PÄR LINDBLOM – I grönsakslandet (RCA Victor, 1973)

 

Swedish vocals, instrumental

International relevance:**

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

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

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

Grönsakslandet
Siw färg-tv

RADIO BALKAN – Radio Balkan (Mistlur, 1981) / Direktsändning (Mistlur, 1983; rec. 1981-1983)

Instrumental, Swedish vocals

International relevance: **

Before Anton Karis became a domestically well known radio journalist, he played the flute in Berits Halsband and also made a guest appearance on obscure band Occident's only album. After Berits Halsband disbanded, Karis went on world music band Radio Balkan who had two albums plus one single (with a non-album 'B' side) on the Mistlur imprint in the early 80s.

While there's nothing particularly wrong with any of them, they're a bit lacking. I'd love to hear a bit more oomph, it's too polite to really capture the real spirit of Balkan music. The first half of ”Direktsändning” was recorded live in 1982, and it's a bit better – the live setting probably triggered them a bit – but it's still not enough. The 'A' side of their single, ”Ella min vän” from 1981 is included, while remaining four tracks were recorded in 1983.

Radio Balkan full album playlist
Direktsändning full album playlist

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

NÄVGRÖT – Nävgröt (MNW, 1980)

 

Swedish vocals, instrumental
International relevance: **

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

No links found 

THE ELEPHANT IN THE ROOM: PROGGLÅDAN

You've probably noticed I mention ”Progglådan” (="the progg box") every now and then. It might be a good idea to explain what it is for those who might not really know.

”Progglådan” is a 40 CD (!!!) box set released by the Swedish Radio in 2013, compiling tons of recordings mainly from their weekly Tonkraft show that ran for 11 years beginning in 1972. The show's forerunner was Midnight Hour in the late 60s. ”Progglådan” came in a slipcase containing four smaller boxes with 10 discs each housed in cardboard sleeves. The four smaller boxes are thematically organized. Box A has heavy rock and blues, box B features instrumental and experimental bands, original proggers and punk, box C is folk progg and singer/songwriters, and box D collects melodic rock. A fantastic testament to Swedish progg with the best recordings from Swedish Radio's vast archive of special sessions – or is it?

In reality, it's not as great as it looks at a first glance and nowhere near as great as it could have been. Compiled by Coste Apetrea who said he worked on it for three years as the project constantly grew. It's hard to believe he put three years into it. Had he said a month, I would take his word for it. It's so shoddily done that not only is it disrespectful to the people who forked out quite a sum for it when it was available, but also to the artists involved.

Several names are misspelt which is a big no-no for a credible presentation – don't you think so too, Cotse Arpetea? The liner notes are so littered with completely moronic spelling mistakes that it sometimes looks as if Cesto Paterea just hammered down his fingers on the computer keyboard at random. Did you know your computer has a spellcheck function? It's impossible to read them without getting furious at the carelessness, and some ”words” take some time to figure out what they're actually supposed to be. I know for a fact that at least one person offered his proof reading services for free before the the whole shebang went to print, but Swedish Radio ignored him and obviously thought that this exercise in aleatoric typing would suffice. (I've done some proof reading myself over the years, and I prmoise you I've never seen anything like this.) I once wrote a Facebook comment when some gala celebrating ”Progglådan” was to be held, complaining about the impetuous writing and I just got the response ”it's supposed to be like that”. Talk about adding insult to injury. I don't know if it was Secto Trepaea who replied, but NO, IT'S NOT FUCKING SUPPOSED TO BE LIKE THAT! Don't behave like a complete idiot who doesn't give a shit, and don't be proud of it! Thanks for your consideration.

The recording dates are too often wrong and insufficient. I thought Swedish Radio kept pedantic notes on session details, and if they do, then Tesco Repatae must have ignored them in favour of his own guessing game. I once did extensive research on the correct dates as far as possible, but I've unfortunately lost the document since and I just can't be arsed to do it all over again. Besides, it's not my bloody job to correct some ignorant fucker's deficient work. I don't get paid for it but I'm sure he did.

The editing of the recorded material is sometimes haphazard too. Several of the shows have songs cut from the original sessions and I can live with that even if its irritating, but sometimes a spoken intro to a missing song is left intact. It's like a glitch in the matrix. OK, it's a lot of material to listen through, but if you've worked on it for three years, then you should bloody well have the time to check if it's correct. Right, Tesco Eptarea? Otherwise, work on it one more year to make sure it's right.

 
You can always question the selection done for a compilation depending on your own taste, but some of the choices here are downright dubious. I know that Pugh Rogefeldt was asked to be included, but he failed to reply before deadline why the first disc is wasted on Cosmic Ray, a modern band recorded in Silence's studio in 2012 – not a Swedish Radio recording from the time ”Progglådan” covers, 1967-1985. I suspect this rushed decision has something to with Ocest Ptaaree being the producer of the Cosmic Ray recording... You see, he had a peculiar way of sneaking quite a few of his own recordings on here – De Gladas Kapell, Jukka Tolonen Band, Samla Mammas Manna (appear twice), Ramlösa Kvällar, and Cosmic Rays. It might not look much for a 40 CD box set, but no other musician is that extensively represented. And he never once spelled his own name wrong in the credits...

I don't know how royalties from the sales were shared, but I know – again for a fact – that less known bands weren't payed. And I know at least one musician who shall remain nameless was genuinely pissed off with the crappy presentation of the whole thing, telling me something to the effect of ”'Progglådan' will remain a kind of final statement but we'll have to live with this inferior release forever.' Exactly. This was a one-shot thing, and even though Eosct Aaeeprt at one point opened for a second volume, I doubt that will ever happen. This, I suspect, is what we'll get. A chance blown to produce something excellent and honorable for everyone involved. Including the fans, buyers and listeners.

This is why I've never reviewed ”Progglådan” in detail and never will. I don't think it deserves it. I will continue to mention individual shows in dedicated reviews when appropriate but I won't go through it disc by disc because it pisses me off every time I even look at it on my shelf. If you want to know what artists are included, check Discogs. Some of it is very good music, take your pick and check it on Youtube. Or borrow it from an unlucky friend who bought it and copy the stuff you like. Get it whichever way you prefer to get your stuff. It's your decision. Do what you will. Those responsible for it cared bugger all when it was compiled, so why would anyone care now what you do? If somebody objects, just tell them to send their written complaints to Octse Paertea, in two copies.

FINN ZETTERHOLM & MARIE SELANDER – Lillfar och Lillmor (SR, 1970)

  
Swedish vocals
International relevance: **

I wouldn't say that Finn Zetterholm's and Marie Selander's voices and vocal styles are a perfect match, but it's no wonder Zetterholm chose Selander as a singing partner on this album. It's a collection of old short folk songs, some almost like children's rhymes, and with no better female folk singer in Sweden than Marie Selander, few could do this better than her. It's also Zetterholm's best 70s album, much thanks to Bengt-Arne Wallin's interesting arrangements quoting both jazz and renaissance music. No wonder, as jazz players such as Palle Danielsson, Egil Johansen and Rune Gustafsson appears, plus the nation's prime advocate for renaissance music. multi-instrumentalist Sven Berger on instruments like dulcian, hurdy gurdy and bassoon, and Eric-Gustaf Brilioth adding the colourful timbre of crumhorn. It's not one of my regular spins, but Folk & Rackare fans may be interested in hearing ”Lillfar och Lillmor” at least once.

Full album playlist

CANTALUCHA – Sånger till Kuba (Mistlur, 1979)

 

Swedish vocals, other languages
International relevance: -

What an incredibly tepid album. The title means ”songs for Cuba” and I suppose the album was made in support of Fidel's country but the performances are so debile it's more like an insult than a tribute. All of it sounds like tourist shop muzak, entirely devoid of any passion Cuban music may have. The vocals are so ninnyish I almost feel sorry for them. Cantalucha sound like a bunch of daycare teachers on soporifics. Needless to say, there's not one real Cuban among them. Had there been, they'd surely have stopped this hogwash from ever happening.

Full album playlist

ZÜLFÜ LIVANELI – Complete Swedish albums 1975-1977

Turkish born but of Georgian descent, Zülfü Livaneli is a composer, author, poet and politican who made his album debut in 1973 with a selection of Turkish revolutionary songs. After being held in jail several times during the Turkish military memorandum in 1971, he went into exile in France, Greece, the U.S.A. and for a period in the mid 70s, also Stockholm, Sweden. Here he recorded two albums, plus contributing music for Bay Okan's 1975 movie ”The Bus” largely taking place in Sweden and featuring several Swedish actors.

 

Ballads Of The Thousand Bulls (YE.T, 1975)

Instrumental, other languages

International relevance: **

Recorded in the AV Elektronik studio in Stockholm, this album was also released in Turkey as ”Eşkiya Dünyaya Hükümdar Olmaz” with several artwork variations. Oddly enough, the original title has nothing to do with bulls but means ”bandits cannot rule the world” which is a much better title. Some songs are written by author Yaşar Kemal who later also became a Swedish resident for his political views. Most tracks are Livaneli compositions though, performed on various flutes and lutes and rooted in traditional Turkish music but with an intellectual bent. Livaneli has a rather mellow voice but a commanding delivery, and with the rich ring of the stringed instruments, the music is captivating and won't easily let go of your attention. ”Ballads Of A Thousand Bulls” is an elevated piece of work with a strong emotional vigour.

 

Merhaba (YE.T, 1977)

Other languages

International relevance: **

The second AV Elektronik session is similar to the first but has longer tracks and no instrumentals. The dominating piece is ”Şeyh Bedrettin Destanı”, the 14+ minutes track, almost symphonic in its construction, that takes up most of side 2 and ends the album. ”Ballads Of The Thousand Bulls/Eşkiya Dünyaya Hükümdar Olmaz” is an impressive work, but ”Merhaba” is even better. More stringent, more focused with Livaneli's voice really to the fore which can only be a wonderful thing. This music is humbling and affective on such a deep level. This music is enchanted.
 

Otobüs (Balet, 1977)
Instrumental, Swedish vocals
International relevance: **

The release date of Bay "Tunç" Okan's movie about Turkish immigrants illegaly immigrating to Sweden varies depending on where you look. Some sources say 1974, others 1975. According to IMDb, the Swedish premiere was delayed until 1980. The soundtrack was probably released in 1977 with a reissue following in 1978, both times in Turkey only. Livaneli appears by his two first names Ömer Zülfü only in the songwriter's credits, but he shares the score with one C. Vason. One of two vocal tracks was even co-penned by Rolf Hammarlund of Bättre Lyss and Göran Lagerberg!

The most out of place inclusion is a track by Maria Johansson, better known as Maria på torget (Maria in the square). She was a well-known and annoying character in Stockholm in the 70s and 80s, performing religious songs in the city centre on her electric organ and singing with a cracked and creaky voice to every passer-by not asking for it.

Being a soundtrack, it's not meant as a cohesively constructed album and so it isn't. Livaneli's parts are the best, but some of Vason's easy listening styled contributions detract too much from the experimental nature of the best bits. So very uneven as a whole, but not without merits.

Ballads Of The Thousand Bulls full album playlist
Merhaba full album playlist
Otobüs full album playlist 

FRED ÅKERSTRÖM – Två tungor (Metronome, 1973)

Swedish vocals
International relevance: *

Featured in Tobias Peterson's ”Encyclopedia Of Swedish Progressive Music” in the ”also listen to these artists” list, why at least one of his many albums should be featured here.

Fred Åkerström made a massive impact on the troubadour/visa singer scene in the 60s and 70s, and he was the most successful of the lot along with Cornelis Vreeswijk. There's not a lot progg about him however. At least not musically. Politically is a different thing, as he was a stubborn communist who joined the KPMP(r) party, based in Sweden's #1 working class city Gothenburg and known for having acts such as Knutna Nävar and Dan Berglund on their side. A friend of Åkerström's once said that Stockholm born and bred Fred was so red that he even began speaking with a Gothenburg accent. His political sympathies was clear from the start; an early Åkerström recording is ”Kapitalismen” (”the capitalism”) that has become a leftist classic.

But no, he's much more of a traditional singer/songwriter in the Scandinavian vein than a progg artist. The one album that comes closest to progg is ”Två tungor”, It was recorded in late 1972 with Hawkey Franzén and Mats Glenngård helping out on a few tracks. Coming from the often rowdy Fred Åkerström the album is conspicuously low-key as exemplified by his best known song ”Jag ger dig min morgon”, a very tender rendition of Tom Paxton's ”I Give You The Morning”. But the best track is probably album closer ”Den trettionde i första sjuttiotvå”. The title is the date of Bloody Sunday, 30 January 1972, when British soldiers killed thirteen civilians during a civil rights march in Derry, Nothern Ireland.

”Två tungor” has a slightly folkish feel all through and the sensitive and mild-mannered arrangements help set the dusky atmosphere that makes this one of his emotionally most consistent efforts and probably his best altogether, 

Full album playlist 

CONO SUR – Cono Sur (Nacksving, 1979)

Other languages, instrumental

International relevance: *

A Gothenburg trio of two Latin Americans and one Swede performing music from Bolivia, Peru, Argentina, Chile and Venezuela. Everything is obviously very heartfelt and honest with educational liner notes, but apart from the short ”Chaska” with a distinct renaissance flair, the album is as boring as a rainy summer holiday.

No links found

MUSIKGRUPPEN RAA – Musikgruppen RAA (Piglet, 1980)

 Swedish vocals, instrumental
International relevance: **

Musikgruppen RAA had existed for seven years when they released their debut album why they had enough time to amass material enough for a double LP. It's better than the follow-up ”Briggen Salta Anna”, but their idolization of The Incredible String Band is simply too much in-your-face and gets very annoying very soon. If you want ISB epigones, try UK band Forest instead.

The second disc in the set is more interesting as it's not all Robin Williamson and Mike Heron but reveals inspiration from East European folk music although they lack the authority of say RamlösaKvällar. Their version of trad tune ”Horgalåten” (known from Kebnekajse's excellent version) is fairly interesting despite some silly theatrical vocals, and I like ”Annas sång”. But it's not enough, and as Musikgruppen RAA are constantly two steps behind on just about everything they do, they end up a curious footnote to much better bands.

”Musikgruppen RAA” is along with ”Briggen Salta Anna” featured on the 2CD compilation ”RAAriteter” released in 1992 and expanded with bonus material.

Träd / Solbild / Oulistaï / Jag lever / Månkarbo-Nisse / Den heliga staden / Kajsas vaggsång / Solbild / Jungfrun i blå skogen / Så går det bra / Svart Per-Ola / Uralen / Pavanne / Flytande holländaren / Spelkarlen / Annas resa / Kycklingskocken / Horga / Gärdet / Kläpp-Konrads schottis/Finska polskan / L'oud / San Juanito / In nomine Padre et Filio / Od Granka / Ungerska vinskördedanser / Den besvikna flickan / Tamzara / Finstämt möte i O'Stemt

SCAFELL PIKE – Complete albums 1973-1976

 The Month Of Maying (Epic, 1973)
Lord's Rake (Epic, 1974)
Four's A Crowd (Mercury, 1976)
English vocals
International relevance: *

An English/Swedish combo playing a watered down version of British folk rock, closer to an unholy mix of Lindisfarne and Cat Stevens than any Fairport Convention or Steeleye Span. Still they were a very popular act in their day, often heard on the radio and appearing on TV. They were the first exposure I ever got to anything even close to British folk melodies, and thus a tiny seed was sowed for my lifelong love for UK folk rock.

Scafell Pike also fleshed out their English repertoire with Swedish songs by the likes of haughty troubadour Evert Taube and 18th century poet and songwriter Carl Michael Bellman, all translated into English. But everything comes out twee and/or perked up. Saying that ”Lord's Rake” is their best album doesn't say much at all, because it's still way too insufficient and superficial to deserve a listen. There's absolutely no need to bother when the great UK folk rock bands are readily available to anyone these days.

Scafell Pike later became more of a classic rock band, a style they weren't very good at either.

The Month Of Maying full album playlist
Lord's Rake full album
Four's A Crowd full album playlist

GRUS I DOJJAN – I klackbaren (Metronome, 1978)

Swedish vocals, other languages, instrumental
International relevance: -

Just another Grus I Dojjan album. The only thing that differs their later albums from the earlier is that the later ones are better recorded. Other than that, it's the same cheerful, good-timey folk/bluegrass fare as always. The skewed ”Tokfans polska” is a bit fun though with the deliberate off-key playing that will surely drive some people nuts.

But whar's Jeff Lynne doing in cover shot???

Full album playlist

PIERRE STRÖM – Complete solo albums 1970-1976

Pierre Ström was one of the prime exponents of the wave of Swedish troubadours, or visa singers, in the 60s and 70s that included among others Cornelis Vreeswijk, Fred Åkerström, Thorstein Bergman and Finn Zetterholm. The visa singers rarely went progg full on, but they shared progg's general political sympathies more often than not so there's a loose connection between them.

Ström is already on the blog with ”Joe Hill lever!”, a joint release with Oscar Norrman and Anders Granell. Ström had two more collaborative albums out in the 70s (one with Finn Zetterholm), but this review is for the albums solely credited to him.

I vädurens tecken (Intersound, 1970)
Swedish vocals
nternational relevance: *

After making a sneak debut on a various artists compilation in 1969 and a 7” on MNW subsidiary Green Light, ”I vädurens tecken” was his first full length album. It has it's share of mildly brooding moments but it's generally a more good natured collection than the album cover might lead you to believe. The emphasis on Swedish covers of Tom Paxton, Leonard Cohen and Simon & Garfunkel and the light pop backing sometimes augmented with orchestral arrangements suggest that Ström was more in tune with his times than some of his peers. Pleasant but not hugely exciting.

Pierre Ström sjunger sånger av Leonard Cohen (Intersound, 1971)
Swedish vocals
International relevance: *

The title says ”Pierre Ström sings songs by Leonard Cohen”, and that's exactly what it is, a full disc of translated Cohen songs. Ström never strays far from the original versions, and that perhaps served a purpose in 1971 before the original artist was a household name in Sweden, but 50 years on the album has severely deteriorated into redundancy. The Leslie treated vocals on ”Lavin” (=”Avalanche”) is a nice touch though.

The album was reissued as "Cohen på svenska" (="Cohen in Swedish") by YTF in 1974. 

Rallarvisor (YTF, 1973)
Swedish vocals, a cappella, instrumental
International relevance: *

Two years on and a switch to the visa movement's own label YTF. Still having problems getting original material together, or a lack of interest in such a venture, Ström looked to the traditional songs of the rail layers of old. He obviously felt at home in this material because he sounds much more confident than on his first two albums. The light pop ambitions are gone in favour of a small ensemble consisting of old-timey dance accordeonist Sone Banger, jazz bassist Red Mitchell and folk fiddler Björn Ståbi, giving ”Rallarvisor” a stronger local flavour. A handful of a cappella tracks (or backed with the metallic clang of hammers against railway sleepers) further helps setting it apart from what came before. The problem with thematic albums such as this though is that they can come across as museal, and that goes for this one as well.

På Palmes tid (YTF, 1976)

Swedish vocals

International relevance: **

Finally an album of Pierre Ström originals, and a return to fuller arrangements. Banger and Ståbi are still on board, but the personnel's expanded with drummer Jan Bandel (Atlantic Ocean, Jason's Fleece, Baltik and many more), Bengan Karlsson (Heta Linjen, Svenska Löd AB!) and Björn J:son Lindh (but no Schaffer!). It's not as rockish as one could have hoped for though. Ström's songs are closer to the political progg of the day than say, a Heta Linjen groove although both ”Motströms” and ”Solens gyllne lampa” adds a bit of funkiness to the mix. Best track by far is ”En kväll rätt sent”, politically charged but with a slight mysterious mood brought on by Bengan Karlsson's watery guitar sound and bated playing. A must-hear it is not, but Pierre Ström's best album nonetheless, housed in an eye-catching jolie laide album cover.

I vädurens tid full album playlist
Sjunger sånger av Leonard Cohen full album playlist
Rallarvisor full album playlist
På Palmes tid full album playlist

GÖSTA LINDERHOLM – In kommer Gösta (Metronome, 1973) / Göstas skiva (Metronome, 1975)

Anyone familiar with Gösta Linderholm (and that includes just about every Swede of a certain age or inclination) surely wonders if I've lost it completely by including him here. He's something of a laughing stock found in every charity shop bin across the nation. I doubt many people take him seriously, and he actually has himself to blame after the dreadful mega hit ”Rulla in en boll och låt den rulla”, a 1978 faux cajun song that plagued the airwaves here for an eternity. And me, I never once thought he'd be something I'd offer any progg blog space. Until I took a closer look at his first two albums, that is.

In kommer Gösta (Metronome, 1973)
Swedish vocals
International relevance: *

After an early career with trad jazz band Sveriges Jazzband (best known for their 1970 song ”Brittas restaurang”), Gösta Linderholm made his solo debut with an album taking its title from a Philemon Arthur & The Dung song. He immediately established himself as a happy-go-lucky troubadour with a warbly voice. But, hang on – is that tablas in opening track, the droning ”Herr Fantasi”? It is indeed, played by Jan Bandel. And there's Björn J:son Lindh in his best ”Ramadan” mode. ”Påtalåten”? Yes, an Ola Magnell cover recorded the same year as Magnell's own 45 version. And that bassist Stefan Brolund, wasn't he in Pop Workshop and later EGBA and Oriental Wind? He was.

”In kommer Gösta” isn't a great album and rather typical Metronome label singer/songwriter fare along the lines of the aforementioned Ola Magnell and, for better or for worse, Marie Bergman.
But it nevertheless shows that there was a wee bit more to Gösta Linderholm than he gets cred for. 

Göstas skiva (Metronome, 1975)
Swedish vocals
International relevance: *

Not surprisingly, both Magnell and Bergman pop up on Linderholm's second album along with Thommie Fransson and, again, Björn J:son Lindh. The style is similar to the debut but with a few better songs and slightly darker shades, as on ”I natten” and the Magnell/Linderholm co-composition ”Kom liv”. I remember "Herr Fantasi” from my radio listening childhood days, so I have a certain nostalgic relation to that particular track. But the best track here is the album's most unexpected inclusion.

Guitarist Finn Sjöberg appears prominently on the album and that might explain Kvartetten Som Sprängde cover ”Gånglåt från Valhallavägen”. Originally an instrumental track but here with added Linderholm lyrics, and I can promise there's nothing else in his ouvre to prepare you for this. It's a bleak, actually apocalyptic depiction of a winter's day in Stockholm, soaked in alienation, internal turmoil and impending chaos. Junkies are dying in the streets and a hysterical Lady Luck screams out in agony. This track is truly a lost progg gem hidden in plain sight.

Linderholm made many albums after these two, some of them with credible musicians helping him out such as Kebnekajse's Mats Glenngård on ”Blå ballader & gröna demoner” from 1977. Some of them even have a half OK track or two, but there's really no point in getting into them in detail. A thumb rule is that the later it gets, the more Linderholm lived up to his own caricature.

In kommer Gösta full album playlist
Göstas skiva full album playlist

FINN ZETTERHOLM – Joe Hill på svenska (Intersound, 1969)

 Swedish vocals
International relevance: *

Joe Hill's real name was Joel Hägglund but he changed his name after emigrating to America in 1902. There he became an early Woody Guthrie kind of figure, a union activist writing songs that became anthems for the American labourers movement. Sometimes he wrote new words to old revival hymns, much like Guthrie did with traditional material. Needless to say, Hill's songs were also popular among the progg alumni, and a few albums of Joe Hill songs were released in Sweden including one by Mora Träsk (who, like Joe Hill himself, originated from the city of Gävle).

Troubadour and provocateur Finn Zetterholm might seem well equipped for interpreting Joe Hill's outspoken songs, but the result isn't very good. ”Joe Hill på svenska” (later reissued as ”Finn Zetterholm sjunger Joe Hill”) is annoyingly perky and some tracks border on dixieland jazz. And to be honest, Joe Hill's songs simply aren't on the level of Woody Guthrie's. This is just another album existing for political reasons more than musical ones.

Hill's fate was more interesting albeit a gruesome one. He was accused for murdering a police officer but wouldn't defend himself having been in bed with another man's woman. It was his alibi but not wanting to reveal the true circumstances, Hill was sentenced to death. He had an option: being hanged or shot. He chose the latter and was executed 1 October, 1915 in Salt Lake City. As a side note, country singer Lefty Frizzell's murder ballad ”Long Black Veil”, written by Marijohn Wilkin and Danny Dill and later covered by numerous artists, is very similar to the story of Joe Hill's death.

Full album playlist

KANGAS SPELMÄN – Kaustinen (Silence, 1977)

 

Instrumental, other languages

International relevance: *

Folk band known as Kankaan Pelimannit in their native Finland; sort of a Finnish equivalent to Skäggmanslaget or Norrlåtar. A short tune played on Finnish national instrument kantele (seen on the album cover) is rather evocative, as is the vocal track ”På Harjumäen Backe”. The album is included here as it was recorded in Sweden by Anders Lind, head of Silence Records and released on his label. A later Kangas Spelmän LP was released in a rare joint venture between Silence and MNW. They made several albums between 1972 and 1982, but most of them have no Swedish connection.

Full album playlist

A SEVEN INCH SPECIAL, VOL. 2: Blues

 LIBERTY BLUES – Road Scrambler / Right Way Blues (Marilla, 1971)
English vocals
International relevance: **

All Liberty Blues managed to release during their five year existence was this single. Very much a throwback to the kind of rhythm & blues that was in vogue in the 60s. ”Road Scrambler” is brimming with fuzzed out energy, fighting to get out of the murky cellar in which it was recorded. At least it sounds like that. Being released on Hans Edler's Marilla imprint, maybe a few cents were put into the recording after all. The B side is a slow rolling blues but it still has a similar underground vibe including that overheated fuzz solo. Plenty of youthful charm and if you're into the style at all it's rather enjoyable.

OHLSSONS GROVA – One Scotch One Bourbon One Beer / One More Mile (NCS, 1971)
English vocals
International relevance: **

Legendary Kalmar outfit who had two singles out in 1971. This was their first, notable for some mean guitar playing courtesy of Bo Wilson. Wilson much later formed his own group, and the band also has loose ties to another Kalmar band, Kung Tung. It's plain blues, but it's very solid and that guitar elevates the single to a new level. The flipside of their second single was included on ”Swedish Meatballs, Vol. 2”. Both their singles are very rare and expensive.

VIGGO – Sings His Own Mississippi River And Blues In Stockholm (Intersound, 1971)
English vocals
International relevance: *

Norweigan born Viggo Paulsen moved to Stockholm in 1969 and there he recorded his only single. Both songs are just Viggo, his acoustic guitar, harmonica and somewhat tortured vocals. It's not so much blues as a 60s styled folk singer/songwriter. Not very good and certainly not worth the ridiculous asking prices on the collectors market. 

COOL HAMBONE – I'm So Tired Of It / Supervisor Blues (Tibet -46, 1972)
English vocals
International relevance: **

Rolf Wikström's debut was this 33 1/3 rpm single with two songs both around the 6 minute mark. There's not much that differs this from Wikström's better known later efforts except the English vocals. His raspy voice is already there, as is his penchant for overbearing guitar soloing. Without a doubt a desirable item for Wikström freaks but very little on offer to those who are not.

FRIENDS – To Bad / Burning Love (SMF, 1980)
English vocals
International relevance: **

Not to be confused with any other Friends, this is the lost chapter of the Blueset saga, with two original Blueset members, singer/guitarist Kenth Loong and bass player Ingemar Linder. The A side is a Loong original with misspelt title ”To Bad”, a slice of autobiographical blues based rock that isn't very exciting. The flip side is a stiff cover version of Dennis Linde's ”Burnin' Love” made famous by Elvis. Those who expect more of Blueset's shabby, stoned psych blues will be sorely disappointed. Two versions exist, a standard black vinyl issue and a red one.

Liberty Blues full single playlist
Cool Hambone full single playlist

Ohlssons Grova:
One Scotch One Bourbon One Beer
One More Mile
Viggo:
Mississippi River
Blues In Stockholm
Friends no links found

STEN ASGER-JENSEN – Clown (CBS, 1973)

 Swedish vocals
International relevance: **

Little known singer/songwriter (information is scarce), but he was assumably of Danish descendance judging by his name. He released only one album in 1973 plus one single the following year. Only Janne Schaffer and Jojje Wadenius get musicians credit on the cover but it must be Björn J:son Lindh on flute.

Asger-Jensen was a rather talented songwriter with a clear inspiration from folk rock as evident on ”Färden” and the title track. He supposedly had a couple of Jethro Tull albums in his record collection too as some tracks have tastefully proggy touches. More generally speaking, ”Clown” falls roughly between ”Lagt kort ligger” John Holm and B.L. Magnell meaning this is actually quite good. Whoever plays on it, they all seem to have enjoyed their session work too because the backing sounds genuinely inspired. Try for instance ”Den femte visionen” which keeps building until it gets rather heavy with Schaffer (presumably) going stringbending crazy towards the end. 

Not a too common find but apparently rather cheap and well worth picking up if you find it. I do like it quite a bit.

KALLE ALMLÖF – Kalle Almlöf (Amigo, 1980)

Instrumental
International relevance: *

Kalle Almlöf's claim to blog inclusion stems from his co-operation with Arbete & Fritid/Roland Keijser associate Anders Rosén; Almlöf's first album was ”Västerdalton” which prominently featured Rosén's fiddle, and so did 1975's ”Stamp, tramp och långkut”. The eponymous 1980 album at hand marks the third time they united on disc, and it also features some further noted fiddlers, namely Pers Hans Olsson, Jonny Soling and Björn Ståbi. 

As expected, it's Swedish folk fiddling through and through with an emphasis on polskas (a particular type of dance tunes highly popular among Swedish folk musicians). The perfoming duties are split in solos and duos, and while there's nothing wrong with any of it (the skills displayed here are impeccable, needless to say), it's a collection of tunes clearly aimed at the folk music audience and not at all recorded with any progg listeners in mind. The best tracks are the most melancholic ones, particularly the two that round off the first side, ”Bakmes” (a variation on well-known Swedish folk song ”Vårvindar friska”) with Anders Rosén, and Almlöf's solo execution in ”Polska från Älvdalen”. The high point of side B is the Kalle Almlöf original ”Åreskutan”, a tribute to a Swedish mountain by the same name.

No links found.