Weill. A dull album, especially colourless following ”När bandet slutar spela”.

Landet jag är van vid (Silence, 1976)

Swedish vocals

International relevance: *

One Parra song, three by Malvina Reynolds, a couple of traditionals and more of that increasingly irritating helium vibrato. Guest appearances from Fred Lane (Bella Ciao, Tillsammans, Margareta Söderberg), Kjell Westling and Turid.

Igår, idag, imorgon (Silence, 1976)  

with Turid and Lena Ekman

Swedish vocals

International relevance: **

Hammarlund, Turid and Lena Ekman are a perfect match as they were similar as both songwriters and singers. When they teamed up, however, their music earned a more prominent Swedish folk feel (many of the songs here are traditional), with several of the songs performed more or less a capella. Interesting as an atypical curiousity, but largely unsatisfying as an album.

Innan tåget är på väg (Silence, 1978)

Swedish vocals

International relevance: **

 

Hammarlund brought Lena Ekman along and added several other prominent players such as thr always excellent Bosse Skoglund on drums, Greg FitzPatrick on bass, and guitarist Lasse Englund. Includes songs by Malvina Reynolds, Björn Afzelius and Fria Proteatern.

Nåt på spisen med varann

Micke Malung

Ett rop som stiger (Silence, 1979)

Swedish vocals

International relevance: *

”I'll sing to you if you can stand my voice” begins ”Ett rop som stiger”, Hammarlund's second album of exclusively Chilean songs. Thing is, I can't. After seven albums (and a few 45's), I've had it with Hammarlund's vocals, and here they claw on my nerves even more than before, with Hammarlund singing in a strained and forced kind of way. Turid appears once again, and multi-instrumentalist Kjell Westling adds his bass clarinet talents.

Jan Hammarlund is still active and has released numerous albums over the years. He's also featured in ”Progglådan”. 

In my opinion, his greatest achievement is bringing attention to and fighting against the injustices brought on gay people. With the minor exception of "När bandet slutar spela", his albums are a sure pass for me.

När bandet slutar spela full album playlist
Innan tåget är på väg full album playlist

KEBNEKAISE - II (Silence, 1973)

Swedish vocals, instrumental

International relevance: ***

Ranked #1 on the blog's Top 25 list

Some albums are so HUGE it's nearly impossible to write about them. They may cause a mental block, or put you in a hyperbolic loop when you try to explain their greatness.

Favourite albums sometimes change over time. Others in turn remain in a firm position year after year, decade after decade, unless they become even greater favourites as time goes by, as if they have some kind of inherent magic calibrated to respond to any change in you. You live with those albums, and they live along with you.

Kebnekaise's ”II” is one of those, HUGE, with a lingering imperative to keep me under its never fading spell, a power to forever overwhelm me, and an otherworldly, graceful lyricism always to bring tears to my eyes.

When I grew up in the 70's, radio was a big part of my life. The radio was always on and back in the day, you could hear a lot of Swedish alternative music played on the radio. The progg movement often poked fun at Swedish Radio, blaming them for taking sides with the multi-national (i.e. American) capitalist system. Now, true that a child's conception of the world, eventually turning into cherished (and sometimes not so cherished) memories doesn't necessarily tell the whole truth. The child's mind has its own perception, fashioned by the lack of experience.

When the progg movement was in full bloom, I was still a child, but a child exceptionally receptive and responsive to music and the experience of music was unfettered by preconceptions and expectations. In that sense, my younger self was no different to my older – and current – self. I do remember a lot of crap being played daily in the 70's, mindless bubblegum pop, old Swedish mawkish and popular standards, quite a lot of sheer nonsense. But I also remember hearing early Samla Mammas Manna, Mikael Ramel, Ragnar Borgedahl, Kjell Höglund and – Kebnekaise. Often enough, I had no idea what the artists' names were, but I distinctly remember particular songs. It wasn't until years later, when I had become a ferociously record buying grown up music junkie, that I realized that ”Uvertyr till snäll häst” (used as a theme song for radio show Ungdomsradion – ”the youth's radio”) was a track from Samla Mammas Manna's debut album, and that the marvellous ”Pengar” was a song by Mikael Ramel found on his majestic ”Till dej” album, and that ”Barkbrödlåten” that I loved so much as a child was by Kebnekaise. And that their version of ”Horgalåten” was available on the same album as ”Barkbrödlåten”, their second effort, aptly titled ”II”.

There was something about the traditional melodies that Kebnekaise used to develop a folk rock format of their own that spoke to me on a fundamental level. Especially those moving in such tantalizing ways up and down the minor scales. Those tunes seemed to know something about me that I didn't know yet myself (and probably still don't). They touched me, like those late nights touched me, with me in the back seat of the family car, returning home from a trip somewhere, looking at the trees of the forest unpenetrable by the darkness, even darker than the night itself rushing by the windows of the car. It felt like home, in an existential sense. I used to make up stories in my head as we speeded through the night lit up by the headlights only. ”Horgalåten”, in Kebnekaise's majestic to the point of intimidating rendition, could have been the soundtrack to these stories.

We used to sing ”Horgalåten” when I was in first grade, or was it second grade, or third? Best known as an instrumental tune, there are lyrics written to it, telling the story of the Devil playing his fiddle until the dancers fell down dead from exhaustion after dancing for days and nights. Singing it was to me like uttering a magic formula that connected my innermost being with a folk history phrased as folklore. I didn't know much about folklore at that early age, but I knew all I needed to know. I understood.

”Horgalåten” still affects me in a way that few other tunes or songs affect me, and needless to say, that track is what I consider the high point of ”Kebnekaise II”.

There's no way I can remove ”II” from my personal context, and I can't perceive it in any objective way. Well of course I can share discographical and biographical facts, but they are just that, facts. I could state the obvious and mention it was the first album where Kebnekaise ventured in to the rich heritage of traditional Swedish folk music after the curious but interesting debut album ”Resa mot okänt mål” which began life as guitarist par execellence Kenny Håkansson's solo album. I could tell you that ”Rättvikarnas gånglåt” features vocals from famed singer/songwriter and progg chanteuse Turid but that the album's mainly instrumental and founded on the free-spirited but incredibly focused interplay between the large number of players – nine in total not counting guest performer Turid, and that all of them – drummer Pelle Ekman, fiddler Mats Glenngård, bass player formerly member of pop band Tages Göran Lagberg, et al – are excellent musicians in their own right. I could also tell you of the origins of the band, the pre-history including heavy psych outfit Mecki Mark Men. But let's be honest: None of that is really relevant to the experience of the album as an entity. It's like the chemistry classes in school, who cared about what caused the chemical reactions leading up to a loud BANG! when the BANG! itself was the real thrill? Not I. And ”II” goes BANG! each time I play it. Each and every single time, with such a magnitude that it would be a bizarre act of self-denial not proclaiming it the best progg album ever made.

Full album playlist with bonus track