PUTTE WICKMAN – Happy New Year! (Odeon, 1973)

Instrumental
International relevance: **

Putte Wickman was a technically skilled clarinet player but best known for swing and flatulent bop jazz – a traditionalist not known for forward thinking. So ”Happy New Year!” isn't an album you'd easily associate with him. True that about half of it is dull and close to what you might expect from him, but the remainder is of a more contemporary design. It's actually pretty open-minded even for fusion jazz. The title track is straight-up funky and the undisputed highlight of the album. Free thinker Bobo Stenson appears on electric piano on some cuts, while piano giant Staffan Abeleen appears on the remaining tracks.

While not an essential disc, it's still interesting to hear Wickman had more to offer than just stale musealia.

Full album playlist

BENGT-ARNE WALLIN – Varmluft (Sonet, 1972)

Swedish vocals, instrumental
International relevance: **

Bengt-Arne Wallin is surrounded by an interesting lot of performers on ”Varmluft”. Apart from the internationally renowned swing and bebop trumpeter Clark Terry, there's a number of domestic dignitaries here including Marie Selander, Lennart Åberg (of Rena Rama), Georg Riedel, Sabu Martinez, Anthony Reebop Kwaku Bah and Maffy Falay. And as always, Janne Schaffer. The music could be called progressive big band, but that doesn't quite say much about its variety. There are low-key, moody moments, funky sections, folksy moments – there's a little bit of everything working together as a kaleidoscopic whole. Wallin sometimes wanted too much at once which is the problem with for instance ”Wallin/Wallin”, but ”Varmluft” is a bit better sorted out. Not everything here is successful, but some of it is. And I do appreciate his approach even when it doesn't work out completely. He was a visionary and it's always heartwarming delving into a visionary's work.

The cover art is made by Lasse Åberg.

No links found 

JOJJE WADENIUS – Puss puss sant sant (Sonet, 1978)

Swedish vocals
International relevance: **

”Goda' goda'” is one of the GREAT Swedish childrens' records of all time, a fantastic LP chock full of brilliant songs and Jojje Wadenius and his Made In Sweden pals at their very best. The lyrics were written by children's author Barbro Lindgren, and she did the same for ”Puss puss sant sant”, recorded almost ten years after ”Goda' goda'” as a kind of sequel. But times were different and so were the musicians, and the childlike joy that permeated the original album wasn't to be repeated in 1978. The band tracks sound like an ordinary day at work, very studio musicians-like, and Wadenius himself often sounds as if he just goes through the motions vocally. Some songs are fine though, with the best one being the beautiful and ironically enough instrumental ”Vintervisa” which is close to what John Renbourn Group did on their albums from roughly the same time, complete with tablas. But compared to the album ”Puss puss sant sant” was styled after, this is a real disappointment.

Full album playlist

BRUNO WINTZELL – Debut (Polydor, 1971)

Swedish vocals
International relevance: *

I really don't know what to do with this album. It's actually not very strange, but I pick up some weird vibe in it I can't quite identify. I don't know if I'm just creeped out by the unnerving album cover where Wintzell seems a little bit to friendly with a piglet on the front and where he appears to seduce a cow on the back. If this is supposed to allude to Beach Boys' ”Pet Sounds” cover, this has a much darker and unpleasant aura. Especially for coming from someone who in his time was considered a sex symbol. (Decades later, in the 90's, he was also a host for a TV show called ”Tutti Frutti” styled after Italian entertainment shows with prominent display of female breasts. The show inspired to a new Swedish expression translating to ”tit television”.)

There are many bizarre turns in Wintzell's career which extends beyond the purely musical, but he later became an opera singer and he was also in the Swedish stage version of musical "Hair" along with Baby Grandmothers, Mecki Bodemark (Mecki Mark Men), Hawkey Franzén and Bill Öhrström (Fläsket Brinner, Ramlösa Kvällar, Tillsammans and others). ”Debut” is just that, his solo debut album. It's short on information who plays on it. The thorough arrangements are credited to John ”Rabbit” Bundrick, Björn J:son Lindh, and Sven-Olof Walldoff, and I suspect that it's Walldoff's orchestra and backing singers performing. Walldoff's gang was an oft-used lot in those days when a lavish and proficient backing was needed, as in Eurovision Song Contest in Brighton 1974 when ABBA won. A lot points in his direction as ”Debut” is heavily orchestrated.

The songs are all Swedish covers of Elton John, Leonard Cohen and Lennon/McCartney, three of them translated by Hawkey Franzén. They're all very well executed, but there's something in Wintzell's voice that suggests something else is going on here, a weird strain of something unknown that worries me. Like I said, I can't put my finger on what exactly it is but it runs through the entire album. Or maybe it's just me. Or the album cover. Who knows?

There is however one track that really stands out. ”The Fool On The Hill” is one of McCartney's dullest songs in the Beatles catalogue, but Wintzell and whoever accompanies him brings something entirely new out of it. Have you ever wondered what happens after a song fades out? Does the song just end cold, or do the musicians go on for several more minutes, freaking out completely as they know nobody will hear it anyway since the track will fade early on the record? Well, ”När solen går ner” may be the answer to that. The track could end at around four minutes but goes on for another two as the whole song jumps in at the deep end and becomes crazed-out psychedelic. There's nothing on the album with its slightly high-brow presentation of contemporary singer/songwriter material to prepare you for this final blow-out. You may not like the rest, but that track alone is certainly worth hearing!

Full album playlist

KLARA EXPRESS – 1975 (no label, 1975) / WASA EXPRESS – Live At Jarlateatern 1976 (no label, 1976)

Instrumental
International relevance ***/***

The seeds of Wasa Express were already in the ground by 1975, although their debut album wasn't released until 1977. They recorded an LP's worth of material as Klara Express in 1975 in the legendary Decibel studio in Stockholm where myriads of albums have been recorded. If these recordings were made as demos or if they were in fact intended for release I don't know, but they remained locked away for decades before getting a digital-only release.

Klara Express was a very different-sounding band than when turning into Wasa Express, and this incarnation featured EGBA trumpeter Ulf Adåker and trombone player Nils Landgren who both left early on. They were obviously a balancing force in the band, as those Klara Express tapes top everything made after their departure. Instead of the daredevil gymnastics that make Wasa Express such an overbearing band, Klara Express focused on the groove. Åke Eriksson is a drummer well-known for his skills, and here he pulls out every funky trick in the book to great success. The syncopes blare away with precision but also all of the feel it takes to make it swing, groove and funk. It's fusion music alright, but it's in the higher legion of jazz funk, much better than most albums in the same mould. It's a pity these recordings weren't released back in the day, and even greater pity what the loss of Adåker and Landgren did to the band.

”Live at Jarlateatern 1976” is an early document of Wasa Express, and while it still has remnants from their early Klara characteristics, they were already heading for their typical style where it was more important to dazzle and baffle the audience with instrumental acrobatics than to present something with emotional substance. And even in those moments where they emphasize the funk bits left over from the Klara Express days, it sounds dull and calculated. ”Jarlateatern” isn't quite as terrible as their later properly released albums, but it's still dead boring and clinical.

None of these albums have been released physically. Both of them were originally available for free download from Åke Eriksson's website, but are now available for streaming on the regular platforms.

Klara Express full album playlist (Spotify)
Live At Jarlateatern full album playlist (Spotify)

3 POLITICAL TAPES ON KULTURFÖRENINGEN SPARTACUS

If the LP's won't get me, the cassette tapes will. They might very well be the death of me.

Kulturföreningen Spartacus was an association run by Kommunistiska partiet i Göteborg ('the communist party of Gothenburg'), previously KPML(r) who ran the Proletärkultur label originally. I suppose Kulturföreningen Spartacus as a label was just Proletärkultur in disguise. What belonged to who and who belonged to what political branch of the comminist tree is a mess, and quite frankly, I'm to tired of it all to bother finding out the exact threads and links and affiliations. In the end, it's all the same anyway.

 
VARIOUS ARTISTS – Rädda varven! En temakväll i Göteborgs konserthus valborgsmässoafton 1978” (Kulturföreningen Spartacus, 1978, MC)
Harald ”Bagarn” Andersson / Dan Berglund / Warschawjanka / Spartacuskören / Spartacusrevyn / Takt & Ton / Gamlestan-Lundens Sånggrupp
Swedish vocals, spoken word
International relevance: -

This was the first cassette-only release on Kulturföreningen Spartacus. It was recorded at a charity concert for the workers in the Gothenburg shipyards in 1978. Two of the performing artists of the evening are known from the Proletärkultur roster, Harald ”Bagarn” Andersson and Dan Berglund.

VARIOUS ARTISTS – KPMLr:s Valrevy 1979 Botten Upp! Revy Ex-Huset Heden 24/8-9/9 (no label, 1979)
KMPLr / CO Evers / Birthe Stridbeck / Harald ”Bagarn” Andersson / Anders Lönnbro & Bodil Mårtensson / Sven Wollter / Niklas Falk
Swedish vocals, spoken word
International relevance: -

Although no label is given on the cassette card and the catalogue number differs slightly from their other tapes, there's no reason to not assume this is just another Spartacus release. ”Bagarn” Andersson is here again, as is actor Sven Wollter.

WARSCHAWJANKA FRÅN GÖTEBORG– Solidaritetssånger (Kulturföreningen Spartacus, 1979)
Swedish vocals
International relevance: -

The third tape in this lot is a single artist release by vocal group Warschawjanka and so a bit different to the various artists compilations above. I wouldn't say better because it's still flag-and-fist waving galore with several typical communist anthems. A bit more on the folky side similar to FNL-grupperna and Freedom Singers.

None of these tapes seem very easy to find, but they're only interesting to the most seasoned Marxist listener anyway. If you still want to get a taste of this stuff, just pick any easy-to-find album in the ilk, they all sound the same and they're all interchangable.

A third/fourth Spartacus release appeared in 1981, ”10 års kultur i partiets tjänst”.

ÄdSGbviou opu sudpoOOoonmsn posduu

(Sorry, that was my death rattles.)

Rädda varven full album
Botten upp! full album
Warschawjanka full album playlist

BENGT-ARNE WALLIN – Wallin/Wallin (Dux, 1971)

 
Swedish vocals
International relevance: **

Bengt-Arne Wallin was noted jazz musician and composer (he died in 2015) with a special love for Swedish folk music, and played with everybody from hugely popular easy listening icon Lill Lindfors to Polish jazz maverick Tomasz Stańko. His 1971 effort ”Wallin/Wallin” is centered around old Swedish chorales and psalms with words by poet and lyricist Johan Olov Wallin. The selected psalms make for a song cycle of sorts that straddles the lines between prog, fusion, third stream jazz, and progressive big band. Such an ambitious venture surely demands skill to pull through, and Wallin indeed managed to drum up a plethora of seasoned and in-demand players. Names such as the two Jans, Schaffer and Bandel are – needless to say – featured, as are Okay Temiz, Ola Brunkert, Stefan Brolund to name but a few. For the vocals, Wallin approached Ann-Kristin Hedmark and Tommy Körberg, Körberg then a member of newly formed genre-defying battleship Solar Plexus.

The ambition level is dazzling, but the ideas and efforts often get in the way of the music itself. Everyone involved do their best and you can hear they're pretty thrilled by the whole project, but in the end, the music gets too unwieldy and sometimes a bit too cerebrally sluggish to take off. It's interesting as a period piece, but the album's sheer abundance is too fatiguing for an unadulterated listening pleasure. Simply put, a little too eager for its own good.

Att bedja (Gud han skälv oss bjöd)
Så går en dag än från vår tid

WHITE ORANGE – White Orange (Caprice, 1980)

 
Instrumental
International relevance: ***

Partly formulaic, partly overwrought jazz rock by a one-off outfit on Caprice Records with a former Gimmicks member plus a slew of session players. Typical sterile turn-of-the-decade production and competent and mostly soul-bereft playing with the mandatory jazz funk and samba moves. Parts of it sounds like background music to a 'B' grade TV movie. Only for seasoned genre freaks who can't get enough of castrated fusion albums, but chances are even they might write this off as as pale and colourless as the fruit on the album cover. Not even the collector cognoscenti cares about this - it can still be found for next to nothing (which is still too much).

Side one
Side two

BENGT BERGER & KJELL WESTLING – Spelar (Ett Minne För Livet, 1977)

Instrumental

International relevance: ***

Ett Minne För Livet was a label founded by a musicians' collective of Archimedes Badkar, Vargavinter, Spjärnsvallet and Iskra. They released only a handful of albums including this duo live recording by the great Bengt Berger and Kjell Westling. The album is an OK free jazz effort but it would have benefitted from shorter performances, maybe two improvisations on each LP side instead of just one. While they manage to keep the momentum going, it's hard even for them to come up with fresh perspectives on ideas when they're stretched out to around eighteen minutes. ”Till hafs” is better than "Ad Libido" in that regard, more dynamic, but the entire album suffers a bit from being repetitious.

The album has been rereleased with a new cover on Berger's excellent Country & Eastern label as "Live in Stockholm 77".

Full album playlist

ROLF WIKSTRÖM – The 70s albums

To many, Rolf Wikström is the blues king of Sweden. No matter what you think of him, you have to admit his staying power. He has released numerous albums over the years, the most recent one in 2011, and he's appeared on several more as a studio musician, from the disastrous (Löpande Bandet's ”Nån gång måste man landa”) to the brilliant (John Holm's ”Sordin”). His first solo release was a 45 on the Tibet -46 label as Cool Hambone in 1972. His lyrics are sometimes on the political side. 

Sjung svenska folk (Ljudspår, 1975)
Swedish vocals, instrumental
International relevance: ***

 Rolf Wikström's full length debut established his style which unfortunately also includes his vocals. While the music is OK blues in the Buddy Guy and Albert King vein, Wikström sings as if he had chewed up three pounds of chalk. His voice is so raspy it almost can't produce a sound other than a toneless screach. It's an exceedingly unpleasant experience listening to him. Would it have been better if was an instrumental album? Nope, because his guitar playing is too much as well.

Jävla måndag (MNW, 1978)

as Rolf Wikström's Hjärtslag

Swedish vocals
International relevance: ***

After an LP for the Alternativ label (home of Kjell Höglund with whom Wikström performed on ”Baskervilles hund”), Wikström switched to MNW for ”Jävla måndag”. It's a sometimes funky thing with powerful playing courtesy of his backing band Hjärtslag, and again reminiscent of Albert King. But, again, the album's seriously injured by Wikström's voice that is unbearable. Pity, because this could have been a rather decent album.

Den åttonde dagen (Metronome, 1979)

Swedish vocals

International relevance: **

What Wikström's voice doesn't ruin on ”Den åttonde dagen”, the limp funk/soul/disco moves do. Give it to someone you hate.

Sjung svenska folk full album playlist
Jävla måndag full album playlist

Den åttonde dagen full album playlist

MIKAEL WIEHE – Complete solo albums 1977-1982

After the disbanding of Hoola Bandoola Band in 1976, Mikael Wiehe founded Kabaréorkestern with Hans Sjöström (Werup-Sjöströmgruppen), Arne Franck (Hoola Bandoola Band) and Ale Möller (allround folk musician) among others. They released only two albums but played on troubadour Finn Zetterholm's 1977 album ”Längtans blåa elefant” (with alternate spelling Kabaretorkestern).

Sjömansvisor (MNW/Amalthea, 1978) 
as Mikael Wiehe och Kabaréorkestern

Swedish vocals
International relevance: *

Mikael Wiehe's greatest achievement since Hoola Bandoola Band's ”Vem kan man lita på?” in 1972. Great songs, sharp lyrics and good playing. ”Titanic (Andraklasspassagerarens sista sång)” is one of his best known tracks, and an allegory of the music movement's post Tältprojektetcollapse (only that Wiehe himself didn't realized it when he wrote the song). One brilliant Dylan translation, ”Sakta lägger båten ut från land” (”It's All Over Now, Baby Blue”) and one good Dylan translation, ”Spanska stövlar” (”Boots of Spanish Leather”) are also notable. Also worthy of mention: ”När bolaget kom till byn”.

Elden är lös (Amalthea, 1979) 
as Kabaréorkestern

Swedish vocals, instrumental
International relevance: **

A four part suite that stands as Wiehe's musically most progressive achievement, sometimes even resembling Samla Mammas Manna (”Ouvertyr”, ”Krigsdans”) written by the versatile Ale Möller. Möller's a very important contributor to the album, providing bouzouki, accordion, trumpet, electric piano, organ, and percussion. A stylistically richer and more free-thinking album than usual when it comes to Mikael Wiehe. ”Elden är lös” is the Wiehe album for people who don't like Wiehe.

Kråksånger (Amalthea, 1981) 

as Mikael Wiehe, Nyberg, Franck & Fjellis

Swedish vocals

International relevance: *

New band, new sound. The mawkish hit ”Flickan och kråkan”, drenched in Greg FitzPatrick's synthesizers, isn't representative to the album which has a rougher sound. 

”Katarina”, the terrible Swedish language mock reggae version of ”All Along the Watchtower”, ”Strebersång” and ballad ”Kom hem till mej” are all dreadful, the funky ”Allt vad jag begär” and ”Som om ingenting har hänt” are OK, ”Gossekungen” is good. The album sounded better when it was new, but time certainly hasn't been kind to it.

De ensligas allé (Amalthea, 1982) 
as Mikael Wiehe, Nyberg, Franck & Fjellis

Swedish vocals

International relevance:*

One of the worst albums mentioned on this blog. Eight Dylan translations and a Wiehe completely lost in the land of synthesizers and dated gate reverb. 11 minute title track (”Desolation Row”, or at least what's left of it) is freaking Guantanamo.

Mikael Wiehe has released numerous albums since.

Sjömansvisor full album playlist
Elden är lös full album playlist
Kråksånger full album playlist
De ensligas allé full album playlist

WERUP-SJÖSTRÖMGRUPPEN / STORM – Complete albums 1973-1977

Centered around poet and former jazz musician Jacques Werup, the group Storm was preceded by his collaboration with saxophonist Frans Sjöström, Werup-Sjöströmgruppen. They made their vinyl debut with as Werup-Sjöströmkvartetten on ”Club Jazz 1”. a split album with Nils Lindberg in 1970. Werner-Sjöströmgruppen's first and only album came three years later with ”Makten och härligheten”, disbanded soon after, with Jacques Werup forming the progressive Storm.

Makten och härligheten (Sonet, 1973)

Werup-Sjöströmgruppen

Swedish vocals

International relevance: **

Jacques Werup is involved as a songwriter in seven of the thirteen tracks on ”Makten och härligheten”, providing lyrics to five of them. The jazz is still there of course, but the arrangements are varied, some of them utilizing a string quartet and some revealing a cabaret influence. Unfortunately, the histrionic and pretentious vocals (sometimes with a squeak not unlike Swedish 80's pop star Tomas Di Leva) ruin what could possibly have been a better album without them. Artwork by painter Ola Billgren.

Stormvarning (Harvest, 1974)
Swedish vocals, other languages

International relevance: ***

Storm was very different to Werup-Sjöströmgruppen, with their music taking cues from prog, jazz, experimental and Moody Blues' soft symph. ”Stormvarning” occasionally reminds me of Samla Mammas Manna in approach bit not sound. The album is full of ideas presented in an imaginative way that's hard to describe. Not a great album but interesting enough to hear at least once.

Storm at the Top (Harvest, 1975)

English vocals

International relevance: ***

After their quirky debut, Storm suddenly went for a more 60's inspired sound, with English lyrics and pop melodies filtered through perhaps The Sensational Alex Harvey Band, Cockney Rebel, and early David Bowie? It's a much weaker outing than ”Stormvarning”, and although Storm tries to put a personal spin to it, it sounds derivative and fake.

Casanova in Mjölby (Harvest, 1977)

Swedish vocals

International relevance: ***

For their third album, Storm changed their style again with a new rhythm section inherited from Lotus. ”Casanova in Mjölby” is a concept album (in short, the story tells the story of seducer Casanova turning up in small Swedish town Mjölby – phew...). The music is like a mix of their first two albums, melodic but progressive. It's better than the inferior ”Storm at the Top” but sillier than than ”Stormvarning”. Great cover art though.

Storm was obviously a band full of ideas but not all of them were very good. The initial appeal of some of what they did wears off after a few listens. ”Stormvarning” is their best, but while not very expensive, I advise you to listen before you buy. Several former Storm members continued making music in various contexts; Werup released several albums under his own name and kept writing books up until his death in 2016.

Stormvarning full album playlist

Storm At The Top full album playlist
Casanova i Mjölby full album playlist

GEORG WADENIUS – Georg Wadenius (Frituna, 1978)

English vocals

International relevance: **

Georg 'Jojje' Wadenius first true solo album (unless you count his children's album ”Goda' goda'”), recorded after his stint with Blood, Sweat & Tears and the reformed Made In Sweden – and you can tell. The album's so dry sounding it will self-ignite unless you store it in a bathtub full of water and so dull that your wallpapers will curl up and leave your house. Well, it's not Coste Apetrea boring, but it's extremely slick and soulless, like Steely Dan (which he also played with later). To add insult to injury, Kornet keyboardist Stefan Nilsson and drummer Peter Sundell, both of De Gladas Kapell, also appear. 

Full album playlist

WILDMARKEN – Wildmarken (EMI, 1976) / Och nu på sjuttiotalet (EMI, 1977)

Wildmarken (EMI, 1976)
Swedish vocals

International relevance: ***

I'll never understand what makes one album a sought-after rarity when a better album hardly attracts any interest at all. For example, why do people fork out tons of cash for crap like Epizootic, Shaggy and Asoka when they ignore albums like ”Wildmarken” that has just about all the features that make collectors go bonkers? 

While not 24 carat knock-out stuff, Wildmarken's heavy rock is well made with decent vocals and plenty of biting guitars, sometimes even with growling wah-wah. Only two ballads interrupt the heavy flow (”Guld” and ”En längtans dag”, the latter with a dash of Blue Öyster Cult) but it's tracks like ”Gitarr och dragharmonika”, ”Långt bort från stan” and ”Som en extra dag” that define the album. An LP ripe for discovery for those into the heavier side of progg.

Och nu på sjuttiotalet (EMI, 1977)

Swedish vocals

International relevance: ***

Wildmarken's second album suggests they tried to move forward while adding even more power to their music. You can hear sax on the first track ”Han som var rädd för giftgasen”, and there's some discofied clavinet on ”Vinet är slut”. And sometimes they just take the easy boogie way out, as on ”Ida Petronella Lundström”.

While I appreciate Wildmarken's attempts not to make their debut album over again, it doesn't necessarily mean I think their attempts pay off that well (and whoever came up with the idea of having a flock of cavemen grunting background vocals certainly should have kept it to himself.) (And I hope the cover designer got fired). There is, however, one great track here, ”Vad vill dom”, that rounds off the album in a better way than it perhaps deserves.

 

Wildmarken full album playlist

Och nu på sjuttiotalet full album playlist

JOJJE WADENIUS – Goda' goda' (Metronome, 1969)

Swedish vocals

International relevance: ***

Probably the best children's record ever made and a perfect example of how kids were taken seriously back in the progg days. Released as Jojje Wadenius, ”Goda' goda'” is really a 'lost' Made In Sweden album with Bosse Häggström on bass and Tommy 'Slim' Borgudd on drums. And they play with the same eagerness and precision as they did when playing to adults. Greater precision, even.

The songs are just swinging wonderful and the affectionate lyrics – all in Swedish – by children's author Barbro Lindgren are from the child's perspective, always, never silly and certainly not condescending. They acknowledge all big emotions you have when you're small; joy, melancholy, loneliness, curiosity, the sense of wonder when beholding things that grown-ups just pass by in their busy grown-up world of boring grown-up things. And imagination. Puzzled self-reflection. Playfulness. Things adults should engage in a little more often.

Let's be frank: Made In Sweden never made another album this inspiring and delightful. Some of their most irritating mannerisms are prevalent here as well – I'm thinking of Wadenius's annoying habit singing along to his guitar solos – but the songs are so wonderful you can easily forgive them for it. To paraphrase an Archimedes Badkar title, these are songs for children of all ages.

Jojje Wadenius made a second album of Lindgren lyrics in 1978, the less successful ”Puss, puss, sant, sant”.

Full album playlist

NATURE – Nature (Gump, 1972) / Earthmover (Sonet, 1974) / LASSE WELLANDER – Electrocuted (Sonet, 1976) / WELLANDER & RONANDER – Wellander & Ronander (Polar, 1978)

Nature was an Örebro blues rock outfit that evolved out of Blues Quality who made one album with blues and reggae master Peps Persson. Harmonica player and singer Mats Ronander's Hendrix styled vocals ais one of their foremost characteristics, with his sidekick Lasse Wellander taking care of the heavy guitar sound. Nature was often hired as a back-up band to artists such as Pugh Rogefeldt and nationally successful singer/songwriter acts Ulf Lundell and Ted Gärdestad. There are two 1972 Pugh 45's co-credited to Nature, and one Lundell album, ”Natten hade varit mild och öm” released around the time of Nature's demise in 1977. 

NATURE – Nature (Gump, 1972)

English vocals, Swedish vocals

International relevance: ***

Mats Ronander's vocals are too derivative and in your face, but that's not the only thing that makes this a pointless album. Nature's blues rock is pedestrian, dull and redundant. It features both English and Swedish vocals, and partly because of the Swedish lyrics, ”Den killen är en stjärna” sounds a bit like power trio November. ”Nature” was produced by Pugh Rogefeldt who worked for Metronome subsidiary Gump who released the album, which alone makes it an expensive item. But that's all there is to pay for: the label, not the music.

 

NATURE – Earthmover (Sonet, 1974)

English vocals, Swedish vocals

International relevance: ***

Their second album has a more luxurious production with additional musicians like Björn J:son Lindh, sax player Bernt Rosengren, pianist Alain Leroux and conga player Malando Gassama expanding the sound. Thankfully Ronander had also toned down some of his Hendrix complex which makes for more 'natural' sounding vocals. But multiple session musicians and Claes af Geijerstam's production Nature makes this an even weaker effort than their debut, and unnecessary cover versions of Lovin' Spoonful's ”Summer in the City” and Dylan/The Band's ”This Wheel's on Fire” certainly don't help. ”Earthmover” is overproduced and too glossy. Best track is the instrumental ”Meating” which sounds a bit like Kebnekajse with Gassama's congas a crucial element.

A couple of unreleased early 70's Nature radio sessions exist, and there's a 1972 recording with Dave Greenslade in ”Progglådan”.

LASSE WELLANDER – Electrocuted (Sonet, 1976)

Instrumental

International relevance: ***

For his solo debut album, Wellander went for ”Earthmover” producer Claes af Geijerstam to get the desired sound. Geijerstam also plays guitar and adds some background vocals on ”Electrocuted”, and other high level session musiciani including Wlodek Gulgowski and Tommy ”Slim” Borgudd appears as well. Even UK keyboard player Dave Greenslade who Nature played with in 1972. Without a singer to balance the music, it's a guitar album through and through. Wellander solos and solos and solos and solos, and just in case, he overdubs himself so he can play solos twice or more at the same time. Sometimes funky, sometimes bluesy, sometimes semi-progressive, sometimes romantic, always boring. Best track is the Kebnekajse pastiche ”Lingonskogen”.

WELLANDER & RONANDER – Wellander & Ronander (Polar, 1978)

Swedish vocals, instrumental
International relevance: *

After Nature's break-up, Lasse Wellander again teamed up with Mats Ronander for an album, this time released through ABBA's label Polar. Constipated blues rock, rheumatic funk, thickheaded hard rock... As great as a heart attack.

Nature full album playlist
Earthmover full album playlist

Electrocuted full album playlist

Wellander & Ronander full album playlist
Tonkraft 1972 full album

WASA EXPRESS – On with the Action (Sonet, 1978) / Till attack (Sonet, 1978) / Schack matt (Sonet, 1979)

On With The Action (Sonet, 1978)

English vocals

International relevance: *

Their debut album is absolutely terrible but if you thought it couldn't get any worse, think again. ”On with the Action” is a set of nine tracks, each one worse than the previous. They were so competent players they obviously felt the need to dumb themselves down to a 'funny' level where Jim Carrey looks like the overlord of comedy. Clown hard rock meets clown disco meets clown surf punk and the result is an insult to all clowns around the world (and I'm usually not the one to defend clowns).

Till attack (Sonet, 1978)

English vocals, Swedish vocals

International relevance: *

One side live, one side studio, one full album of crap. Charter travel fusion, trailer park boogie and office party disco. No redeeming qualities.

Schack matt (Sonet, 1979)

Swedish vocals, English vocals

International relevance: *

If Wasa Express ever had anything even remotely reminiscent of something not entirely unlike a strictly hypothetical concept of qualities, that was definitely long, long gone by the time of ”Schack matt”. Everything I said of the two previous albums goes for this one as well, only to a higher degree. The version of The Balloon Farm's garage classic ”Question of Temperature” is the worst ever. The only interesting thing here is that the first part of their ”Midnight to Six Man” cover sounds like ”Nevermind” Nirvana more than a decade earlier.

On With The Action full album playlist
Till attack full album playlist
Schack matt full album playlist

THOMAS WIEHE – The 1970's albums

Thomas Wiehe has always been overshadowed by his more successful brother Mikael who rose to fame with Hoola Bandoola Band before launching a much applauded solo career. While it can be argued that Mikael Wiehe was the most melodically talented of the two, Thomas made a couple of interesting album in the 70's. The Wiehe brothers originally played in the 60's band The Moccers, and Mikael has appeared on some of Thomas's albums.

I rummet intill (Silence, 1973)

Swedish vocals

International relevance: ***

Housed in an eye-catching cover sporting a Channa Bankier painting, Thomas Wiehe immediately appeared as someone well acquainted with Incredible String Band (more Mike Heron than Robin Williamson). Side two of ”I rummet intill” is better than side one, including ”Vargen”, the spiritually inclined ”Skapelsen”, and ”Landskap”. Overall, a decent album.

Drömskugga (Silence, 1974)

as Thomas Wiehe:s Första Förband
Swedish vocals, instrumental 

International relevance: *** 

”Drömskugga” is a better album than ”I rummet intill”, much thanks to Wiehe's band on the album, Första Förband. The electric backing provides the songs with a greater stability even during the spacier parts and improvisational passages of ”Raga vid det relativas nollpunkt”. The weakest moment is the thankfully short fusion track ”Leve de vilda strejkerna”. 

Vilse i pannkakan (Silence, 1975)

with Staffan Westerberg
Swedish vocals, spoken word 

International relevance: *

 

Wiehe's third consists of music from children's television series ”Vilse i pannkakan”, made by Staffan Westerberg. Any kid that grew up in the 70's watched it but few liked it. A strong sense of eerie unease ran through the series with Westerberg speaking in a creepy hush and playing with dolls made of socks. He was subsequently accused of ruining the childhood of a generation (that is MY generation!) and what can I say... It didn't do me particularly good. In an attempt to conquer my childhood traumas, I tried watching the series again as an adult but that only instilled new life in my elusive fear provoked by the fears of my younger days... It all came back to me with fangs and glowing eyes. So the album's a hard listen for me. Each time I hear Staffan Westerberg's voice during the spoken parts, I throw the album to the wall and hide under the bed. Sort of. Wiehe's songs aren't very good either, too silly even for a children's album.

Mögel (Silence, 1975)

International relevance: **

Swedish vocals

The proper follow-up to ”Drömskugga” and again with a full band backing on some tracks. ”Mögel” isn't as good though, too intangible due to diffuse songwriting. A largely forgettable album.

Tårta och raketer (Silence, 1977)

International relevance: ***

Swedish vocals

A huge improvement over ”Mögel” and hands down Thomas Wiehe's best album. The arrangements are meticulous, substituting the rock band with baroque pop viola and violin, adding bass saxophone, English horn, bongos and congas and thanks to Anita Livstrand, tamboura on ”Längtan”. A beautifully crafted album of reflective and thoroughly composed songs, dissimilar to most other progg albums – if not all progg albums. A minor masterpiece and a should-be classic. This largely forgotten album deserves proper discovery and love.

Två vindar (Silence, 1978)

International relevance: *

Swedish vocals

Just about any album following the splendorous ”Tårta och raketer” would be a disappointment, but ”Två vindar” is disappointing every which way you look at it. Dull songs, dull sound, dull playing surely make for a – you guessed it – dull album with too many pop mainstream ambitions that should leave most progg fans cold.

Thomas Wiehe made several albums after ”Två vindar” including one featuring Turid in 1982. He's also continued working with children's music. He's also featured in ”Progglådan”.

I rummet intill full album playlist
Vilse i pannkakan full album playlist

Mögel full album playlist

Tårta och raketer full album playlist
Tonkraft 1977 full album playlist (tracks 5-8)

from Drömskugga

Drömskugga

Raga vid det relativas nollpunkt 

Leve de vilda strejkerna

Huvet upp - benen ner

Två vindar no links found

WHITE – I denna samling (Polydor, 1979)

Swedish vocals, English vocals

International relevance: ***

Sweden has always been a nation of hard rock fans and musicians. From the early days of Cream inspired power trios, through appreciated acts like Neon Rose and even Christian band Jerusalem, up to the current triumphs of Opeth, hard rock and metal in all shapes and colours have been vastly popular here. Bands like November and Life are heralded among collectors, but the heavy genre also had a widespread undergrowth, with acts such as Cement, White and the NWOBHM inspired Rhapsody.

Among those, White were one of the most original outfits. Frequently crossing the border between progressive rock and hard rock, they played a rather unique kind of music as documented on ”I denna samling”. Major label Polydor recognized their talent, signed them, but obviously failed to grant them a less amateurish producer to make the album sound good enough. The sound is a bit murky and stiff, and I assume that a better represention of their songs would have given them a greater impact. Perhaps that's the reason why I can't quite get into ”I denna samling”. It's obviously a good album with imaginative songwriting, but this kind of music needs a more powerful sound to really make sense and leave a proper impression.

White hailed from Malmö and started out already in the late 60's. An apocryphical tidbit of information is that successful singer Dan Hylander were member of a band called White 1970-1972. Could it possibly be the same band that put out ”I denna samling” almost a decade later? In any case, White disbanded in 1981, and one of the members went on to play with curious rock singer Kal P. Dal. Drummer Göran Olsson can now be found in spacerock band Drahk Von Trip who released a couple of albums in the 00's.

Some trivia: ”I denna samling” was recorded in three different versions, one with Swedish lyrics, one with English lyrics, and the third with Danish (?!) lyrics. Only the Swedish version saw the light of day. Whatever happened to the international versions?

All in all, ”I denna samling” is a better album than the production suggests. For fans of obscure hard rock, this is a mandatory listen, but for others, it's far from essential.

Full album playlist

WASA EXPRESS – Wasa Express (Sonet, 1977)

Instrumental

International relevance ***

Let me get this straight: This is progg at its most unlistenable worst. Yes, it's true that they are technically driven musicians; Åke Eriksson for instance is one of Sweden's most skilled drummers. But that's all there is to it. It's all about technique. The whole point with the music is showing off. Nothing else. To further stress how incredibly competent they are, they add ”humour” to their instrumental perfection. Thing is, it's not funny. It's just silly. ”Does humour belong in music”, Frank Zappa asked, and I see no reason why it shouldn't, at least under controlled circumstances, but when it is used only as an excuse to make things more complicated than they need to be just because they can, I just say grow up, guys.

If you need an example how funny they are, take a look at the cover. Yeah, funny. Send in the clowns. Oh, they're already in.

Stylistically, we're talking fusion. There's a whole slew of jazz in there of course, some funky moves and a bit of stupid rock music. The absolutely worst example of the latter is the cover of ”Cadillac”. Why? To show how connected they are to their rock'n'roll roots when they're so far removed from anything rock'n'roll whatsoever? So it's hard to decide whether they are at their very worst when they ”jokingly” throw an old rock standard into the mix, or when they go for extreme jazz rock gymnastics. In both cases it's so dull that it takes fifteen gallons of coffee to even stay awake.

Maybe the most disgusting thing about Wasa Express is the cheesy, studio ”funk” synthesizer handled by Bo Hallgren. His keyboard runs could outdo Usain Bolt anyday in terms of rapidity. That kind of speed might be impressive in sports, but not in music. In music it's nerve grating, plain and simple.

This, their debut album, was in its original LP format of standard album length but it feels as long as a week. And remember, this is their best effort. I don't know what crime the general public had collectively committed to get punished with three further Wasa Express albums during the 70's, all of them gradually worse. As if it wasn't enough, they even reformed briefly in the mid 80's, then again in the 00's. They still perform and have released two albums with the new line-up. Have mercy on our souls.

Eriksson was also in fusion band Egba, and later on he played the drums in Attack who scored a major hit in Sweden with the stinker ”Ooa hela natten”.

Full album playlist