ROTPULS – Rotpuls (Amalthea, MP 1981) / Rotpuls (Amalthea, 1982)

Swedish vocals, English vocals
International relevance: *

A reggae band from Lund in Skåne with a very hands-on Peps Persson involvement. They had released two singles before making their 12” debut with six-track mini LP ”Rotupuls” in 1981, produced by Peps and also featuring musical contributions from him. They had a few less likeable traits in common with  Peps as displayed on his albums with Ronny Åström and ”Fyra tunnland bedor om dan”, i.e. silly songs of a traditional Skånish type. Then again, there are a few good tracks on both the mini album and their first and only full-length, confusingly enough also entitled ”Rotpuls” and again with Peps producing and playing. ”Stig Andersson” from the 12” and ”Vik ut dig” from the LP are fine enough, but the best track is the spacious organ-laced reggae cover of John Coltrane's ”A Love Supreme” which works really well, not only as a cool idea but as a cool piece of music. Too uneven to be considered essential, but the good tracks would make a pretty OK short LP length compilation. Plus there were so few Swedish reggae bands from this period, and the Peps relation makes Rotpuls worth mentioning.

Rotpuls (1981) full album playlist
Rotpuls (1982) full album playlist

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 

BABATUNDE TONY ELLIS – No Place To Run (MNW, 1979)

English vocals, other languages
International relevance: **

Tony Ellis was a member of Peps Blodsband on their ”Spår” album from 1978, and he made his solo album debut the following year. Most of the Blodsband is present here including Peps Persson himself, with the addition of Per Tjernberg (Archimedes Badkar) and Hassan Bah (Kebnekajse). It's an all reggae effort with the occasional African element, pretty much like a lesser Peps Blodsband album with a different singer. Mostly original songs but there's also a good cover of Johnnie Clarke's wonderful ”Roots Natty Roots Natty Congo” (also covered in Swedish by Mikael Ramel) and a version of the dull ”Sitting In The Park” made famous by Georgie Fame. One of the highpoints is the slowed down version of "Punky Reggae", originally on "Spår" but better in this moody take. 

”No Place To Run” has its ups and downs but it's a decent album overall. And it's much better than the pretty terrible 1981 follow-up ”Change Will Come”. Live album ”Red Hot And Live” was released in 1983.

There was also a 12” in 1980 with an 'A' side which isn't any better than the title ”Disco Baby”, but with the great smoky 'B' side ”Ire” not dissimilar to UK band Capital Letters' better moments.

Full album playlist
12": 
Disco Baby   
Ire 

VARIOUS ARTISTS – Göteborgsrock/Ytterrock (Pang, 1982)

 
Swedish vocals, English vocals
International relevance: *

A ghastly various artists compilation released on the infamous Pang label in 1982, consisting of B grade Gothenburg bands. As often with albums of this kind, it's stylistically all over the place, with really terrible middle-of-the-road rock by Midnight, some spineless reggae by Malta Feber, hard rock by Nya Ambulansen that only deaf people can enjoy, and some untalented new wave/punk by F.K.M. I doubt that there's anything like Blå Schäfer completists in this world, but if there are, their two tracks are surely the most interesting in this lot (but they suck too).

Full album

ASTON REYMERS RIVALER – Complete albums 1979-1981

While a first glance may not reveal any overt progg credentials, Aston Reymers Rivaler were in fact cut from the same cloth as Peps (especially in his later years), Ronny Åström and Dag Vag. Mixing African influences, reggae and other Caribbean styles with elements of both cajun music and old-timey Swedish dance tunes, it's no wonder that several Dag Vag members occasionally sat in with the band, and that the ever so open-minded Per Tjernberg, fresh from Archimedes Badkar and then known as Per Cussion, was a permanent member for a while. Also, their first two albums were released by Musiklaget, the very same label responsible for Bättre Lyss, Solen Skiner, Underground Failure and other certified proggsters.

Aston Reymers Rivaler were originally a street band, and a continuation of obscure rock outfit Rockslusk who subsequently had two tracks on a Sista Bussen tape compilation entitled ”Mediokra hjärnor” in 1982. Aston Reymers Rivaler released several albums in the 80's, but only the first three fit in with this blog's timeframe.

Från myggjagare till foträta (Musiklaget, 1979)
Swedish lyrics, instrumental
International relevance: *

The debut LP immediately defined Aston Reymers Rivaler's eclectic musical mix and demonstrated their penchant for exuberant tongue-in-cheek performances. But if the humourous element seemed fresh and catchy back in the day, it unfortunately sounds dated today, a bit like those 'funny' hats you see in 40 years old pictures of your parents at parties that seemed cheerful then but cringe-worthy today. Still it has a couple of OK tracks, namely ”Sambo” (although the possibly ironic jungle themed lyrics are relentlessly dated) and the bittersweet instrumental Russian traditional ”Metsäkukkia”. The track ”Bruno och Vera” was chosen for a single and gave the band a minor hit.

Kräål (Musiklaget, 1980)
Swedish lyrics, instrumental
International relevance: *

Second album ”Kräål” (= the word ”creole” with a made-up Swedish spelling) was a bit more polished than its predecessor, but similar in style. The track ”Stockholms ström” was never released as a single, but it quickly became a massive radio success nonetheless. A Swedish cover of Millie's early ska hit ”My Boy Lollipop” entitled ”(Min tjej) Sockertopp” is this album's cringe peak, while their first full-on foray into reggae ”(Vi bygger om) Hela Stockholm” is surprisingly credible with its mild use of dub effects. Fittingly enough, it features Peps on backing vocals, clavinet and tambourine. Thinking of it, it wouldn't have been out of place on Peps' own album ”Spår”.

A non-album single from around this time brought the band another hit, as the anti-nuclear power calypso ”Godis är gott” was released with the March 1980 nuclear power referendum in mind. ”Godis är gott” and ”Stockholms ström” are probably Aston Reymers Rivaler's still best known tracks.

Tvål (Metronome, 1981)
International relevance: *
Swedish vocals, instrumental

For their third album ”Tvål”, the band switched labels from the independent Musiklaget to major label Metronome which may partly explain why it suffers from a duller sound. Also, their patented gumbo of styles began wearing thin at this point. You may not like the first two albums, but they were nevertheless bubbling with joy whereas ”Tvål” sounds predictable and lacklustre. Album opener ”Jakten på amazonkvinnornas guld” is a decent stab at New Orleans rhythm & blues (with some nice harmonica work to boot), but again, the best track is another brooding extended reggae number called ”Det går”.

Från myggjagare till foträta full album playlist
Kräål full album playlist
Tvål full album playlist

ZTHÜREHZ – Zthürehz (Sill Y, 1981)

Instrumental, English vocals, Swedish vocals

International relevance: **

A very rare half symphonic, half new wave private pressing released in 500 copies locally in the band's hometown Vimmerby. Very rare yes and in the multi-hundreds region pricewise, but – you know where I'm going with this – incredibly bad. Even the band name is stupid. Not that 'Zthürehz' means anything in Swedish, it isn't a proper word, but it sounds completely moronic anyway.

It's all cheesy synths galore, crappy vocals, stupid lyrics, and twee songs on one hand pretending to be Kaipa 'ambitious', on the other some kind of punk/new wave. Well, OK, ”I'm Rich” could possibly have been a decent power pop number in the hands of anyone except these wannabe nobodies.

But the worst track by far and further still is ”I träsket”, a reggae attempt so horrendous I wouldn't blame Jamaica if they want to declare war on Sweden.

I suppose Zthürehz were pretty young when they recorded this album, and you could say that ought to work for the benefit of their questionable honour but the album still sucks mammoth genitalia. At best it sounds like a very embarassing school project some untalented kids force their poor parents to sit through in pain and boredom.

They named their label Sill Y and well, at least they got that right. Silly it is.

Nice album cover though, if you scratch out the band's name.

They (I can't make myself spell out their name again) also released a 7” in 1984. I haven't heard it, and I have no wish whatsoever to do so either.

Full album

ROCKAMÖLLAN – Var ska du ta vägen? (Sonet, 1979) / Tron om varann (Marilla, 1980)

Rockamöllan was a reggae band from the small town of Eslöv in the deep south of Skåne, initially fronted by charismatic singer Ronny Carlsson.

 Var ska du ta vägen? (Sonet, 1979)

Swedish vocals, English vocals

International relevance: *

The first album by Rockamöllan recorded in late 1978, and the first album to showcase the talent of the troubled and raspy voiced singer Ronny Carlsson, with his lyrics dealing with social issues and the hard side of life (see the album's front cover picture). Reggae demands good playing, especially from the drummer, but Rockamöllan was credible enough. ”Var ska du ta vägen?” indeed has some fine songs, closer to the UK brand of reggae than the original Jamaican one. It's certainly not on Peps Persson's level, but it's OK.

Tron om varann (Marilla, 1980)

Swedish vocals, English vocals
International relevance: *

Carlsson left Rockamöllan before their second album to form Onna Taas Band, leaving the songwriting duties to the other Ronny of the band, Jönsson. Unfortunately, that meant weaker songs and not as good vocals. ”Tron om varann” tries hard to convince but fails too often.

Vart ska du ta vägen full album playlist

Tron om varann full album playlist

RONNY ÅSTRÖM – Den ensamma människan (Sonet, 1976) / Hampadängor (Sonet, 1977)

Peps Persson cohort Ronny Åström was involved in board game development for kids in the 60's, and also in children's comics including the Swedish version of Donald Duck. He released only two proper albums, both produced by Peps Persson with Peps Blodsband backing him up. The lyrics are sometimes political but with a humorous twist and sung in Åström's thick Skåne dialect.

Den ensamma människan (Sonet, 1976)

as Ronny Åström med Peps Blodsband

Swedish vocals

International relevance: *

”Den ensamma människan” is disarmingly charming but with lyrics of a much greater depth and with far darker serious strains than what the music itself might imply. The album title, ”the lonely human” and track titles such as ”Big Brother is watching you” and ”Why does Noa drink?” give a hint. There's a lot more going on here than what only a slapdash listen reveals. But what would a foreign listener hear? Probably only well played but pedestrian blues and reggae with some old-timey feelgood music in-between. It's the lyrics that really carry it and they're lost on non-Swedes.

Hampadängor (Sonet, 1977)

as Ronny Åström och hela Skånes ljudpark

Swedish vocals

International relevance: *

Åström's second album has a not entirely comfortable calypso influence on several tracks. Much too close to Peps Persson's albums with Pelleperssons Kapell, which means this is mostly a terrible album. But one can meditate on whether ”Mäster Felix göingavisa” is a deliberate tribute to Philemon Arthur & The Dung or not. 

After ”Hampadängor”, Ronny Åström retired from music, and kept working in the comics business. He died from cancer in 2002.

Den ensamma människan full album playlist
Hampadängor full album playlist

DAG VAG – Complete albums 1979-1983

Dag Vag was one of the bands bridging the declining old and the burgeoning new. They called their music 'trans-continental rock reggae' and that explains their music pretty well. Frontman Stig Vig (real name Per-Åke Odeltorp) was previously known as Per Gud and used to hang around with Träd Gräs &Stenar (TG&S). He recorded several of their gigs and released two TG&S albums on his own Tall label, ”Djungelns lag” and ”Mors mors”. Stig Vig's first band was God's Sideburns which he founded in 1966. He was in several other bands in the early 70's including the music theatre group Blomkraft with members from Archimedes Badkar and TG&S. In 1978, he released the single ”Dimma” as Dag Vag & Svagsinta, a raw and fantastic solo DIY effort with its roots in progg but punk in attitude that eventually led to him forming a full band, keeping the name Dag Vag. In the early 00's, Stig Vig said in an interview that he wanted Dag Vag to be fun and joyful alternative to the increasingly narrow-minded politicized progg, and with consciously simple lyrics.

Dag Vag (Silence, 1979)
Swedish vocals

International relevance: **

 

Already known to Silence Records as the live engineer for Tråd, Gräs Och STenar, it was only natural that Dag Vag scored a deal with the label. The album opens with an excellent cover of ”Sanningens silverflod” from TG&S's green album, and features two more translated covers, The Fugs' ”I Couldn't Get High” (”Jag blev inte hög”) and Bob Dylan's ”Tombstone Blues” (”Snorbloos”). However, the best track on this splendid album is the original number ”Idioterna” that captures the band's 'trans-continental rock reggae' at its best.

First edition was released with clear vinyl. 

Scenbuddism (Silence, 1979)

Swedish vocals, instrumental

International relevance: **

When original guitarist Olsson left (real name Ola Backström, known from albums by Stockholm Norra, Torkel Rasmusson, Tore Berger, Lena Ekman et al), Kenny Håkansson of the recently disbanded Kebnekajse stepped in. His first vinyl appearance with the band (as Beno Zeno) was the live album ”Scenbuddism”. Covers of The Modern Lovers' ”Egyptian Reggae” and a translated ”Wild Thing”, but mostly terrific original material including the classic reggaefied version of ”Dimma” . Håkansson delivers some of his best guitar work ever but perhaps he shines brightest on 8+ minutes closing track ”Tokna & galna”.

Palsternacka (Silence, 1980)
Swedish vocals

International relevance: **

 

Still good but not as consistent as their first two albums. The lovely ”Jag har drömt” has lyrics adapted from Swedish poet Dan Andersson and collectively set to music by the band. Highlights also include ”Rulla på” and ”Lång väg”.

7 lyckliga elefanter (Silence, 1982)

Swedish vocals

International relevance: **

The weakest of their original early period albums, with too many highlife and new wave influences, including a translated version of Generation X's ”Dancing with Myself” (”Dansar med mej själv”). ”Min pappa” is however brilliant, written by Zilverzurfarn (real name Johan Zachrisson). 

Almanacka (Silence, 1983; recorded 1978-1981)

Swedish vocals

International relevance: **

Dag Vag disbanded in 1983 and released this live compilation as a farewell album, recorded between 1978 and 1981 and including a trippy version of ”Snorbloos” and a very dubby version of ”Tokna & galna”. Also Kenny Håkansson's brilliant and otherwise unavailable ”Om döden”. Features Don Cherry on several tracks. The expanded CD reissue has different cover art:

Dag Vag also released a number of non-album 45's and has a track on the ”Nej till kärnkraft” comp released in 1979, the great original version of ”Många gånger om” (re-recorded in a lesser version for ”7 lyckliga elefanter”). All stray tracks were later added to the CD reissues along with previously unreleased tracks.

The band reunited in the late 80's with several disbandings and reunions following over the years. Stig Vig died in 2012.

Dag Vag full album playlist with bonus tracks
Scenbuddhism full album playlist with bonus tracks
Palsternacka full album playlist with bonus tracks
7 lyckliga elefanter full album playlist with bonus tracks
Almanacka full album playlist with bonus tracks

PEPS PERSSON – The reggae years 1975-1982

Hög standard (Sonet, 1975)

as Peps Blodsband
Swedish vocals

International relevance: ***

1975 saw the release of Peps' collaboration with Slim Notini, ”Blues på svenska”, but also his first fullblown reggae album. ”Hög standard” caused some puzzlement among the blues fans. What was this?
Well, it was Peps Persson having discovered The Wailers' ”Catch a Fire” before most other people had. ”Hög standard” was probably the first time ever a lot of Swedes were exposed to the Jamaican beat, and it was a most amazing introduction. With drummer Bosse Skoglund, Peps pulled off a trick that few have pulled off with such credibility and artistic grandeur.

In an interview for Jefferson blues magazine, Peps said that meeting Skoglund is one of the best things that have ever happened to him, and it was indeed a musical marriage made in heaven. Skoglund is an incredibly versatile player; he doesn't just play, he understands the concepts of beat, rhythm and flow. He's a musician deep within his heart, deep within his soul, and in every molecule of his body. Bosse Skoglund is a perfect drummer, not shying away from any style thrown at him. He made anything he played on cooking and swinging, and that's something sadly missing from too many progg albums – it's as progg sometimes had to be stiff and rigid and boring to be 'authentic' or whatever nonsense. (Then again, it takes some skill to make music physically appealing, and that too is sadly missing from way too many stupid progg albums made by musical analphabets.) So without trying to diminish any other of Peps' musicians, Skoglund was indeed the perfect contributor to whatever Peps set out to do.

In the same Jefferson interview, Peps says that the blues was a dream, while reggae brought him closer to reality. Well, with ”Peps Blodsband” from 1974, it was far more than a dream; the album's certainly true and real to me with its spot-on observations of society. But, ”Hög standard” is too. The title track has become a part of the Swedish musical canon; it's one of those tracks that people immediately recognize and could sing along to for at least a couple of lyric lines criticizing our society fixated with mindnumbing superficial pre-fab 'happiness'. Already the album cover art is a spoof on the glamour depicted on the cover of ABBA's eponymous album, like ”Hög standard” released in 1975.

But the whole album ”Hög standard” is fantastic, with the possible exception of ”Persson ifrån stan”, written by Peps' dad in the 20's. Two other covers appear here, originally on Bob Marley albums and merituously translated by Peps, ”Styr den opp” (”Stir It Up”) and ”Snackelåt” (”Talking Blues”). But exceot for ”Persson ifrån stan”, the entire album consists of first-rate material.>

Droppen urholkar stenen (Sonet, 1976)

as Peps Blodsband
Swedish vocals

International relevance: ***

 

Peps most varied album up to that point, mixing reggae, calypso and blues. Great Swedish versions of Bob Marley's ”Small Axe” (”Liden såg”), Peter Tosh's ”Mark of the Beast” (”Vilddjurets tecken” subtitled ”Snea figurer”) and blues classic ”Going Down Slow” (”Det roliga é slut”). Plus high calibre original material like ”Babylon” and ”Identitet”. Despite lesser tracks like ”Varför blev jag terrorist?” (written by bassist Göran Weihs) and ”Rus”, this is another essential Peps Blodsband album.

In 1976, Peps Blodsband backed up Ronny Åström on his first Peps produced album ”Den ensamma människan”.

Fyra tunnlann bedor om dan... (Oktober, 1977)

as Pelleperssons Kapell
Swedish vocals

International relevance: **

 

At the time a surprising release, made on behalf of SKP (The Communist Party of Sweden) and released on their Oktober imprint. Explains Peps in the Jefferson interview: ”[SKP] were Marxist national romantics campaigning for people to play Swedish music. Their angle was that all American popular music was imperialist propaganda, including black music. They published a pamphlet around that time, called 'You can't conquer to the music of the enemy'. They wanted an album from us with old labour movement songs and songs about strikes, but we soon realized that songs like that would have a longevity of a maximum of six months – so we substituted most of them for songs that were more fun. They didn't like that very much, especially as the musical backing sounded pretty un-Swedish to them. But if you dance with the devil, you have to pay the piper so they put the album out and it sold well.”

It wasn't the only time political organizations and the music movement in general tried to lure Peps over to their side. For some reason, Peps was always acceptable to the movement crowd despite being signed to a so called commercial label, Sonet. But Peps never really responded to their invitations, having too much integrity to join any clubs or cults.

”Fyra tunnlann bedor om dan...” is more than anything a curio. I have a soft spot for opening track ”Auktionsvisa” but the rest of the album really isn't very good. The songs are too silly, but the musicians apparently enjoy playing them. Perhaps it offered a relief from the often dead serious atmosphere of the music movement? And it's a fine line-up including Roland Keijser (who also appears on ”Hög standard” and ”Droppen urholkar stenen”), Per Odeltorp (later of Dag Vag), Bertil Pettersson (later of Blue Fire and Chicago Express), plus the usual Peps Blodsband suspects.

Spår (Sonet, 1978)

as Peps Blodsband
Swedish vocals, English vocals 

Internationl relevance: ***

 

An excellent album blending reggae, rock, calypso touches and African influences. The few bad tracks (”Drängavisa”, ”Moliendo Café” and ”Mors lilla Olle”) can't drag the strong ones down, such as the classic ”Hyreskasern” (Jacob Miller's ”Tenement Yard”), ”Maskin nr. 2”, the two tracks from newly recruited guitar slinger Babatunde Tony Ellis, and percussionist Lester Jackman's excellent ”Games”. The use of multiple singers works in the album's advantage, and ”Spår” stands out as one of the best albums by Peps Blodsband.

Rotrock (Sonet, 1980)

as Peps Persson med Blodsband och Kapell
Swedish vocals

International relevance: **

 

A very uneven album bringing together tracks from the proper Peps Blodsband and a couple of songs by Pelleperssons Kapell that are similar to the inferior ”Fyra tunnlann bedor om dan...”. Great tracks like ”Illa” and ”Rotrock” mix with not so great tracks like ”Då måste detta va' blues” and ”Främmande”, and some terrible ones like ”Motorcykeln”, ”Karna & Ola” and ”Ain sorgeli visa om vauillen pau tinged i Auby”. To put it straight: the album is a frustrating mish-mash with too few real highlights.

Persson sjonger Persson (Sonet, 1982)

Pelleperssons Kapell

Swedish vocals

International relevance: *

Another full album from Pelleperssons Kapell is not what you need. This time Peps sings songs originally recorded by the infuriatingly jovial Edvard Persson, an actor famous in the 1920's through the 50's, and whose movies appeared on TV well into the 70's like a swarm of wasps in a glass of juice. His music was just as lousy as his movies and it didn't get any better just because you put a reggae or calypso beat to it. Easily Peps Persson's worst album.

Peps Persson kept enjoying an artistically successful career but largely withdrew from music in the 00's due to health issues. He died in 2021.

Hög standard full album playlist

Droppen urholkar stenen full album playlist

Fyra tunnlann bedor om dan full album playlist

Spår full album playlist

Rotrock full album playlist 

Persson sjonger Persson full album playlist

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"

MUSIKTRUPPEN GURAN – Musiktruppen Guran (MNW, 1976) / I sista minuten (Amalthea, 1979)

International relevance: ***/*

Swedish vocals

An interesting, very versatile but undersung group from Lund in the south of Sweden. Their first album was released by MNW, and is a multifaceted piece of work where all songs are different, with elements from blues (the band started out in the early 70's as a pure blues outfit called Blues Machine), jazz, funk, folk and progressive rock to mention only some of their inspirations. The lyrics are politically inclined and the songs infused with humour, but neither the message nor the humour get in the way of the songs. There's no doubt about it that Musiktruppen Guran had chops enough, but their technical skills are used to bring the best out of the songs and not to show off the musicians' brilliance. The twin vocals of Anne Winqvist and Roland Svensson work well and add further shades to Musiktruppen Guran's rather spectacular blend of ideas. ”Musiktruppen Guran” ranks among the best albums made during the second half of the progg era and is highly recommended.

After losing bass player Lars Franzén (the void was filled by Roland Svensson), Musiktruppen Guran signed with Malmö label Amalthea and changed musical direction to a more reggae based sound. Sorry to say, the switch of musical styles was artistically disappointing, especially since drummer P.H. Scott doesn't nail the reggae. Let's say he's not a Bosse Skoglund... Some of the songs on ”I sista minuten” are still quite good, but the arrangements can't live up to their promise. 

from Musiktruppen Guran

"Ekorrhjulet"

"Liten sång"

from I sista minuten

"I sista minuten"