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

FOLKVIND – Folkvind (Oktober, 1977)

Swedish vocals, instrumental, a capella
International relevance: **

Trio Folkvind's sole LP is a straight-ahead folk album with mostly traditional tunes, some augmented with new lyrics. It's quite likely the only trad folk album to mention heroin and Ritalin in its lyrics.

Despite being released on the Oktober imprint (and featuring a Fria Proteatern member, Marie-Louise Söderström), it's a pretty good album. It's well played with mainly fiddle, keyed fiddle and zither providing the musical backdrop to Eva Tjörnebo's voice that fits in nicely with style. Some tracks are pretty evocative, such as ”Jag vill gå vall” and ”Visa från Önnarp” – the latter almost sounds like something out of the ”Wicker Man” movie.

It will hardly appeal to the casual progg fan, and unless you have a special interest in traditional Swedish folk music, it will surely be dismissible, but it's a solid if unremarkable genre piece with the occassional peak moment.

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MARIE SELANDER, STYRBJÖRN BERGELT & SUSANNE BROMS – Å än är det glädje å än är det gråt (Ett Minne För Livet, 1976)

Swedish vocals, other languages, a capella, instrumental

International relevance: **

Marie Selander has one of the finest voices heard in the entire progg canon, every bit as authentic as Shirley Collins but with the sombre power of Sandy Denny. Every time she opens her mouth to sing, it makes you listen a bit closer.

”Å än är det glädje å än är det gråt” is her second proper solo album, following ”Från den svenska vildmarken” from 1973. It is however co-credited to flautist Susanne Broms and multi-instrumentalist Styrbjörn Bergelt who create a rough-hewn backdrop of ancient sounding folk music. Listening to the sparsely framed, rugged traditional songs is like listening to a tree growing its bark, full of life but without any unnecessary, distracting material. If you're looking for flashy fanciness, go elsewhere because you won't find it here. This frugality is very alluring, and best of all, it leaves a generous space to Selander's voice which is as enticing as ever, and creates a deep sense of dark fir forest mystery. Perhaps an acquired taste to some, but utterly rewarding to anyone who accept the challenge and persist.

Full album playlist

VARIOUS ARTISTS – Röd 1:a maj-fest (Oktober, 1974)

Featured artists: Robert Karl Oskar Broberg / Peps Blodsband / Pepparn / Fria Proteatern / Athenians / Margareta Söderberg / Anders Linder / Lennart Johnsson / Röda Stjärnan

Swedish vocals, a capella, instrumental
International relevance: *

Recorded live on 1 May, 1974 celebrating Labour Day. Wildly uneven and certainly not essential, but with a couple of memorable performances. The majestic Peps Blodsband performs a spirited ”Fem långa år”, a translation of Eddie Boyd's classic blues ”Five Long Years”. They also team up with actor Anders Lind (Kapten Zoom, Ville & Valle & Viktor) for one track.  Hoola Bandoola Band backs up Robert Broberg for ”Vem är det som bromsar och vem är det som skjuter på”.and also appears on their own, with a surprisingly weak take on their otherwise excellent ”Keops pyramid”. Other artists include accordionist Pepparn, an a capella performance by Margareta Söderberg (known from her collaboration with Arbete & Fritid on ”Käringtand”), and three fatiguing tracks by Fria Proteatern.

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RÖDA BÖNOR – Röda Bönor (MNW, 1976) / Sköna skrönor (MNW, 1978)

Founded in Lund 1973 and making their live debut in 1975, Röda Bönor soon became the premier feminist band of the 70's with a brash and disarming sense of humour. Their lyrics and musical presentation were fun in a time when humour and joy in music were rapidly falling out of fashion. (That kind of humour is something that today's feminism could do with too). They poked fun at the gender injustices, but the irony hit both ways. Still, some people thought Röda Bönor were too mean-spirited. In a fine 2016 interview by Kalle Lind for the Swedish podcast Snedtänkt, Kaya Ålander admitted that she can understand why men in particular were offended by them, and said that Röda Bönor indeed were a bit over the top from time to time, although she didn't realize it back then. (Her level of self-reflection is refreshing which is something that neo-feminism would benefit a lot from, but perhaps it takes the luxury of hindsight to have it.)

Röda Bönor (MNW, 1976)

Swedish vocals, a capella
International relevance: *

Röda Bönor's first, self-titled album includes several of their most familiar songs, such as their version of Neil Sedaka's ”Oh Carol”, ”Diskoteksjakt” and ”Det ska bli slut på rumban”. The music is mainly acoustic folk pop, not unique but effective. Even the a capella tracks work – Röda Bönor were actually pretty good singers, especially compared to several other contemporary political/topical groups at the time.

 Sköna skrönor (MNW, 1978)
Swedish vocals
International relevance: *

”Sköna skrönor” follows along the same stylistic lines, with pastiches, musical quotes and witty lyrics (”Sången om sexualmyterna” is a classic in that regard). However, the additional backing including prominent drums takes something away from the music, making it more serious sounding. The first album is a lot more unassuming, and with the success following it Röda Bönor's ambitions got higher which took some of the freshness out of the music.

A third album was projected, but halfway through the preparations for it, MNW declared they weren't interested in the band anymore. They kept playing for some time still but eventually disbanded 1982. Kaya Ålander is still an active musician, sometimes performing old Röda Bönor chestnuts with great success to a live audience. Kjerstin Norén (who left after Röda Bönor's debut album) made one solo album in 1979, ”Sånger om Anne-Marie och andra häxor”, and also appeared with Jan Hammarlund on the ”Några här, några där” album in 1981. Röda Bönor have also reunited for some one-off gigs over the years. Their two albums, particularly their first, are still the best feminist albums, much better than ”Tjejclown”, ”Sånger om kvinnor” et al.

A 1977 Tonkraft recording is featured in "Progglådan".

Röda Bönor full album playlist

Sköna skrönor full album playlist
Tonkraft 1977 full album playlist

KJELL HÖGLUND - Complete albums 1971-1980

Undran (Alternativ, 1971)

Swedish vocals
International relevance: *

Kjell Höglund's first album, privately recorded, privately released, privately sold (originally with only an inner sleeve). Most of his trademarks are evident already here, small songs asking big questions in unassuming phrases, simple guitar accompaniment and his patented intimate voice. ”Jag hör hur de ligger med varandra i våningen ovanför” is one of Höglund's best known songs but hardly one of his best. The album is endearing for sure but very uneven – not all tracks are as good as ”Denna känsla av undran”, the utterly charming ”Gustav under trappan”, ”Den vita kråkan” and ”Stormen före lugnet” (the latter re-recorded for ”Vägen mot Shangri-La”). 

Later versions have the cover pictured above with the album title handwritten. Same cover was used for "Blomstertid", also with the title in handwriting. 

Blomstertid (Alternativ, 1972)

Swedish vocals, spoken word

International relevance: *

Second album, similar to the first so it makes sense that ”Undran” and ”Blomstertid” was later combined to a double LP. (Original copies were also sold in a white inner sleeve, as with "Undran".) The main difference between the two albums is that Höglund sounds more self-confident here, plus the addition of electric bass on a couple of tracks. ”Du sålde min biljett” is a great track, one of his best from the early years, but ”Blomstertid” has, generally speaking, higher lows and lower highs. Or if you will, it's a less uneven album than ”Undran”. 

Baskervilles hund (Alternativ, 1974)

Swedish vocals

International relevance: **

Höglund matured considerably with ”Häxprocess” released in 1973. With ”Baskervilles hund” (with appearances from Lasse Englund and Rolf Wikström) he had carved out his particular songwriting style rather well. Or actually his two styles – the perky songs, and the more reflective ones which usually are Höglund at his best. A terrific example of the latter is ”Man vänjer sig”, a heartwrenching description of a numbingly dull everyday life but, as the title says, ”you get used to it”... ”Trollfolk på bygden” is another brilliant track, this time featuring a funky full band. And, at the other end of the arrangement spectrum, the hysterically funny a capella tragicomedy of ”Sista valsen”.

This is Höglund's second best album, here and there actually reaching the heights of ”Häxprocess”.

Hjärtat sitter till vänster (Alternativ, 1975)

Swedish vocals

International relevance: *

A disappointment after the great ”Häxprocess” and ”Baskervilles hund”, with uninspired songs, some of them quoting blues and trad jazz with a yawn. Also, Höglund tries to adapt to the political agenda of the time which suits rather bad. He's an observer asking questions, but not leading questions as he does here. Only ”Lågor för dom döda” is up to the usual Höglund standards. 

Wikström and Englund are still on the job, and Greg FitzPatrick, Mats G. Bengtsson (Blå Tåget) and Hans Wiktorsson (Nationalteatern) join in too.

 Doktor Jekylls testamente (Alternativ, 1979)

Swedish vocals
International relevance: *

Pretty much a return to form. (I guess it some kind of inspiration proof that ”Desertören” is 17 minutes long, and thus the longest Höglund track recorded, even beating the title track from ”Häxprocess” with almost two minutes.) Some musical quotes that miss the target but they're easy to bear with when Höglund delivers tracks like the part serious, part ironic ”Höglund har blivit gammal”, the tongue-in-cheek gibe at (political) bigotry ”Slutstrid”, and the lovely almost-a-hit ”Lugnare vatten” (that actually was a hit, with Marie Bergman). Not a bull's eye album, but with several very good moments.

Vägen mot Shangri-La (Alternativ, 1980)

Swedish vocals
International relevance: *

Last album of Höglund's classic era, followed by another four year hiatus. Some good songs (”Holländsk genever”, ”Mr. Swanee”, the superior remake of ”Lugnet före stormen”) but ”Vägen mot Shangri-La” suffers a bit from a sterile production. Not as much as Höglund's later albums that are all suffocated by period synths and dated aesthetics, but a more vivid sound could possibly have given some of the lesser tracks a well needed punch.

Kjell Höglund's next album was "Tidens tempo" in 1984. Again it had some good songs, but the album is drenched in synths and studio polish and is hard to digest. Later albums are even worse productionwise.

Undran full album playlist
Blomstertid full album playlist
Baskervilles hund full album playlist
Hjärtat sitter till vänster full album playlist
Doktor Jekylls testamente full album playlist
Vägen mot Shangri-La full album playlist

ARBETE & FRITID – 3 collaborative albums

 

Slottsbergets hambo å andra valser (MNW, 1972)

as Rolf Lundqvist å Arbete Å Fritid

Swedish vocals, spoken word

International relevance: *

 

This is the first album of theirs co-credited to an external talent. Rolf Lundqvist was a poet and parts of ”Slottsbergets hambo å andra valser” are him reading pretty peculiar poems. He also sings to Arbete & Fritid's musical backgrounds of old timey dance music, rock paraphrases, tango, swing etc. It's more Lundqvist's album than Arbete & Fritid's and to be honest, it's not very good. But definitely one of the most puzzling entries in the band's catalogue.

Käringtand (YTF, 1976)
as Margareta Söderberg, Arbete Och Fritid/Pojkarna på Storholmen
Swedish vocals

International relevance: **

 

Margareta Söderberg is a folk singer who has appeared on several albums, mostly various artists compilations such as ”Alternativ festival”, ”Röd 1:a maj-fest” and ”Jordljus – Befria marken”. Pojkarna på Storholmen were a folk constellation who took their name from a Swedish 1930's movie and who, to my knowledge, never appeared on any other album than ”Käringtand”

Like ”Slottsbergets hambo” mainly is Rolf Lundqvist's album, ”Käringtand” is Margareta Söderberg's. Some songs are performed a capella in a traditional style that fit the album's folk concept, and Arbete & Fritid appears on only six of the thirteen tracks, and while Söderberg is a fine singer, it's Arbete & Fritid's participation that lifts the album. Particularly good is the last track ”Sången om Moldau” written by Bertolt Brecht and Hanns Eisler and features some very fine sax from Roland Keijser. 

A live recording of the Söderberg/Arbete & Fritid coupling can be found in "Progglådan", including the wonderful "Höstvisa" (made famous by Swedish/Finnish band Cumulus) not on the original album.

…Sen dansar vi ut (Hurv, 1977)

Instrumental

International relevance: **

With folk fiddler Anders Rosén at the helm of this double album (released on his Hurv label but released as Arbete & Fritid only), it's sometimes overlooked and dismissed as an inferior work of theirs, but is in fact very good. With the tunes presented in the same way they were recorded it follows a logical flow, getting more and more intense as it goes. The band's efforts are excellent and with Rosén being perhaps the best living fiddler in Sweden, it's an album so enjoyable it certainly should be counted among their regular releases and accordingly appreciated.

Slottsbergets hambo å andra valser full album playlist
Sen dansar vi ut full album

från Käringtand

"Lärandets lov"

Margareta Söderberg & Arbete Och Fritid Tonkraft
"Den bortsålda"
"Barn"
"Lärandets lov"
"Höstvisa"

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

A-KÖREN – Ur spår (No label, year unknown)

Swedish vocals

International relevance: -

A-Kören (”The A Choir”) were made up of a architect students at The Pylotechnic Institute of Stockholm, with a repertoire ranging from atonal outbursts and political songs with a leftist touch. Some of the tracks wouldn't have been out of place on a De Förenade FNL-grupperna album. Sometimes the music appears to have a faint ironic twist, but judging by the rear cover drawings (made by some unidentified Henrik) depicting the Swedish national flag with the Soviet hammer and sickle added and caricatures of capitalists, I suspect A-Kören's intent was sincere.

The album cover features lyrics but is short on any other information, such as where, when and why it was recorded, but it has a late 70's vibe. I'm not even sure if the album title is ”Ur spår”, or if the ensemble's full name is A-Kören Ur Spår. A Google search leaves me equally empty-handed so I assume they didn't make another album and that this one is largely unknown. (I've never seen another copy of this particular album either.) All for a good reason though, because musically speaking, it's crap. If it has any kind of value, it's exclusively as an historical curiousity.

No links found