KENNY HÅKANSSON – Spelar springlekar och gånglåtar (Silence, 1978)

Instrumental
International relevance: ***

When Kenny Håkansson's former band Kebnekajse smeared their name with shame with the ”Vi drar vidare” album, Håkansson himself made a solo album that was truer to the Kebnekajse spirit. ”Kenny Håkansson spelar springlekar och gånglåtar” – to use the full title – is split between traditional and original material, with two songs written by Arbete & Fritid affiliate Anders Rosén, ”Springlek” and the excellent album opener ”Gånglåt”; and one track written by Håkansson himself, ”Halling”. Also included is ”Trettondagsmarschen” by legendary fiddler Hjort Anders Olsson.

Håkansson recorded the album all by himself using overdubbing until he had built a wall of sound with only guitars and plenty of distortion, compression, feedback and Håkansson's timbre sensitivity. Swedish fiddle music never sounded quite like this until ”Springlekar och gånglåtar” and has probably never sounded like it since.

It's not as good as Kebnekajse but it's fine post script to their 70's discography and, I say it again, way more honorable than ”Vi drar vidare” is.

Shortly afterwards, Håkansson joined 'transcontinental rock reggae' band (their own term) Dag Vag, adopting stage name Beno Zeno. He also released solo ”Benos ben” under that name in 1981, an album best avoided.

An unreleased but only so-so Tonkraft recording by Kenny Håkansson Band from 1977 also exists.

Full album playlist

KEBNEKAJSE – Ljus från Afrika (Silence, 1976) / Elefanten (Silence, 1977)

Ljus från Afrika (Silence, 1976)

Instrumental, other languages

International relevance: **

The later Kebnekajse albums are largely ignored (the Kenny-less dung pile ”Vi drar vidare” should be ignored, with a vengeance). By the time of ”Ljus från Afrika”, they had moved away from the Swedish folk rock that brought them love and attention, and towards Africa as the title of this 1976 album declare, ”light from Africa”. I don't have a problem with that per se, but most of ”Ljus från Afrika” is too close to West African highlife music for me. However, it does have ”Tigerdans/Wind”, a Kenny Håkansson driven spaced-out track firmly rooted in the darker side of afro funk, and heavy rocking closing track ”Brudarnas parti” that is too good to be lost to oblivion. 

Elefanten (Silence, 1977)
Instrumental
International relevance: ***

Kebnekajse's last original album with Kenny Håkansson on guitar (and new drummer Åke Eriksson taking Pelle Ekman's place) is much closer to prog rock than what ”Ljus från Afrika” is. The African influence is kept to a minimum, but unfortunately, it has two horrible Mats Glenngård tracks pointing towards the style of ”Vi drar vidare”, ”Saab Mustang” and ”Grabbarnas afton”, totalling 18 painful minutes. Also, Håkansson must have caught the fusion virus on ”Elefantens strävan mot Nirvana”. Last track ”Halling från Ekshärad”, a traditional tune, is a throwback to Kebnekajse's folk rock years and is, after all, ”Elefanten's” high point.

”Elefanten” is the work of a band who wants to take their music further but without quite knowing where to go. The album does have its moments, but it would be a filthy lie to call it a Kebnekajse classic. It's a billion times better then ”Vi drar vidare” though...

A sleeve variation exist, with the 'J' in the band name being larger on some copies. 

Ljus från Afrika full album playlist

Elefanten full album playlist

TURID - Complete albums

There seems to be a cult of die-hard followers surrounding Turid Lundqvist and her albums. Sometimes it's almost impossible to have an opinion of your own, especially if it contradicts the prevalent 'holy cow' notion of her. It's annoying, and so is her voice. Soaring towards Joni Mitchell with an added fairy femninity warble. I choose Lena Ekman over Turid, any given day.

I actually won't bother with any biographical facts this time – I advise anyone interested in her background to check out her entry in Tobias Pettersson's ”The Encyclopedia of Swedish Progressive Music 1967-1979”. That's a good summarily overview of her doings and dealings. I'll go straight to the albums instead.

Vittras visor (Silence, 1971)

Swedish vocals, English vocals

International relevance: ***

Turid's debut album is a mix of songs in Swedish and English, with the English tracks in particular sounding like serial Joni Mitchell ripoffs. The album carries the seeds for that Jan Hammarlund style vibrato heard on most of her albums, which is just as maddening when it comes out of Turid's throat as out of his. And you know how birds of a feather flock together – Hammarlund wrote the lyrics to ”Crystal Shade of Loneliness” on ”Vittras visor”, thereby initiating the occasional collaboration between the two that would continue for many years. The album's best feature is Kenny Håkansson's delicate guitar work that creates a certain atmosphere which in itself is very appealing. Håkansson also wrote the music to one of the songs, ”To the Children of Song My”.

Bilder (Silence, 1973)

Swedish vocals

International relevance: ***

Second album sports a framework of sensuous arrangements courtesy of a fine line-up of progg personalities including Kenny Håkansson, Mats Glenngård, Bo Skoglund and Fläsket Brinner's Gunnar Bergsten. But Turid's voice keeps whirling up into her patented, grating falsetto. This time she comes clean though, translating Joni Mitchell's ”I Had a King” into ”Jag vet en prins”. Album highlights: ”Låt mig se dig” and Thomas Wiehe cover ”Vargen”. Like "Vittras visor", "Bilder" has a gracedul mood, but the voice is too piercing.

Tredje dagen (Silence, 1975)

International relevance: ***

Swedish vocals

”På tredje dagen återuppståndna” is a great track, featuring drum master Bengt Berger on tablas and thankfully with only a minimum of Turid's fairy yodel. Includes ”Om snällhet” written by Lena Ekman. Features on all-star cast with members from Kebnekajse, Elektriska Linden, Blå Tåget, Egba, and Vargavinter.

Selma, världserövrare (Metronome, 1977)

International relevance: ***

Swedish vocals

Turid's switch to commercial major label (major by progg standards anyway) prompted progg magazine Musikens Makt to publish a mean-spirited piece about how she 'lets the Movement down' and being too wrapped up in her 'personal concerns'. The album isn't better or worse than any other Turid album, only displaying higher production values. And more of the Hammarlund vibrato. But the title track is probably Turid's best song ever.

Tistlar från tundran (Metronome, 1980)

Swedish vocals

International relevance: **

Her second album for Metronome, and her last and weakest solo album. ”På väg” sounds like another female Metronome artist, Marie Bergman,”Personligt brev” mimicks Joni Mitchell period with backing band L.A. Express.

Flow Soma (Silence, 1982)

with Thomas Wiehe

English vocals, instrumental

International relevance: *

 

Turid's last original outing was an all English collaboration with Thomas Wiehe, released as simply Thomas and Turid, but Wiehe's input is limited to guitar and percussion. Turid is the singer and songwriter. The album is basically a jazz album with antiseptic new age production. A different term would be 'muzak'. Or 'terrible'.

Turid also appears on two albums by Finnish weirdo M.A. Numminen, ”Haren satt i gropen” (Love, 1973) and ”Fårskallevisor” (Svenska Love, 1978). She also made an album with Jan Hammarlund and Lena Ekman, ”Igår, idag, i morgon” (Silence, 1976). ”Progglådan” features various live recordings from 1969-1976. There are also a few other various artists albums with exclusive Turid contributions. Of note are also her collaborations with Kebnekajse, especially on their second album.

Bottom line: Anything Turid did, Joni Mitchell did so much better. In that sense, Turid is like a Swedish Linda Perhacs who gets all record collector cognoscenti praise instead of the real thing. There are good songs among here albums, but they're not original enough to justify any 'holy cow' status that certain vinyl high priests so readily declare her.

Vittras visor full album playlist
Tredje dagen full album playlist

Selma, världserövrare full album playlist
Tistlar från tundran full album playlist
Flow Soma full album playlist

from Bilder

Välkomme-hus 

Bilder 

Tintomara 

Låt mig se dig 

Den gamla vanliga historien 

Och sommaren kom 

Tom i bollen 

Ödegårdar 

Vargen

KEBNEKAJSE – Vi drar vidare (Mercury, 1978)

Swedish vocals, instrumental

International relevance: ***

If a band loses its most important member and radically changes the musical style, is it still the same band?

Is ”Vi drar vidare” really a Kebnekajse album?

Kenny Håkansson, guitarist par excellence, left the band after ”Elefanten” and that should have been the end of the once godlike Kebnekajse, but instead they signed to Mercury for one more album. Trying to fill the void Håkansson left gaping galaxy wide, Mats Glenngård stepped in as the main songwriter and turned the band into some kind of fusion/symph rock amalgam.

A Kaipa parody? A Jean-Luc Ponty charade? Something even worse?

Call it what you will, this album drags Kebnekajse's name in the dirt and then drags it back again twice as hard. I feel genuinely sorry for Kenny Håkansson who had to see this happen to his former band. And I feel sorry for myself and every other Kebnekajse fan that this even exists. It hurts.

People told me long before I had heard the album that it was bad, but crikey! I couldn't imagine just how bad it actually is. And it does not get better over time. Had it been a Coste Apetrea or a Kornet album, then it might have been excellent. Sort of. But Kebnekajse's name's on that catastrophic cover, in large letters, and that makes ”Vi drar vidare” an insult. No more, no less. 

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

KENNY HÅKANSSON – Beno's ben (Silence, 1981)

 

Instrumental, Swedish vocals
International relevance: **

A peculiar album lacking both direction and ideas. Those who expect electric folk rock à la Kebnekajse or Håkansson's first solo album ”Springlekar och gånglåtar” will be sorely let down. A couple of tracks sound like a heavier Isildurs Bane, including the best one here, ”Existensproblem”. Another in turn is an approximation of sequencer Tangerine Dream but with guitars instead of electronics. ”Om döden” is better in Dag Vag's live version on ”Almanacka”. The oriental touches in”Egna ben” can't hide it's really just an inferior postpunk song but still better than the pseudo melodic heavy metal of ”Encore”. All sounds like song sketches that should best have been left on hissy 4 track home tapes and not turned into a full, officially released album. I love Kenny Håkansson but this album just isn't any good.

Full album playlist

BO HANSSON – Ur trollkarlens hatt (Silence, 1972) / Mellanväsen (Silence, 1975) / El-Ahrairah (YTF, 1977)

 Ur trollkarlens hatt (Silence, 1972)

Instrumental
International relevance: ***

It's impossible for anyone to follow up a masterpiece like ”Sagan om ringen” with something equally good, Bo Hansson included. Therefore, his subsequent albums will always stand in the shadow of his monumental debut. You almost have to forget you've ever heard ”Sagan om ringen” – at least, that's what I had to do to fully appreciate ”Ur trollkarlens hatt”. Truth is, it's a very loveable album, not as dark as its predecessor (see? now I'm comparing it to ”Sagan om ringen” again!), more like drinking dewdrops in the morning with the sun shining through the foliage of trees. It's a wonderful album, meaning both incredibly beautiful and full of wonder.

The album was released abroad as ”Magician's Hat” with cover variations.

Mellanväsen (Silence, 1975)
Instrumental

International relevance: ***

There's something about ”Mellanväsen” (international title: ”Attic Thoughts”) that makes it more intangible than Hansson's previous albums. It has more guitars (courtesy of Finn Sjöberg of Kvartetten Som Sprängde, and Kenny Håkansson) that somehow seem to restrict the album, and with more syntesizers in use, it also has an unbecoming coldness to it. Also, Hansson's regular session drummer Rune Carlsson has a stiffer way of playing here than before. It's also a bit worrying that the music at times veers towards fusion, only a tiny bit as if it doesn't want you to notice, but you can't help but doing it anyway. ”Mellanväsen” isn't a bad album but somewhat unsatisfactory.

The international cover seen above is eye-slicingly terrible. The drawing of Hansson makes him look like a mean-spirited caricature of Sweden's then prime minister Olof Palme.

El-Ahrairah (YTF, 1977)

Instrumental
International relevance: ***

Another album based on a book, this time Richard Adams's ”Watership Down” (the album's international title is ”Music Inspired by Watership Down”). ”El-Ahrairah” also saw Bo Hansson signing with a new label, YTF. My concerns with ”Mellanväsen” are even greater here. It's further down fusion road and despite several excellent names in the credits list – Kenny Håkansson, Bosse Skoglund, Sten Bergman, Göran Lagerberg et al – the music just won't come to life. The best track is the first part of ”Flykt” which sounds like the music to a porn scene in an Italian horror movie. I want to like this album more than I do, but unfortunately, there's too little here to invite me into the music.

The cover art was again mutilated for the album's international release:

”El-Ahrairah” is the last of the 'real' Hansson albums. He made ”Mitt i livet” for Silence in 1985 but that one doesn't count.

Ur trollkarlens hatt full album playlist with bonus track
Mellanväsen full album playlist with bonus track
El-Ahrairah full album playlist with bonus track

BABY GRANDMOTHERS – Baby Grandmothers (Subliminal Sounds, 2007; recorded 1967-68) / Tune In, Turn On, Drop Out (Premium Publishing, 2007; recorded 1967)

A crucial psychedelic pre-progg band with future Mecki Mark Men and/or Kebnekajse members Kenny Håkansson, Pelle Ekman and Bella Linnarsson (then Bella Ferlin). Baby Grandmothers were part of the Club Filips circuit along with Hansson & Karlsson to name one of the best known acts associated with the club. Baby Grandmothers only released one single during their existence, the legendary ”Somebody Keeps Calling My Name”/”Being Is More Than Life” on the Finnish Forward! label, produced by the illustrious M.A. Numminen. Baby Grandmothers have reunited in later years.

Baby Grandmothers (Subliminal Sounds, 2007; recorded 1967-68)
English vocals, instrumental

International relevance: ***

Compiling both sides of their lone 45 and a couple of live recordings made at two 1967 Club Filips dates and in Finland in 1968, this Subliminal Sounds release is the most important artefact documenting the original Baby Grandmothers and a truly grand and illuminating example of the Swedish psychedelic underground at its most intimidating. Kenny Håkansson's guitar sound is so evil it eats gerbils for breakfast and horses for lunch.

Without the restrictions that came with only seven inches of vinyl (they pushed the limits of the format with ”Somebody Keeps Calling My Name”), they could stretch out for however long they wanted in front of an audience. Two of the three Filips tracks move towards the 20 minute mark – the uninhibited Grandmothers in full flight. And the sound quality is impressive for the time.

The two tracks from Finland in March 1968 (around the time of the 45 sessions) make a lot of noise but not so much sense, basically being snippets.

Tune In, Turn On, Drop Out (Premium Publishing, 2007; recorded 1967)

International relevance: ***

Instrumental

This disc features a different live recording from Club Filips, made about a month prior to the one found on the Subliminal Sounds set. It finds Baby Grandmothers in a looser mode which is code for less focused. True they work up a frenzy during this half hour set but it's really pretty straggly. Also, ”Tune In, Turn On, Drop Out” is very hard to find, originally only available as a bonus disc with early copies of the ”Encyclopedia of Swedish Progressive Rock 1967-1979” book.

Baby Grandmothers reunited in the 2010's and released a comeback album called "Merkurius" in 2018.

Baby Grandmothers full album playlist

Tune In, Turn On, Drop Out full album

JOHNNY 'MBIZO' DYANI – Witchdoctor's Son 'Together' (Cadillac, 1987; rec. 1979-80)

Instrumental, other languages
International relevance: *

Not to be confused with the ”Witchdoctor's Son” album from 1978, this album was recorded in Stockholm winter 1979/80 with Kenny Håkansson, Bosse Skoglund, Hassan Bah (of Kebnekajse) and Dudu Pukwana. It wears Johnny Dyani's South African heritage proudly, and despite Dyani being best known as a jazz pianist and bassist, there's very little actual jazz here. It's much closer to Soweto's township music. A huge exception is the track ”Kalahari” clocking in at almost nine minutes with Kenny Håkansson really letting it loose, firing off psychedelic fireworks almost as if it was Baby Grandmothers all over again. It comes a real surprise as there's nothing else on the album even close to that. The rest of the album isn't too interesting from a progg perspective, but that track alone is worth the price of admission.

Together
Johnny's Kwela
Marabi Soweto
High Priest
Kalahari
Crossroads
Tula Tula

KENTA – Complete albums 1979-1981

You don't have to be a coldblooded cynic to say that hadn't it been for ”They Call Us Misfits” and ”A Respectable Life”, Edgar Froese lookalike Kenta would never have gotten a recording career.

Kenneth ”Kenta” Gustafsson was born in Stockholm in 1948 to a rough upbringing. Both his parents were alcoholics and Kenta was left to take care of himself. When the Swedish mod scene grew in the mid/late 60s, Kenta was drawn into it. Swedish mods had very little in common with UK mods, with a completely different dressing style and dissimilar values. Most people only knew about the mod subculture from the newspaper headlines of 1965 when mods and raggare (another youth subculture, centered around American cars and music from the 50s) clashed in the city centre of Stockholm. The tumult came to be known as the Hötorget riots after the location where the it happened. Stefan Jarl's 1968 semi-documentary ”They Call Us Misfits”, original title ”Dom kallar oss mods”, portrays the drink and drug-fuelled mod lifestyle with greater compassion and depth, and brought buddies Kenta and Gustav ”Stoffe” Svensson to the public eye. The movie had a follow-up in 1978 with ”Ett anständigt liv” (English title ”A Respectable Life”), a much darker and grittier work than its predecessor. Ulf Dageby's relentlessly bleak soundtrack reflects the the movie with scary accurance, and marks the vocal debut of Kenta who sings on four of the tracks.

Kenta (Metronome, 1979)

Swedish vocals

International relevance: *

Kenta's co-writing partner Aapo Sääsk brought Kenta to ABBA manager and Polar Records owner Stikkan Andersson's attention, but when Andersson got cold feed, Kenta ended up with Anders Burman's Metronome. A much better choice to begin with considering Burman's penchant for odd voices and self-styled songwriters. Production work was delegated to Finn Sjöberg (Kvartetten Som Sprängde) who also plays guitar on a few tracks. As do Kenny Håkansson among several other weathered studio musicians. The instrumental backing is much more lavish and polished than Kenta himself. He sings with great conviction in a slight post-Ulf Lundell fashion, but his barky, gruff voice is certainly an acquired taste. But it serves the lyrical purpose; the words are monochromatic snapshots from life's other side and it's impossible imagining a better singer deliver them with equal confidence. The album may be a minor Swedish classic but truth is it really isn't very good. It's more of a statement entirely dependent on Kenta's persona.

In a strange turn of events, Kenta found himself competing in the Swedish Eurovision Song Contest in 1980. His contribution ”Utan att fråga” ended up as #6 – imagine that happening now! – but what many people were far more concerned with was the T-shirt Kenta wore. Depicting a couple in the sex position popularly known as 69 with the words ”try it you'll like it” had the moral majority choking in front of their TV sets. Despite, or most likely thanks to that, ”Utan att fråga” reached number 2 in the singles charts and was added to later editions of ”Kenta”.

Kan det va' fel på systemet? (Metronome, 1980)

Swedish vocals
International relevance: *

”Kenta” could very well have ended up as a one-off novelty thing, but after his ESC success, he returned with another LP. ”Kan det va' fel på systemet?” (=”could it be that the system's wrong?”) is basically more from the same stock, only a wee bit heavier with a somewhat tighter sound. Again produced by Finn Sjöberg but no Kenny Håkansson this time. More uneven than the debut but with a few better songs including ”Vi behöver hjälp”, a rather heavy track unfortunately spoiled by the vocals. Also featured is ”Bajen”, Kenta's tribute song to his favourite football team Hammarby IF.

August & Kenta (Metronome, 1981)
Swedish vocals
International relevance: *

Third time around and Kenta makes an unexpected move setting music to poems by Sweden's major author August Strindberg. It's also a step away from the large number of studio musicians to a smaller ensemble consisting of for instance Nynningen cohorts Nikke Ström and Bernt Andersson, with electric guitar provided by Ulf Dageby who also stepped in as an arranger. With Stefan Jarl in the rare position of record producer, this is almost a throwback to the ”Ett anständigt liv” soundtrack. ”Esplanadsystemet” even sounds like an outtake from it (which it isn't). At any rate, ”August & Kenta” is probably the Kenta's most focused album. The smaller line-up proves beneficial to the songs, and Kenta the singer sounds more relaxed here than on any of his previous albums. Still not great, but it showed that Kenta had more to give than just his personality.

But as fate had it, this was to be his last album. He appeared in the third installment in Stefan Jarl's Misfits series in 1993, and he popped out as for guest vocals on an album by commercial keyed fiddle player Åsa Jinder in 2002. He provided one track to a V/A tribute album to Hammarby football club in 2001. Kenta Gustafsson died from cancer two years later at the age of 54. Two posthumous albums of previously unreleased songs and demos appeared in 2022/23 in strictly limited vinyl editions.

Kenta full album playlist including "Utan att fråga"
Kan det va' fel på systemet full album playlist
August & Kenta full album playlist

JAN HAMMARLUND – Järnvägsräls - Live (Silence, 1982)

Swedish vocals
International relevance: *

As always with Jan Hammarlund's albums, it's a lot more fun to see who appears on them than it is to listen to them. This time, Kenny Håkansson joins forces with Ye Olde Helium Warbler. A live document recorded on various locations in the early summer of 1982, it's a set of songs not appearing on any other Hammarlund albums up to that point. With mostly band accompaniment, it has a fuller sound than other albums of his, but as many of the musicians (Håkansson included) adopt an up-to-date early 80's sound, it still sounds slicker than a lot of his prior work, especially with Dane Niels Hofman on fretless bass (not a good thing).

The album is notable for featuring a first ”Jag vill leva i Europa” that became something of a signature song for Hammarlund, especially when re-recorded a couple of years before the Swedish EU referendum.

Full album playlist with bonus track

KEBNEKAISE – Resa mot okänt mål (Silence, 1971)

Instrumental, Swedish vocals

International relevance: ***

Kebnekaise's debut was originally intended as a Kenny Håkansson solo album. In retrospect, that would have made as much sense as releasing it as Kebnekaise. It's very different to anyhting they subsequently released, far removed from the folk rock the group is known for and closer to hard rock with Hendrix influences spilling over from Håkansson's and bassist Bella Linnarsson's days with Baby Grandmothers and Mecki Mark Men. It's an interesting artefact, highlighted by ”Frestelser i stan”, but the energy is sometimes exhausting. All in all, it's not up to the group's later standards.

Full album playlist

BJÖRN J:SON LINDH – The 1970's albums

Björn J:son Lindh's name pops up everywhere on this blog. No wonder – he was part of the core staff of studio musicians, and remained so for decades, often performing with guitarist Janne Schaffer. His 'Credits' section at Discogs has almost 600 entries, and there are probably more albums featuring J:son Lindh still not listed. He was well-versed in multiple genres, wrote music for movies and television, and more important his breathy and sometimes even aggressive flute style was distinct and original. He remained active up until his death a few days before Christmas in 2013. Still many Swedish casual listeners have a limited view of J:son Lindh's scope, largely based on the romantic and new age tinged 1980 hit ”Brusa högre lilla å”. While true a lot of his albums beyond the 1970's are best avoided, some of his earliest solo works are pretty great. 

Some of his albums were released internationally under the moniker Jayson Lindh.

Ramadan (Metronome, 1971)

Instrumental

International relevance: ***

 

First solo outing from Björn J:son Lindh features the likes of Kenny Håkansson, Jojje Wadenius, Jan Brandel and jazz men Bobo Stenson and Palle Danielsson. ”Ramadan” touches on funk, renaissance music, Swedish folk, Eastern scales, jazz and multiple points in-between. The exuberant ”Love March” was culled from the album and the single quickly became a radio favourite. The warm sounding production, typical to Metronome albums of the 70's, ensures a rewarding listen even today. 

Från storstad till grodspad (SR, 1971)

Instrumental, Swedish vocals

International relevance: ***

A very different, interesting but nevertheless largely parenthetical release in J:son Lindh's early ouvre, recorded with a symphony orchestra and released through Swedish Radio's imprint. The experimental and collage-like ”Från storstad till grodspad” has its admirers and the first side – devoted in full to the suite ”Musik från en storstad” – may interest fans of early Mothers of Invention. Side two is all over the place, with prog (”Grytnäs sväller”), jazz and modernist art music. Hawkey Franzén appears on ”I grodspadet”. It's a diverse album, or more precisely way too inconsistent.

Cous Cous (Metronome, 1972)

Instrumental, wordless vocals
International relevance: ***

The proper second album isn't quite as cohesive as ”Ramadan” but it's still a must if you like the J:son Lindh's debut. Highlights includes ”El Henna” in vivid Oriental colours, and the minute track ”Abdo” which sounds a bit like the long tracks off US Kaleidoscope's magnificent albums. Both tracks feature Egyptian lute player Abd al-Rahman al-Khatib (who also lends his rich baryton hum to ”Abdo”). There are other great moments here, but these two tracks alone would still make ”Cous Cous” a mandatory listen.

Sissel (Metronome, 1973)
Instrumental 

International relevance: ***

 

His third Metronome album moves in the territory staked out by ”Ramadan” and ”Cous Cous” but hasn't quite the same amount of emanating mystique. Still an album to own for the funky groove of ”Your Own House” and the fast moving title track which is a most meritorious example of what later would develop into fullblown fusion. Along with ”Ramadan” and ”Cous Cous”, ”Sissel” makes up an informal trilogy that together stands as Björn J:son Lindh's finest hour.

Boogie Woogie (Metronome, 1974)

Instrumental

International relevance: ***

Things definitely began to slide with ”Boogie Woogie”. With it J:son Lindh took a further step towards the fusion amalgam, adopting a studio sound that pretty much killed the graceful mysticism of his previous albums. Only closing track ”Pivo” retains the Oriental influences to good effect, making it the self-evident high mark of ”Boogie Woogie”. Released as ”Second Carneval” in the US.

Raggie (Metronome, 1976)

Instrumental

International relevance: ***

Take a look at the cover and you've heard the album. The pink fuzz and soft focus of the sleeve is also prevalent on the album itself and turns the music into an unengaging smear – smooth perfection over musical content. The sole exception is ”Anniversary March” with Mats Glenngård's fiddle adding a much needed spirit. The softer tracks try to capture the low-key sense of wonder familiar from the 'trilogy', but they end up as hopeless slippery new age drivel. 

Bike Voyage II (Sonet, 1978)

Instrumental

International relevance: ***

After signing with Sonet, J:son Lindh appeared with this album which is marginally better than ”Raggie”, largely thanks to a couple of tracks with a pronounced Oriental feel like the traditional ”Billathi Askara”, enhanced by Egyptian Nāgi al-Ḥabaši fervent cello playing, and ”Ah Q” with a guest appearance from Okay Temiz on tablas. But it's ”A Day at the Surface”, ”Hotel and Drumsticks”, ”Colwyn Way”, and ”Boathouse Club” (the latter with an absolutely horrendous synth part) that define the album as just another bloodless fusion album, as stone dead as the granite bust on the cover. Released as ”A Day at the Surface” in the UK.

Ramadan full album playlist
Från grodspad till storstad full album playlist
Cous Cous full album playlist
Sissel full album playlist
Raggie full album playlist
Bike Voyage II full album playlist

MECKI MARK MEN – Complete albums 1967-1979

Mecki Mark Men are among the most important early Swedish underground bands and a transition between what was and what would be. Led by singer Mecki Bodemark, the band featured such luminaries as Kenny Håkansson, Pelle Ekman, Bella Linnarsson (all previously in Baby Grandmothers, all later in Kebnekajse), and Thomas Mera Gartz (later to join Träd, Gräs Och Stenar). Heavily influenced by Jimi Hendrix (supporting him on his 1967 Swedish tour by his request), Mecki Mark Men were one of the true contemporary psychedelic bands in Sweden.

Mecki Mark Men (Philips, 1967)

English vocals, instrumental

International relevance: ***

After non-album 45 ”Midnight Land”, Mecki Mark Men made their full length debut with this eponymous album featuring sitars, tablas, organs, horns and anything that could emphasize the drugged-out feel of it. And that's the problem with the album – the atmosphere is stronger than the songs, and Mecki Bodemark's vocal Hendrix complex is silly bordering on the ridiculous. There's a lot of empty gestures riddling the album, but if you ignore the superficiality, the album can still be oddly alluring.

Above the American Limelight Records release with different cover.

Running in the Summer Night (Limelight, 1969)

English vocals, instrumental
International relevance: ***

Their second album was only released by U.S. label Limelight that had already released their debut stateside. The album was remixed for the American market, with the Swedish mix not made public before Mellotronen's CD edition in 2004. The Swedish version is a tad better but it doesn't really matter because Bodemark's Hendrixisms still annoy and the heaviness is still there to conceal that the songs are rather empty. The best track part three of the ”Life Cycle” suite, a new version of Baby Grandmothers' moody ”Being Is More Than Life”.

Marathon (Sonet, 1971)

English lyrics, instrumental

International relevance: ***

 

Recorded on holy blues ground in the Chess studios in Chicago in 1970 and released the following year, this time in Sweden only. Still a mess of contemporary heavy rock mannerisms, it does feature the acoustic two part ”Ragathon” with acoustic guitar, sitar and a stoned-out-of-his-mind Bodemark giggling into his flute. The songs are somewhat more distinct, making this their best regular effort, although far from an essential one.

Stonehorse (Vesper, 2010; recorded 1971)

Lars Johan Werle & Mecki Mark Men

 Instrumental

International relevance **

 

Ballet music written by modernist composer Lars Johan Werle and performed by Mecki Mark Men. Needless to say, it's very different to the band's regular albums, and it also went unreleased until Vesper Records released the whole session on CD in 2010. 'The whole session' meaning you also get quite a lot of directionless jamming apart from centrepiece, Werle's 20 minute ”Stonehorse” suite. That one's quite good, much more experimental and satisfying than anything Mecki Mark Men did on their own.

Flying High (Kompass, 1979)
English vocals

International relevance: **

 

Not a reunion but a completely different incarnation with entirely difference musicians including noted jazz saxophonist Tommy Koverhult on horns and flute, and Kebnekajse's Mats Glenngård on violin among others. ”Flying High” is lesser known than Mecki Mark Men's three original albums and rightly so. This is lame jazz rock with AOR touches. If you see a copy of it, toss it into the abyss.

New Mecki Mark Men recordings appeared on Vesper in 2007, "Livingroom". A couple of poor sounding audience tapes from Stockholm 1970 also circulate.

Mecki Mark Men full album playlist with bonus tracks

Running In The Summer Night full album playlist with bonus tracks
Marathon full album playlist with bonus track

Stonehorse full album playlist
Flying High full album playlist

SCALA-TEATERNS ENSEMBLE - Hår (Sonet, 1968)

Swedish vocals

International relevance: **

Originally an off-Broadway production in 1967, musical "Hair" eventually became a Broadway blockbuster, spawning multiple domestic versions in numerous countries of the free world. The Swedish staging was performed at the Scala theatre in Stockholm 1968, the very same year it moved to the proper Broadway stages (thus being the very first musical to make that particular move).

Appallingly subtitled "American Hippie-Yippie Love-In Musical", the musical backing was provided by Baby Grandmothers in their later Mecki Mark Men incarnation, although the album was technically credited to Scala-Teaterns Ensemble. The inclusion of Kenny Håkansson, Mecki Bodemark et al is the only thing to make this release historically interesting, but it has to be said that it's impossible to tell the identity of the band just by listening to the LP. While they conjure up some appropriate groove when needed, any fairly talented group of musicians could have achieved the same thing. The focus is on the singers, but the male and female vocals are maddening, with the female vocals being especially grating. After all, it is a musical, and musicals are an inherently grating abuse of music, like a watered-down version of the operetta which is a watered-down version of the opera which is annoying to begin with.

Those expecting anything along the lines of Baby Grandmothers' "Somebody Keeps Calling My Name" or the Jimi Hendrix impersonations of Mecki Mark Men are up for a major disappointment. "Hår" is just another provincial below average take on a silly musical parodying starry-eyed hippies. Which too was annoying to begin with...

The album was also released by Sonet in collaboration with shampoo and conditioner manufacturer Sunsilk (what else!) with a different sleeve (see below), also in 1968.

Full album playlist