HAYENA BAND – Live In Studio '77 (no label, 2023; rec. 1977)

 

Instrumental
International relevance: ***

This is just about as obscure as it gets as this album doesn't even exist, only just a little. (Don't let the ringwear and price tag on the cover fool you.)

Hayena Band was a West Coast sextet that only ever released one track, on Caprice Records various artists comp ”Tvärsnitt (10 Unga Svenska Jazz- Och Rockgrupper 1978)” where they shared space with bands like Kattegatt, Boojwah Kids and Alter Ego (a.k.a. Alter Echo). After Hayena Band disbanded in 1978, two of the members – drummer Werner Modiggård and saxophonist Claes Carlsson – eventually ended up in Eldkvarn. The track on ”Tvärsnitt” is ”Puerto Tune” taken from a full length 1977 studio session held at Swedish Radio Gothenburg, and that session is what was sneaked out to various streaming platforms in 2023 as ”Live In Studio '77”.

The style is Latin infused jazz rock, and while that may not sound too appealing, this is not your usual dreary funk fusion. It's very intense and powerful with fiery guitars and hard blowing sax. It simply rocks hard! This band must have been a real firebomb on stage if they could work up such a frenzy in a sterile radio studio. I don't know if there's a viable market for their kind of music, but going only by the high quality of their stuff, this is so very worthy of a proper release. It just isn't fair it should just be swept into an unlit corner of the internet. I had no idea this existed until I stumbled upon it more or less by chance, and I'm afraid most people won't do it all. And ”Live In Studio '77” deserves so much better than that. It's a gem.

Full album playlist

SABU MARTINEZ – Afro Temple (Grammofonverket, 1973)

Instrumental, spoken word

International relevance: ***

New York born percussionist Louis 'Sabu' Martinez was something of a wunderkind, making his professional debut in 1941 at the age of 11. At 18 he was offered a place in Dizzy Gillespie's orchestra, and he later went on to work with jazz giants like Charlie Parker, Duke Ellington, Thelonious Monk, Art Blakey, and Charles Mingus. His band leader debut came in 1957 with ”Palo Congo” on the Blue Note label. Ten years later he moved to Sweden and released a couple of albums under his own name of which ”Afro Temple” is the best known.

The album was recorded in April 1973 with a number of renowned instrumentalists, among them Christer Boustedt and Bernt Rosengren on saxes and flutes, U.S. born Swedish bassist Red Mitchell, and drummer Ali Lundbohm (of Vildkaktus). Needless to say, it's a percussion heavy album with strong Afro-Cuban influences, not only featuring Martinez himself but also four other conga players. The title track is fine with Boustedt wailing away on his alto and the reverb drenched ”Para Ti, Tito Rodriguez” and funky ”My Christina” are pretty cool too, but I think the album as a whole is overrated.

The folks at Mellotronen wouldn't agree with me as they've released a series of previously unreleased Martinez recordings made for the Swedish Radio 1967-78, ”Winds & Skins” (with saxophonist/flautist Sahib Shihab), ”Burned Sugar” and ”Maldito Primivo”.

Martinez died in Sweden from gastric ulcer in 1979, only 48 years old.

Full album playlist

JAN HAMMARLUND – The 1970's albums

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

Befriade från skolan (Silence, 1972)

Swedish vocals, English vocals

International relevance: **

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

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

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

När bandet slutar spela (Silence, 1973)

Swedish vocals

International relevance: **

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

Tusentals stjärnor över Chile (Chilekommittén, 1974)

Swedish vocals, other languages

International relevance: *

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

Landet jag är van vid (Silence, 1976)

Swedish vocals

International relevance: *

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

Igår, idag, imorgon (Silence, 1976)  

with Turid and Lena Ekman

Swedish vocals

International relevance: **

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

Innan tåget är på väg (Silence, 1978)

Swedish vocals

International relevance: **

 

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

Nåt på spisen med varann

Micke Malung

Ett rop som stiger (Silence, 1979)

Swedish vocals

International relevance: *

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

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

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

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

GÖTEBORGS VISGRUPP – Riv alla stängsel (Avanti, 1978) / GÖTEBORGS BRECHTENSEMBLE – Låt er inte förföras (Avanti, 1979)

Swedish vocals 

International relevance: */**

The conditions of progg changed rapidly towards the end of the 1970's. The Gothenburg faction grew stronger as their influence on the movement's periodical Musikens Makt (”the power of music”) increased at the expense of the Stockholm section. What the effects were depends on who you ask, but the way I see it, co-founder Tommy Rander pushed the magazine further and further towards a political pamphlet, setting the tone for the whole progg scene. He allowed very little space for politically agnostic and non-dogmatic artists, effectively draining the genereous versatily that previously made progg a beautifully unwieldly and diverse music scene. Rander increasingly became the overlord monitoring 'the apostates' – those who didn't adapt to the his stubborn leftist decrees were effectively ignored and discouraged. The fun in music was crushed under the weight of cult-like policies. If the dreadful term 'politically correct' has ever been appropriate, it was then. Thankfully, not everything released after Rander's 'takeover' was bad. Serious perhaps, but not necessarily inferior.

Göteborgs Visgrupp's lone album appeared at the tail end of the decade but they had been active since 1974 and is – needless to say – a very political album. It has a decidedly Latin American/Chilean influence which, thankfully, isn't too overbearing. It's a largely lowkey effort with a couple of good songs, most notably the title track ”Riv alla stängsel” and the mournful ”Santa Barbara”. However, the entire album suffers a bit from the vocal style typical to many acoustic and political records of the era. That said, I've heard worse, and if you're not as sensitive to such mannerisms as I am, then ”Riv alla stängsel” is worthy of a couple of spins. Especially since it's still fairly easy to find relatively cheap. 

Three members of Göteborgs Visgrupp (singers Kicki Eldh, Britt Ling and Liliane Håkansson) went on to form Göteborgs BrechtEnsemble. Their only album was released in 1979 by Avanti who had already put out ”Riv alla stängsel”. The material is, as suggested by the band name, exclusively Bertolt Brecht numbers, but the album is very far removed from what you'd expect if Lotte Lenya or Gisela May are names that first leap to mind when Brecht is mentioned. Featuring members of Nynningen, ”Låt er inte förföras” is pretty heavy in parts, sometimes even displaying a contemporay jazz influence thanks to the use of saxophone, electric piano and fretless bass. It's a very different beast to ”Riv alla stängsel”, and despite a couple of lesser tracks it's also the better of the two. The vocals are a bit histrionic at times but nowhere near as complacent as on ”Riv alla stängsel”.

A previous incarnation of Göteborgs Brechtensemble can be heard on ”Internationalen och andra revolutionära arbetarsånger” by Knutna Nävar. Göteborgs Visgrupp is also on V/A: "Samlade krafter" (1978).

Singer Liliane Håkansson of Göteborgs Visgrupp had a solo album released in 1971, the decidedly un-proggy "Illusioner".

from Riv alla stängsel

"Riv alla stängsel"

"Den fattige och den rike"

"Poeten"

"Pålen"

"Quince Brigada"

"Santa Barbara"

"Mörka eldar"

ATACAMA – Atacama (MNW, 1970) / Arriba Quemando el Sol (MNW, 1971)

 

International relevance: *

Spanish vocals 

 

It's been said that singer/songwriter and gay activist Jan Hammarlund was a crucial influence on the growing interest in Chilean music in Sweden during the early 70's, but prior to that, famed label MNW had already released two albums by Chilean/Swedish group Atacama, ”Atacama” in 1970 and ”Arriba Quemando el Sol” in 1971. One of the members was Luis Veloz Roca who moved to Sweden in 1970 and later changed his name to Francisco Roca and became solo artist, film director and author.

Before making their debut album, Atacama performed at the legendary Stockholm theatre Narren as well as universities across Sweden. They described themselves as musical purists, performing highly political music on traditional Chilean instruments.

There's certainly no skill shortage on these two albums and while they're enjoyable in their own right, I'm sure someone with a taste for Chilean music will find them a lot more worthwhile than I do. The thing is that Latin American music, particularly music of the Andes, has been standard fare buskers' music in Sweden since the 70's – sometimes it's been just about impossible to walk down a street without hearing pan flutes and guitars. It eventually wears you out and before long, and with a continuous overexposure to it, it provokes a general distaste for just about any music even remotely like it. I admit it's unfair, but it effectively ruined my ability to appreciate bands like Atacama for what they're worth. Please try the links below and decide for yourself!

Both albums have been released by other labels, and a third Atacama album came out in 1978 on the YTF imprint, ”Musica De Los Andes”.

from Atacama

"El Arbol"

"Ataray"

"Ojos Azules"

Arriba Quemando el Sol full album

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