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

 Swedish vocals, English vocals
International relevance: **

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

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

No links found 

VARIOUS ARTISTS – Lajv på Kulan (Kulan Records, 1981)

Featured artists: Big Pats / Enola Gay / Palmons / Rendevu / Ekovox / Hönsgården / Crab Boys / V.B.U (Vem Bryr Sig) / Cauze / Hagiwara / Phaze III / Backbeat / Attention / Ståndaktiga Tennsoldaterna
 Swedish vocals, instrumental
International relevance: *

Recorded live at youth center Kulan in posh Stockholm suburb Lidingö. Mostly punk bands but with three tracks having some progg bearings. Big Pats are the best of the lot with their half heavy rock progg track ”Varför”, Hönsgården are slightly under-rehearsed jazz funk, and Hagiwara are just dull jazz fusion.

Full album

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)

MANTRA – Take It! (A-Disc, 1980)

Instrumental
International relevance: *

Latecomers to the A-Disc roster, Mantra's debut album showed more than a few commercial leanings towards the radio friendly pop rock of the day as well as dehydrated funk fusion and disco. One track, ”Swing Your Thing” suspiciously shares a few features with Toto's ”Hold The Line” which is revealing enough. ”I Sold My Soul (To Rock 'n' Roll?)” is – with a question mark or without it – one of the worst over-used song titles ever. It doesn't matter that it's probably used here as a tongue-in-cheek hint at the slight hard rock charasteristics sneaking into what's basically a mediocre jazz fusion track. Guitarist, songwriter and arranger Henrik Janson obviously had a taste for American FM hard rock, as his playing is soaked with it. The album is entirely instrumental, but whether that's for the better or for the worse is impossible to say since ”Take It” sucks harder than an anabolic Hoover anyway.

Mantra had a few 45s out and released their second album ”Mantraction” on the Hill label in 1982 before Janson turned to a prolific career as a studio guitarist. He was also a member of Mikael Ramel's backing band Harru Lust in the early 80s (appearing on ”Strömavbrott” from 1982 and ”Bra sak” from 1984), and Ramel also wrote the lyrics for one of Mantra's songs on ”Mantraction”.

Balladtime

VARIOUS ARTISTS – Musikfest Örnsköldsvik 80 (Musikhuset, 1980)

Featured artists: Murena / Lars & Per-Erik / Staffans / Horny Band / Kylans Rockorkester / Het Örn / Blue Notes
Swedish vocals, instrumental

International relevance: *

One of many regional pressings providing a peep into a specific local scene, this time the Northern town Örnsköldsvik and the music forum Musikhuset. The album comprises seven acts from various genres – anti-bacterial jazz, folk pop, test tube funk fusion, straight ahead rock, B grade reggae – and while ”Musikfest Örnsköldsvik 80” obviously was made possible by the progg ethos on the way out in 1980, few of the bands have any real progg sensibilities to speak of. The best known band here is Kylans Rockorkester whose ”Min borgerlige bror” is typically pedestrian boogie rock with political lyrics. That fusion outfit Staffans' take on Dave Brubeck's ”Take Five” in a washed out Made In Sweden style is the album highlight says it all.

Murena - Flotta Sture 

Lars & Per-Erik - Johnny 

Staffans - Take Five 

Lars & Per-Erik - Tåget 

Horny Band - Solen står lågt 

Kylans Rockorkester - Min borgerlige bror 

Het Örn - Rasta din hund

Lars & Per-Erik - Historiens hjul 

Blue Notes - Rastlös 

Murena - Från oss alla 

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

HETA LINJEN – Won't You Step Inside? (Odeon, 1971) / Feta Heta Linjens supershow (Polydor, 1971)

Won't You Step Inside? (Odeon, 1971)

English vocals

International relevance: ***

After their uncredited back-up work for Doris on her ”Did You Give the World Some Love Today, Baby?” in 1970, Heta Linjen took a shot at an album of their own for the same label Odeon in 1971. Lead by jazz pianist Berndt Egerbladh and drummer Janne Carlsson (of Hansson & Karlsson et al), ”Won't You Step Inside” is a musically solid affair, inspired by the jazz rock of the day (not fusion) – think Blood Sweat & Tears without the horn section, or Solar Plexus with a greater late 60's emphasis. Bengan Karlsson is a bit undistinguished as a singer, and someone like Tommy Körberg would have elevated the album. Still, ”Won't You Step Inside” is much better than it sounds, and it grows over time. Worth checking out.

Feta Heta Linjens supershow (med Kisa, brass och brudar) (Polydor, 1971)

English vocals, spoken word

International relevance: **

”Feta Heta Linjens supershow” mixes music with comedy skits and that's not a good idea. The spoken bits are incredibly annoying already the first time (not to mention dated) but the music is overall better than on their debut. Good news is that the vocals aren't left to Bengan Karlsson alone, bad news is that powerful singer Kisa Magnusson goes a bit over the top. The musical segments are often fine (the jazz freaky ”You Shall Find Your Way” and ”Mama”) and even great (the incredibly powerful and funky ”It's Risi'n Up Real” [sic]). The best tracks from the first album and the proper songs from the second would make for a much more cohesive album overall. 

Hideous album cover by the way.

Won't You Step Inside? full album playlist
from Feta Heta Linjens supershow
It's Risi'n Up Real
Mama

SVENSKA LÖD AB! - Hörselmat (HM-KU-FI, 1971)

 Instrumental, spoken word
International relevance: ***

Originals of this are so rare you need around €1,000 to bring home one the 200 copies made if you want it in good nick. Of course it's not worth it – no album is – but it's tight and swinging blues, rock and funk infused jazz by a bunch of studio musicians including bassist Jan Bergman (Pugh Rogefeldt, Lena Granhagen, Hawkey Franzén and others), guitarist Bengan Karlsson (Heta Linjen) and the everpresent Janne Schaffer. (Schaffer later used the title ”Hörselmat” as the name for his own group, as well as a translation of the title to his album ”Earmeal”). A skillful lot, but the album doesn't sound like one of those typical braggy and lame show-offs passed on as fusion or jazz rock. Instead it sounds like the album was recorded just for fun with the guys really enjoying what they're doing right there and right then. It's competent for sure, but vital and highly listenable with the groove firmly in place. And yes, it has been reissued.

Co-produced by radio and TV personality Janne Forssell who also opens the album by scolding the band!

Full album playlist (Spotify)

SLIM BORGUDD – Funky Formula (Four Leaf, 1976)

English vocals

International relevance: ***

Originally drummer with Hawkey Franzén's great 60's band Lea Riders Group, then Made In Sweden, then Solar Plexus, Tommy ”Slim” Borgudd turned celebrity studio musician in the 70's and successful Formula 1 driver (hence the cover).

”Funky Formula” is indeed one funky affair –  Borgudd was obviously into James Brown and 70's hard funk. It features Jan Schaffer, Björn J:son Lindh, Jojje Wadenius, Göran Lagerberg and former Lea Riders Group/Made In Sweden bassist Bo Häggström. Three singers also join in: Björn Skifs (known to the whole wide world for fronting Blue Swede who scored a U.S. hit in 1974 with their version of ”Hooked on a Feeling”), Tommy Körberg (Solar Plexus, Made in Sweden) and – surprisingly enough – rock'n'roll singer Jerry Williams. Some might frown in disbelief at the vocalist choices (especially Jerry Williams) but they're all pretty solid in this setting. ”Funky Formula” isn't a top shelf effort but it's OK.

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

KING GEORGE DISCOVERY – King George Discovery (Haparanda, 1969) / Peace of Mind (Shadoks, 2011; recorded 1968)

George Clemons has an illustrious past to say the least. Born in 1938 and raised in Virginia, he moved to New York in the 60's where he performed at the legendary Apollo Theater with soul singer Don Covay. Clemons sang back-up on his 1964 classic ”Have Mercy”, covered by The Rolling Stones the following year. Upon leaving Covay's band, George Clemons added 'King' to his name and released his first solo single ”Drive on James” in 1966, backed by members of Ray Charles' band and legendary soul drummer Bernard Purdie. He played gigs in Harlem, made friends with Jimi Hendrix and performed with Jimmy Castor (of The Jimmy Castor Bunch).

A Scandinavian promoter found out about King George and asked him to come over to Europe for a three month tour with the Sweden based band Harlem Kiddies. Once here, they made a couple of recordings together, and as it happened, King George remained in Sweden. In 1968 he teamed up with guitarist Anders Nordh and bassist Paul Sundlin, both formerly of Trolls that made a couple of singles in the 60's and later to form Life. Completing the line-up was Lennart 'Lilly' Bergman, and together they made one 7”, the Motown sounding ”I'm the Best” backed with pop soul track ”Hold me Closer” for the Swedish Columbia label in 1968.

King George Discovery (Haparanda, 1969)
English vocals 

International relevance: ***

 

An album followed in 1969, curiously enough the second outing on the Haparanda label that later turned to Swedish dance bands and budget albums with uncredited cover versions of current hits. ”King George Discovery” is on one hand funkier than what the preceding single suggested it would be, on the other softer and a tad more psychedelic (sometimes in the direction of 'B' grade soul outfit The Chambers Brothers).

The album was produced by one Cbristopher P. Cooper who previously had worked on one single by Rolling Stones copycats The Shakers (lead by Tommy Rander). Cooper obviously had no idea what he was doing – the album sounds weak with the vocals too loud in the mix and the guitars way too low. He effectively ruined any possible impact the album might have had had it been mixed by a real professional. (There's a Christopher P. Cooper currently writing books about tourism. I've no idea if it's the same guy, but one thing's for sure, Cooper the producer would have been better off as a tourist guide...)

”King George Discovery” is a wasted opportunity, although the material isn't particularly good either. There's no point whatsoever getting this album when there's so much truly great soul/funk from the same period. Without the Life connection, I'm sure no-one would give a rat's arse about this album.

Peace of Mind (Shadoks, 2011; recorded 1968)

English vocals
International relevance: ***

The ”King George Discovery” sessions resulted in a slew of tracks voted off the final release to avoid the obvious comparisons to Jimi Hendrix. Those outtakes were only pressed as a demo LP, like a keepsake for the band and not intended for official release. A copy of the demo album fell into the lap of a UK record collector who uploaded a few of songs to Youtube. They caught the interest of German reissue label Shadoks who released the six rejected tracks as ”Peace of Mind” in 2011.

If you thought Mecki Mark Men and Nature were aping Hendrix, wait until you hear this. I understand why they kept those tracks off the album for that reason. Yes, it's guitar drenched; yes, it's psychedelic (if you by 'psychedelic' mean loads of fuzz, reverb and an idiotic drum solo); yes, it's rawer and therefore better sounding than the proper King George Discovery album. But so what? If I want to listen to Jimi Hendrix, I put on a Hendrix album. Simple as that. And if I want to hear a crappy cover of ”Light My Fire”, I can just as well pick up a ”Best of José Feliciano” in any flea market in the Northern hemisphere (although that will admittedly not sound like Jimi Hendrix).

Sessions were held for a proper second album but it was scrapped as King George Discovery split up. Clemons then formed another band, Red White & Blues with a couple of U.S. draft dodgers residing in Sweden. They released one 45 in 1971 on MNW subsidiary Green Light, ”Last Train to Georgia” with ”Far, Far Away” on the flip – better and than anything on the Discovery albums.

from King George Discovery

"It Ain't Right"
"Harlem"
"Smokey"
"For Love"
from Peace Of Mind
"Keep On Trying"
"Try Your Luck"
"Peace Of Mind"
Red White & Blues 7”

Last Train to Georgia

Far, Far Away
King George Discovery single
"I'm The Best"

MIXTURE – Mixture (Coop, 1980)

Instrumental, English vocals

International relevance: ***

The Coop label was connected to Björbobandet who released one album together with Sabu Martinez in 1971. The label's main focus was jazz, with Mixture covering the fusion area. This eponymous album is the only one they made. Not essential but surprisingly sparkling for the genre. It doesn't seem as if their main purpose was to demonstrate their overeducated skills but to have fun while playing. It does have its share of boring genre typicalities (including a dreadful funk track, ”Use Your Soul”), but it's not quite as patience killing as other, and better known, examples of the style.

Use Your Soul

ANTHONY 'REEBOP' KWAKU BAH – Anthony 'Reebop' Kwaku Bah (Philips, 1973)

 
Instrumental, English vocals, other languages
International relevance: ***

Percussionist Anthony 'Reebop' Kwaku Bah (usually spelt Baah) made a couple of albums for Island Records (including ”Welcome to the Canteen” with Traffic members in 1971) but this was his only uniquely Swedish album, with a stellar cast of Fläsket Brinner members, jazz pianist Bobo Stenson, the everpresent Jan Schaffer. and Maffy Falay of the mighty Sevda. It's an eclectic jazz effort with well proportioned ingredients of American and African funk, prog, and even dashes of psych. It's tempting to compare it to early 70's Don Cherry and while not entirely wrong this album has a stronger fusion feel (this time not meant as chastisement) than what Cherry usually had. It's a vital concoction, highlighted by the merciless groove of ”Lovin' You Baby” and the sexy ”200 to 500 Years Ago” that goes on for nine funky and hypnotizing minutes. Essential.

Full album playlist

PETER O. EKBERG – Så häftigt!! (Polydor, 1976) / Peter O. Ekberg (TOR, 1976) / Så länge vi har oss (TOR, 1978) / Det känns som att va på en fest (EMI, 1979)

Guitar slinger Peter O. Ekberg went from 60's band Germs Group to a short stint in Thorleifs, an outfit of that particular brand of evil called Swedish dance bands, before going solo in the mid 70's. His solo albums are largely uninteresting, but with a few progg moves, I thought I should comment on his albums in brief.

Så häftigt!! (Polydor, 1976)

Swedish vocals

International relevance: **

Ekberg's first proper album was recorded with back-up band Attila. Mostly displaying standard rock with a commercial edge, a couple of tracks have progg sensibilities, particularly ”Big Abdullah” and ”Du satans onda cirkel” with room enough for Ekberg to show off his guitar abilities. Ballads ”På lingonlandet” and ”De vackra orden” are decent. All in all, this is Ekberg's best album.

Peter O. Ekberg (TOR, 1976)

Swedish vocals, English vocals, instrumental

International relevance: **

The self-titled second LP follows along the lines of Ekberg's first, with some proggier tracks including the heavy album opener ”Han kan va' du”. ”Hjördis sång” is a drowsy instrumental reminiscent of Janne Schaffer's solo albums. Ekberg widens the scope with jazz, funk and country influences but the results are still dull and unengaging.

Så länge vi har oss (TOR, 1978)

Swedish vocals, instrumental

International relevance: *

More of the same, but with a higher funk and fusion factor than previous albums. The track with the greatest progg emphasis is the instrumental Roland Gottlow composition ”Hemåt”, but it's a pretty lame excuse for such a soporific album as this.

Det känns som att va på en fest (EMI, 1979)

Swedish vocals, instrumental

International relevance: *

A shift to major label EMI and the introduction of his band Peter O. Ekbergs System didn't do much to improve Ekberg's music. On the contrary: it got worse, with funk slap bass, stiff drumming and even more uninteresting songs firmly rooted in the worst kind of boogie blues (the title ”Good Time Blues” says it all). It's unlikely that you'd get as far as to the instrumental last track ”Tills nästa gång” but if you do, you'll discover a few traces of progg there. But believe me, it's not worth the trouble.

Ekberg also released a couple of 45's and later became a session musician for both Swedish and American artists. He lived in Austin, TX for a few years, performing with Jerry Jeff Walker, Keith Ferguson and others. Ekberg made a few more albums much later, the most recent one released in 2016.

Så häftigt!! full album

Peter O. Ekberg full album

Så länge vi har oss full album

Det känns som att va på en fest full album 

RASA – Complete albums 1979-1982

I'll probably become as big a laughing stock to a lot of people as Rasa is to anyone who regularly or occasionally trawl through the sorriest flea market racks. Rasa's albums are found everywhere; there must be thousands and thousands of them gathering dust and unspecified dirt in the most inaccessible corners of every charity shop all across the nation. Their first album ”Oasis” is actually said to have sold in 100,000 copies. How many of those that were actually played by the buyers is open to discussion... Today Rasa albums are probably a harder sell than second hand nappies.

The albums were originally distributed by Hare Krishna devotees to passers-by in the street for 'free', meaning you were expected to pay a price of your own choice for it... Rasa was located at the Hare Krishna movement's Korsnäs farm in the small village of Grödinge. I know, I know – all your warning signs go flashing bright red now, as with most people. But what do the albums actually sound like?

Oasis (Lotus Eye, 1979)

Sanskrit vocals

International relevance: **

Listen without prejudice and you'll find this to be a moody late night album with a slight basement feel and psychedelic tinges. Cosmic organ, loose drumming and some flashes of solo guitar. True the vocals are nasal and sometimes off key, and true that the typical tinkling Krishna bells are there but they're not harder to get used to than the 13th Floor Elevators' jug, and certainly easier to overlook than any drunken-handed sitar playing or boneheaded fuzz guitarist making psych collectors jump out their pants and put a deep gash in their wallets in uninhibited excitement over pure crap.

Opening track ”Touchstone” sounds a bit like ”Riders on the Storm” era Doors, while both ”The Names” and ”Feast for the Mind” move towards a soft-edged Träd, Gräs & Stenar territory. Now, isn't that exactly what people are looking for? If you cast your prejudicies aside and listen to what this actually sounds like, there's something to here to discover.

Coming Into Full Bloom (Lotus Eye, 1979)

Sanskrit vocals

International relevance: **

The second Rasa album is disappointing with none of the peculiar creepy atmosphere of their first. The songs are jubilant and a couple of them have a funk vibe. Best track is ”Childhood Pastimes” which vaguely hints at Kebnekajse's later 70's albums.

Setting the Scene (Lotus Eye, 1980)
Sanskrit vocals

International relevance: **

 

The droning, transparent title track has more of that Doors-like organ from the first album, and the piano based ”Touchstone II” is rather evocative, but the album in general sounds more Alice Coltrane inspired thanks to an increasing influence from spiritual jazz. Better than ”Coming Into Full Bloom”, but never reaching the heights of the best parts of their debut.

Alive! (Lotus Eye, 1981)

Sanskrit vocals

International relevance: *

Released as Rasa And The Family Krishna, this was recorded live at the commune farm. Most of the tracks are closer to the typical Hare Krishna styled music than most of their other albums, but the energetic ”The Offering” shares some traits with afro funk (Archimedes Badkar might be a reference) and is the best track here.

Creation (Lotus Eye, 1981)
Sanskrit vocals 

International relevance: *

 

Their weakest effort up to that point, at times seemingly under-rehearsed with only a few progressive moves in ”The Names II” and ”Jaya Radha Madhava”. Also the least common Rasa album to my experience.

Transparent Media (Lotus Eye, 1981)

Sanskrit vocals

International relevance: **

The lengthy, multipart ”Isopanisad Mini Symphony” is perhaps the weirdest track on any Rasa album, playing like a peculiar mix of early Pearls Before Swine (don't make me explain that, it's just a feeling), Third Ear Band and a wee bit of Ya Ho Wa 13, with undercurrents of Arbete & Fritid, but it's the only interesting track in this collection. Unless uninspired quasi funk and stiff jazz rock is your thing, that is.

Universal Forum (Lotus Eye, 1982)

Sanskrit vocals, English vocals 

International relevance: **

 

It looks like a symph rock album but consists mostly of bad attempts at standard rock and saggy blues, the track ”Supersoul” is the sales point here. Not a slab of soul but a slow moving semi-psychedelic track with some heavy guitar work that saves ”Universal Forum” from becoming all self-evident trash can fodder.

Dancing on the Head of the Serpent (Lotus Eye, 1982)

Sanskrit vocals, English vocals

International relevance: **

”Dancing on the Head of the Serpent” has a serious personality disorder. Opening track ”Without Reason” has a driving progressive beat, and with plenty of guitar soloing and effervescent synths, it comes off almost like a lost Hawkwind demo. ”Get Yourself Back” is krautish complete with a cosmic flute meandering in the background. ”Nrshimdaheva” sounds like someone dropped a nyabinghi reggae track into the meat blender – odd for sure. The reggae influence is more prominent on the dreadful (pun not intended) ”Down and Out”, and there's also a bit of cult leader disco and mock punk (!!!) here. A bizarre album? Yes. A good album? Not really.

Swinging (Lotus Eye, 1982)

Sanskrit vocals, English vocals 

International relevance: **

 

Rasa's final album is an entirely unprovoked garage attempt at heavy metal, as evident on ”Changing Times” and ”What It Would Be Like”. ”Without Anxiety” in turn is a run of the mill reggae track (however better than ”Down and Out” on the previous album). ”The Speculating Samba” sounds like D.R. Hooker's outsider album classic ”The Truth” played at 45 rpm (which isn't meant as praise). A few further very faint psychedelic traces can't save this album from being the least of the Rasa albums.

I'm somehow intrigued by Rasa's fearless style changes and their sometimes peculiar take on their music, even if they from time to time did fail spectacularly in dealing with it in a credible way. Some of what they did was in fact rather good, and it wouldn't surprise me if progg heads and maybe even collectors one day will acknowledge them accordingly. None of their albums have been reissued on CD – perhaps a compilation would be in its place? Then again, maybe not. None of their albums are hard to find at all. You can grab them for next to nothing from Internet sellers, and if you reside in Sweden, you can possible get a complete Rasa collection in mint condition for free if you ask the seller politely... and put together your own comp of the Rasa highlights.

Rasa disbanded in 1984, and main man and singer Robert Campagnola – then known as Visnupada, later as Harikesa Swami – has an extensive website detailing his past activities. There he reveals that Rasa's bass player married Annie Lennox – most likely Radha Raman who Lennox was married to for one year in 1984-1985. Campagnola/Visnupada moved to Russia but has now given up singing. As he explains on his website: ”I ruined my vocal chords in the dry Russian winter and could no longer speak or sing for any length of time.”

Oasis full album

Coming Into Full Bloom full album

Alive! full album

Transparent Media full album 
Universal Forum full album playlist
Swinging full album

from Setting the Scene

"The Son of Nanda"  

from Dancing on the Head of the Serpent
"Without Reason"

MERIT HEMMINGSON – Huvva! (EMI, 1971) / Trollskog (EMI, 1972) / Bergtagen (EMI, 1973) / Balsam (EMI, 1975)

There's something cheesy about a lot of what Merit Hemmingson has released over the years, but when her blend of Hammond jazz, pop and Swedish traditional music worked in her favour, it certainly has an appeal that is hard to resist.

Hemmingson began her recording career in the 60's, releasing a few albums including two on RCA Camden. Songs like ”A Taste of Honey”, ”Watermelon Man”, ”Can't Take My Eyes Off You” and ”Little Green Apples” saw her trying to make a name for herself in the instrumental soul jazz/easy listening mould. It wasn't until her first album for EMI that she found the folk music based style that made her popular act in Sweden with numerous TV appearances and respectable album sales. Her best albums are still highly rated by quite a few, and she even had a bit of a renaissance in recent years, and did a few shows with Kebnekajse.

Huvva! – Svensk folkmusik på beat (EMI Columbia, 1971)

Instrumental, wordless vocals

International relevance: ***

With the help from luminaries such as Jojje Wadenius, Slim Borgudd, renaissance musician Sven Berger and noted folk fiddler Ole Hjort, Merit Hemmingson brought her vision to life. Leaving the crowd pleasing easy listening chestnuts behind in favour of exclusively traditional tunes, she carved out a niche that at the time was entirely her own. Her reputation of being the groove queen of Sweden began here, with swinging renditions of ”Gånglåt från Ovanåker” and the much loved ”Gammal jämtländsk brudmarsch”. But ”Huvva!” (a word in northern dialects roughly meaning ”crikey!”) has a fair amount of reflective moments too – the short ”Gammalståschans hjärtesuck” is laced with mournful wordless vocals, and ”Vindarna sucka uti skogarna” touches on Hansson & Karlsson at their most sombre.

Although ”Huvva!” is her fourth album, it feels like her debut. And a strong 'debut' it is.

Trollskog (Mer svensk folkmusik på beat) (EMI Columbia, 1972)

Instrumental, Swedish vocals, wordless vocals

International relevance: ***

”Trollskog” continues where ”Huvva!” left off, taking some of predecessor's musicians along. Added to the studio line-up is Björn J:son Lindh on flute, guitar wiz Janne Schaffer and percussionist Sabu Martinez and others. The partial personnel changes made for a somewhat funkier style, and even attributed a psychedelic tinge to some of the tracks. Almost as good as "Huvva!".

Bergtagen (EMI, 1973)

International relevance: ***

Instrumental, wordless vocals

After releasing ”Det for två vita duvor – folkton i Vikens kapell” together with impossible-to-pinpoint larger-than-life comedian/poet/childrens' TV host/thinker/eccentric Beppe Wolgers earlier in 1973, (Wolgers also appears on a couple of tracks on "Trollskog".) Hemmingson returned with an album made with newly formed three-piece backing band Folkmusikgruppen. It's a self-assured album and she obviously feels at ease with having her own band as opposed to working with seasoned studio musicians, but at the same time the concept was slowly beginning to wear thin. The sense of pioneering exploration that made her first two proper folk albums so appealing is waning off (she even re-recorded ”Gammal jämtländsk brudmarsch” or the album), and the prevalent jazz influences are oddly enough stifling to the music. ”Bergtagen” has a couple of fine tracks (including the contageously groove ”Domaredansen”) but it's far too uneven to compete with ”Huvva!” and ”Trollskog”. Having said that, I still think it's an OK album to have, especially to complete the informal trio of folk albums that began with "Huvva!".

Balsam (EMI, 1975)

Instrumental, English vocals, wordless vocals

International relevance: **

 

By the time of ”Balsam”, Hemmingson obviously realized she couldn't take the hitherto successful concept much further without repeating herself too much. Bringing more scat singing, harmonica, synthesizers, strings etc, plus a more expensive sounding production to the table, ”Balsam” is in some way a return to her pre-”Huvva!” years, with a greater emphasize on easy listening, only grander in scope. Unfortunately it meant a step completely in the wrong directions, with Hemmingson losing her tracka altogether. An atrocious discofied version of soul classic ”I Heard It Through the Grapevine” proves my point well enough.

 

Hemmingson has continued performing and making albums through the years, but with ”Balsam” painfully marking the end of an era, there's no reason for this blog to go further down her discography.

 

Huvva! full album playlist
Trollskog full album playlist

Bergtagen full album playlist
Balsam full album playlist

VARIOUS ARTISTS – Aktiv Ungdom: Alsterett (ANT, 1980)

Featured artists: Station / Gain / Cega Hö / Famntag 

Swedish vocals, English vocals, instrumental

International relevance: *

Preparations for this album began already in 1978 but it wasn't released until 1980. Privately released through the non-profit organisation Aktiv Ungdom (”Active Youth”), it was locally distributed in the Örebro area in an unknown but probably small edition. The album is mainly of interest to collectors of lesser-known hard rock collectors thanks to contributions from Gain and possibly Station, but it's the three tracks by Famntag that justifies the inclusion here.

Famntag were a five-piece lead by Björn Famne noted for the track ”Vampire” off his rare and eponymous 1975 EP on Rasp Records. While Famnes fuzz guitar has a prominent place also in Famntag but the style is vastly different to what one would expect after hearing ”Vampire”. On ”Can Fight It”, written by bassist Arne Holmberg, Famntag moves into funk rock territory with lots of that dreaded slap bass inseparately associated with the genre. Famne penned ”Open Gate” fares slightly better although it still fails to avoid the B grade funk moves entirely. Most puzzling of Famntag's three tracks is ”Det har mamma sagt”, a short assault on your ears in the shape of a punk parody.

Fleshing out the album is ten-piece recorder orchestra Cega Hö.

All in all, the progg sensibilities are too faint and far between, but measured by other standards, ”Alsterett” is still a neglectable album to anyone but serious collectors.

Includes insert.

Famntag: "Det har mamma sagt"

TEQUILA – Power (Toniton, 1974)

English vocals

International relevance: **

The Toniton label are mostly known for gas station releases and Top of the Pops styled budget compilations, with Bib Set's ludicrously rare ”It Wasn't Meant to Happen” collecting the highest progg points. Tequila aren't included in ”The Encyclopedia of Swedish Progressive Music” but would at least pass for 'fringe progg', my term for albums that are not quite progg but not quite not progg either. Mainly a salsa/Latin album thankfully avoiding over-the-top Santana moves, ”Power” has enough of jazzy 70's touches and funkiness (note the wah-wah work on ”Someone to Love”) to warrant an inclusion here. ”Power” is quite good if you're into this kind of thing, well performed with a credible enough groove. The major exception is the boneheaded ”Cozumel”, a cringeworthy mock reggae track.

Most progg collectors pass on albums like this, which might explain why you still can find it relatively cheap, usually in the €20-40 range.

Guitarist Jörgen Höglund went further down the jazz funk track with his 1980 album ”Leaving It Up to You”. Percussionist Rafael Sida is still active and has appeared in various settings over the years, including Hot Salsa, a very popular 80's latin band. In the mid 00's he teamed up with Swedish world music legend Ale Möller, and has a trio going with fiddler Ellika Frisell and kora player Solo Cissokho. They have released three CD's to date, including ”Now” in 2013 on Bengt Berger's excellent Country & Eastern imprint.

Someone to Love