IN LOVING MEMORY OF OVE KARLSSON 1946-2017

I am very, very sad to announce that Ove Karlsson passed away this morning, 22 October, at the age of 71.

Multi-instrumentalist and key member of Arbete & Fritid as well as Nya Ljudbolaget, plus a participant in many, many other projects including the majestic free jazz big band G.L. Unit, Karlsson was a stellar character on the progg scene. His importance cannot be overrated – without him, so much music I and countless of others dearly love would never have been made. Certainly not in the way we know it.

I never knew him personally but we did exchange a few messages over Facebook. He was always very kind, even when he was ill, which he was for a long time, spending his final months in Mora Hospital. But he was a fighter and should be remembered as such, bravely battling his ailments and illnesses up until the very end when he just couldn't fight it no more. He refused to give up, and so he won even though he lost the ultimate battle.

My sincerest thoughts go to Ove's family – do know that he will be in our hearts and minds, through his music that will remain a never fading reminder of one man's overwhelming creativity and vision.

Rest forever in peace, Ove, and thanks for touching our souls!

RÄVJUNK – Uppsala Stadshotell brinner igen (Shadoks, 1976-1980)

 

International relevance: ***

Swedish and English vocals, instrumental

Rävjunk's self-released 1977 album ”Uppsala Stadshotell brinner” has been a collector's classic for ages, thanks to the jam heavy, guitar driven tracks. I personally think the album is overrated because, unlike most apparently, I like the punkier side of Rävjunk a lot better. ”Uppsala Stadshotell brinner” has its share of high octane hit-and-run tracks of course, including ”Hey Little Girl” and ”Jag e så skitig, jag e så paj” but they just aren't as good as the three seven-inches the band released on their own Sub label in 1979 and 1980. A proper reissue of those was long overdue when Shadoks Music finally compiled them in 2016, adding seven previously unreleased recordings (including Wire cover "40 Versions"), effectively creating a proper follow-up to their legendary first.

Kicking off with ”Bohman, Bohman”, what could possibly go wrong? A raging and hilarious full frontal assault on Gösta Bohman, then leader of right-wing political party Moderaterna, with lyrics unsophisticated enough to get the song banned by the Swedish Radio. (Later, the reincarnated Rävjunk performed an updated version of the song, changing the lyrics to ”Reinfeldt, Reinfeldt” in 'honour' of Moderaterna's new leader and Prime Minister of Sweden 2006-2014, Fredrik Reinfeldt.)

While ”Uppsala Stadshotell brinner igen” has its progressive touches, particularly on the previously unreleased tracks of the 'B' side, the album as a whole is a no-nonsense affair further examplified by the punch-in-the-face take on Bob Dylan's ”All Along the Watchtower” and a Swedish version of Stooges chestnut ”I Wanna Be Your Dog” (”Roland Agius se ut över stan!”). There's a different kind of energy at work here which simply blows most of ”Uppsala Stadshotell brinner” to smithereens. When I talk about Rävjunk, this is what I mean.

Bohman, Bohman 

All Along the Watchtower 

Så skitig så paj 

Roland Agius se ut över stan! 

Skjut jultomten nu 

De utslagnas café 

Storstad 

Ensam på scen 

Maktens torn/La Dominique 

LOVE EXPLOSION – Love Explosions bästa låtar (MNW, 1971) / LAG & ORDNING - 51, Moderately Beat (Ramblin' UNLTD, 1975/1979)

 LOVE EXPLOSION – Love Explosions bästa låtar (MNW, 1971)

Swedish vocals
International relevance: **

LAG & ORDNING – 51, Moderately Beat (Ramblin' UNLTD, 1975/1979)

Swedish vocals

International relevance: **

It's impossible not to compare Gothenburg's Love Explosion and Uppsala's Gudibrallan. Both of them were first generation Gärdet proggers, both of them utilized a sense of vulgarity, and neither of them bothered too much with skills, as confirmed by the albums they released at the time. Classic albums at that, but with one major thing to set Gudibrallan and Love Explosion apart: Love Explosion's ”Bästa låtar” is a very bad album.

Love Explosion sound just like they're acting, dumbing themselves down, trying to dazzle people with their self-conscious incompetence: ”Listen to this! We can't play! We're so progg! Cool, eh? And we can say 'cock' on record too! Sooo subversive and daring, eh? Now dig us!” Rebels without a cause. Or giggly kids yelling ”poo!” at the dinner table.

I don't have an 'official' Worst of Progg list, but if I did, this would certainly be on it.

The entire album of puerile dross is available free for download from the band's website, including the original version of ”Djävulens patrask”, an unauthorized Swedish translation of Bob Dylan's ”Desolation Row”. The illicit use of Dylan's music prompted MNW to hastily replace the original edition of the album with a new issue including a rewritten all-original version of the controversial track. The website also offer albums by a later incarnation of the band.

The original Love Explosion disbanded in 1972. Singer Dennis Huntington went on to form Lag & Ordning who recorded an album in 1975 that went unreleased until 1979 when it appeared on private imprint Ramblin' UNLTD. ”51, Moderately Beat” is less folksy and more of a blues and rock'n'roll oriented effort, including Chuck Berry and Reverend Gary Davis covers in Swedish. Had it been a British album, it would probably have been lumped in with scruffier pub rock acts such as The Count Bishops. Still slapdash and raggedy but far more pertinent, ”51, Moderately Beat” is quite simply a much better album than ”Love Explosions bästa låtar”. Better yet, it stands out as an object lesson of the straightforward Gothenburg brand of progg.

Two tracks from "51, Moderately Beat" also appears on Röda Ropet's 1975 album "Spänn bågen", "Nynnat och sjungit" and "Rudolf e stark".

With ”51, Moderately Beat” trapped in limbo, Huntington started Huntington Band who released one underrated album in 1977, refining the down & dirty vibe of Lag & Ordning.

Love Explosion full album playlist

Lag & Ordning full album playlist

LARS LUNDBERG & MATS LODÉN – Rebecca (Rebecca, 1977)

English and Swedish vocals, instrumental

International relevance: ***

Thanks to German reissue label Shadoks, this rarity has now been brought back from obscurity in its original shape. There was a CD reissue a couple of years ago, remixed and expanded with five mostly negligible bonus tracks but the Shadoks release stays true to the original 1977 album.

”Rebecca” was pieced together from different sessions in '73, '74 and '76, including one track by Lars Lundberg's and Mats Lodén's previous band Savannah. (There are loads of unreleased Savannah recordings in the vaults, most of them of poor sound quality according to the reissue's liner notes.) Only 200 copies were originally made of the album for demo purposes, but failing to attract any major label interest, the dynamic duo sold the remaining copies locally in Luleå in the north of Sweden. Lundberg even sold the reel-to-reel machine used for the sessions to afford the pressing!

”Rebecca” opens with ”I den varma solens famn”, the most atypical track of the entire album, being the only one in Swedish and the heaviest one on offer here, coming off like a hybrid of November and U.S. band Stone Harbour. The remainder of the album is in a more subdued singer/songwriter vein, sometimes akin to ”Hunky Dory” era Bowie (especially in "God's Little Child" and "I'm A Mountain"). Neither Lodén nor Lundberg are great singers, and the vocals suggest a fluctuating grasp of the English language, but the somewhat peculiar atmosphere transcends the shortcomings. ”Rebecca” has a beguiling way of creeping up on you, closer with each spin. While some musical references are obvious, the overall feel is rather singular, psychedelic but not quite psychedelic, intimate yet elusive, primitive yet oddly sophisticated.

When Lundberg and Lodén were conscripted, the duo fell apart. Lundberg gave up on music for medical studies in Uppsala, whereas Lodén relocated to Stockholm, joined various local bands and became an author.

Full album playlist (Spotify)

GUDIBRALLAN – Uti vår hage (Silence, 1970) / II (Silence, 1971)

 GUDIBRALLAN – Uti vår hage (Silence, 1970)

Swedish vocals
International relevance: ***

GUDIBRALLAN – II (Silence, 1971)

Swedish vocals
International relevance: ***

I never use the term 'proto punk' anymore. I don't like it, and the more I think about it, the more irritating it gets. It's just the present day's presumptuous way of forcing the past to fit with the current notions of historical events and processes. It's an afterthought at best. And so, Gudibrallan were not a 'proto punk' band. They were, however, a sometimes great rock band with a refreshing 'fuck off' attitude towards music, authoritative decrees and organized politics.

Founded in Uppsala in 1968, Gudibrallan's first gig was in a church, much to the congregation's dismay... It's safe to say Gudibrallan found a more receptive audience at the first Gärdet festival in June 1970. Fronted by inimitable singer Örjan Terje, they trashed their way through a ramshackle set including a wonderfully blasphemous Swedish version of ”Cadillac”, ”Farbror Sven” (”uncle Sven”), mocking left-wing and right-wing politicians alike (the ”uncle Sven” in question is then Swedish Minister for Defence, Social Democrat Sven Andersson).

Gudibrallan translated existing songs to Swedish several times. For instance, ”Hey Joe” became ”Hej Gud” (”hey God” – probably one of the most shocking songs of their first public appearance), and one of their best known tracks ”Sosse” was in fact ”It's Too Late” by The Kinks.

Gudibrallan's 1970 debut album ”Uti vår hage” was recorded in one day, mixed in one day and released two weeks later. Contrary to popular belief based on catalogue numbers, Bo Hansson's ”Sagan om ringen” wasn't the first Silence release – ”Uti vår hage” was. Almost fifty years later, its wild and twisted beauty is as fresh as ever. You may call it progg; if you insist, you may even call it 'proto punk' but to me it's simply a prime example of Swedish 70's rock music at its anarchic best.

”Gudibrallan II” followed in 1971, a more contained effort than their uninhibited debut – controlled or contrived, depending on your bias. Maybe the presence of engineer Bo Hansson allayed their initial ferocity? The best tracks are ”Hispan” and classics ”T-doja” and ”Sosse”, the latter displaying obvious similarities to The Kinks' ”It's Too Late” and even more so, Sir Douglas Quintet's "Dynamite Woman"), while ”John Boy” and ”Visa om jungfrun” are in a International Harvester/Träd, Gräs & Stenar vein. It's a good album but not on par with their debut.

Original copies of ”II” came with a bonus single, ”Handgranat och bajonett” (a spoof on Swedish 1946 hit song ”Tjo och tjim och inget annat”) and the excellent ”Ät mera gröt” that would have been great on ”Uti vår hage”.

The original Gudibrallan quit in 1974, but in the 80's Örjan Terje reformed the band with new members including Mikael Katzeff (formerly of Elektriska Linden) and Åke Eriksson (Wasa Express). They had a couple of 7” releases in the 80's, and a full length album in 2004, ”Visor från Sovjetunionen”. They still play occasional gigs. In 1995, Silence released ”T-doja” which would have fit the 'best of' slot it was meant to do had they only included ”Ät mera gröt”.

A CD compilation exists called "T-doja" which collects most but not all the original band released.

T-doja full album playlist

TELGE BLUES - Telge Blues (Philips, 1975) / BLUE FIRE - Blue Fire (MIstlur, 1978)

TELGE BLUES – Telge Blues (Philips, 1975)

English vocals

International relevance: **

BLUE FIRE – Blue Fire (Mistlur, 1978)

English and Swedish vocals

International relevance: **

In my very first post to this blog, I said that Södertälje was a blues city, with Sven Zetterberg being of paramount importance. Zetterberg rose to local stardom in the 70's before earning international reverence in the 80's and beyond. Deservedly so, as he was a great harp blower, an even better guitarist and as years went by became one of the most soulful singers ever to come out of Sweden.

Zetterberg moved from his native town of Skärblacka to Södertälje in the late 60's, and in 1972, he founded Telge Bluesorkester with excellent drummer Stefan ”Stoffe” Sundlöf among others. (Telge is an older name for Södertälje.) The following year the band did a session for the Tonkraft radio show, bringing the yet unsigned band to national attention. This in turn led to several commitments as support act to international blues stars visiting Sweden. In 1975, Telge Bluesorkester, with their name abbreviated to Telge Blues, Philips Records signed them for what was to become their only album. (For those taking notes, the drawbridge seen on the album cover is one of the best known local landmarks.)

 

Although ”Telge Blues” can't compare with Zetterberg's later victories (his solo albums in particular), it's a rough and ready urban blues effort. Tracks like ”Wish Me Well” and Billy Boy Arnold's ”I Wish You Would” are too crude to make their point, but ”Act Like You Know Me”, ”Hard Road” and ”Checkin' Up” are credible enough.

After the demise of Telge Blues, Zetterberg and Sundlöf went on to form Blue Fire who later changed their name to Chicago Express and became Sweden's prime blues band for fifteen years. Blue Fire were a more self-assured band and an all around more efficient machinery than Telge Blues. Zetterberg grew as a singer, and while his greatest achievements were still years ahead of him, his and the band's potential was already evident in slower numbers, ”Suicide Blues” in particular.

”Telge Blues” was the first ever album released on the Mistlur label, later home of Trettioåriga Kriget, Thomas Almqvist, Torkel Rasmusson and other progg acts, as well as several noted Swedish punk bands.

Special thanks to Tor-Björn Lyrhed for his kind permission to use his early 70's pic of Sven Zetterberg.

Telge Blues full album playlist
Blue Fire no links found

KRÄLDJURSANSTALTEN – Voodoo Boogie (Urspår, 1981)

Swedish vocals

International relevance: ***

The very idea of a 'progg purist' is contradictive as progg is so very multifaceted to its very nature, but I suppose some wouldn't count Kräldjursanstalten as progg enough, perhaps suggesting they were basically a punk band with odd time signatures. This ambiguity only makes Kräldjursanstalten even more interesting, suggesting a nebulous border area genre of sorts along with bands like Unos Kanoner, Fiendens Musik, and the Älgarnas Trädgård/Anna Själv Tredje related Cosmic Overdose.

UK magazine The Wire probably came closest to the truth when they claimed that Kräldjursanstalten is the band best conjuring up the spirit of Captain Beefheart. Or, in the words of Beefheart biographer Mike Barnes: "Few have been able to harness the forces he unleashed and decontextualize them into a new, individual take on his legacy – into a new art-form. Sweden's astonishing Kräldjursanstalten [...] were an exception." Kräldjursanstalten's notion of rhythm was similar to Beefheart's, like tossing the music into the air, capturing it on record just before the pieces hit the ground and fell into their 'proper' place. But make no mistake: They were one tight outfit and they knew exactly what they were doing. (Other contemporary bands tried but failed, like Mögel and Boojwah Kids.)

Early 80's radio show Ny Våg (”new wave”) dedicated to punk and whatever music grew out of it occasionally warped the airwaves with Kräldjursanstalten. Most listeners couldn't stand them, except one who wrote a letter to the show praising the band, saying ”they're so tight the drummer can't keep up with them” (quoted from memory). A perfectly impossible and impossibly perfect description of the band's sound.

The drummer in question was Michael Maksymenko who later – appropriately enough – teamed up with John French and Henry Kaiser in shortlived outfit Crazy Backwards Alphabet. Maksymenko was also involved in different radio and television productions, including the provocative mid 80's radio show Studio Korrekt. Completing the Kräldjursanstalten line-up were Agaton twin brothers Stefan (bass) and Thomas (guitar).

Their 1980 five track 12” debut ”Nu är det allvar!!!” (subtitled ”Som ett fyllo i ett minfält”, ”like a drunk in a mine field”) is good, but fulfills their potential only partly, as in standout tracks ”Det löser sig atematiskt” and ”Fet och feg”. An unreleased Tonkraft show, recorded in July 1980 six months after ”Nu är det allvar!!!” confirms that Kräldjursanstalten got better fast. A further six months on, their spastic, deconstructed/reconstructed music came into full bloom with ”Voodoo Boogie”. ”Breda räfflade gummidäck”, ”Minst värst” and the title track squirt and jerk and skimp and thump, chasing Captain Beefheart through the outskirts of rhythm, occasionally even catching up with him in terms of energy and complexity. It's easily one of the best Swedish albums of its era, and one of the most intriguing. There's no other album quite like it, i.e. unless you count ”Trout Mask Replica” and ”Lick My Decals Off, Baby”.

Kräldjursanstalten even had the coolest band name ever – ”The Reptile Asylum”. It sounds better in Swedish but still, you just can't beat that.

Voodoo Boogie full album playlist

Nu är det allvar!!! full album

ATLAS – Blå vardag (Bellatrix, 1979) / MOSAIK – Mosaik (Mosaik, 1982)

ATLAS – Blå vardag (Bellatrix, 1979)

Instrumental

International relevance: ***

It's easy to see why Malmö band Atlas's ”Blå vardag” is popular among fans of symphonic prog. The eight tracks are crafty, joyful, dedicated and well composed. The production is well balanced, providing Erik Björn Nielsen's and Björn Ekbom's keyboards appropriate space without allowing them to violate the overall sophistication. It does have some Canterbury shadings, but overall, ”Blå vardag” is too far into Kaipa/Genesis territory for my tastes but a mandatory spin to fans of the genre. The album had an expanded CD reissue in the mid 90's.

MOSAIK – Mosaik (Mosaik, 1982)

Instrumental, Swedish vocals
International relevance: ***

Only a few months after the release of ”Blå vardag”, Atlas guitarist and flute player Janne Persson began working on ”Mosaik”, although it wasn't released until 1982. On one hand it's a Persson solo project of sorts as he's the only one playing on all tracks, on the other hand, it's an Atlas off-shoot with Erik Björn Nielsen, bassist Ulf Hedlund, drummer Micke Pinotti all joining him where needed. It's a more understated effort than ”Blå vardag”, less symphonic with a slightly stronger art rock feel. I can even sense a bit of Ragnarök and, anachronistically, Triangulus in there. The weakest tracks are the two with vocals from Dan Bornemark (”Tiden bara går”) and Karl Witting (”Pappa har gått vilse”), but the majority of the album is instrumental. Sparser and less heavy on synthesizers and keyboards, with a greater presence of piano and guitars (electric and acoustic), I choose ”Mosaik” over ”Blå vardag”. 

 

Atlas full album playlist 

Mosaik full album 

AVGRUNDEN – Nu närmar vi oss... (MNW, 1975)

Swedish vocals

International relevance: ***

Malmö band Avgrunden had been around for two years when MNW released their first and only album ”Nu närmar vi oss...” in 1975. When Blå Tåget disintegrated after releasing ”Slowfox” in 1974, some thought Avgrunden were those most likely to follow in Blå Tåget's footsteps. Perhaps it was the use of clarinet that tricked people into thinking that, because Avgrunden have little to do with Blå Tåget. Their music is indeed diverse just like Blå Tåget's, but Avgrunden were a tighter band and their music was more fluent.

It's a pity that ”Nu närmar vi oss...” is such a neglected effort – it's one of the lesser acknowledged albums most worthy of a wider attention. The songs are well crafted and melodic, often beautiful with poetic sensibilities. As one might expect from the album cover with a red star attached to the Swedish national flag, the lyrics are political but not in that yell-in-your-face fashion known from many other, overtly political bands of the era. The message never gets in the way of the music. The vocals blend in nicely with the music, creating a cohesive and very engaging whole, thorough but not overdone.

For want of a better word, ”Nu närmar vi oss...” is in a folk rock style, but it has too many facets to comfortably pinpoint really. There are touches of psychedelia (”Skräckfärden”) and even tango (”Datamaskin”). Sometimes they remind me of Samla Mammas Manna, as in opening/closing track ”Signaturen”, and sometimes of Thomas Wiehe (not only because of the Skåne dialect).

Singer and multi-instrumentalist Raimo Juntunen actually appeared with Thomas Wiehe in the much debated children's TV series ”Vilse in pannkakan” in 1975, as well as on Wiehe's fine and under-appreciated ”Tårta och raketer” from 1977. In 1985 Juntunen teamed up with Björn J:son Lindh in Triangulus along with members of Ragnarök, Samla Mammas Manna and Arbete & Fritid.

Clarinet player Sven-Olof Lorentzen became a prolific author following Avgrunden's demise. His works include novels, children's books and theatrical plays.

"Skräckäventyr" + "Gamsången"
"Skånehöst"
"En annorlunda sommarvisa"

RHAPSODY – Rhapsody (Tyfon, 1978)

International relevance: **

English vocals

I've never quite understood why Rhapsody (also known as Rhapsody Sweden) are included in Tobias Petterson's ”The Encyclopedia of Swedish Progressive” when, for example, Neon Rose aren't. While Petterson states that ”Rhapsody” do has a couple of progressive moves in ”Belly Dancer” and ”Take to the Highway”, this is mostly run-of-the-mill mid 70's heavy metal. It's competent enough and ought to interest hard rock and heavy metal buffs, but it's irrelevant to anyone else.

However, it's curious for a Tyfon release as the label mostly released Swedish dance band music, which is a far as you can possibly get from heavy metal, and as far from anything you'd ever want to expose yourself to. (The cover looks a dance band gone wrong though.)

The album was reissued on CD as "Strange Vibrations" with new covert art and bonus tracks.

Full album with bonus tracks

RESAN – Resan (Epic, 1973)

Swedish vocals

International relevance: ***

Ranked #21 on the blog's Top 25 list

”Resan” is one of those incredibly rare major label releases, with copies in good nick being in the same rarity league as Life's 1971 album. Actually, ”Resan” is like the inofficial second Life album, with guitarist Anders Nordh, bass player Paul Sundlin and drummer Thomas Rydberg all appearing on the album. While both Nordh and Sundlin have co-written some of the tracks on the album, it's more than anything Rydberg's project.

Not as heavy as its informal predecessor, ”Resan” relies a lot more on a West Coast sound approaching Tripsichord, David Crosby and Quicksilver Messenger Service in style. The songs are well-crafted, here and there with rich harmony vocals enhancing their inherent dreamy qualities. Some tracks take use of Nordh's heavy guitars, such as ”Hunger och svält” (one of the lesser tracks on the album, much too similar to The Impressions' ”People Get Ready”) and ”Solens vän”, but the overall feel is far more laidback than that of ”Life”. And in the end, it's a much more rewarding and splendorous album than ”Life”.

I think of the collectors market as a stage often open to an utterly vulgar behaviour, with inflated prices causing sensible people to become competitive, greedy predators. At the time of writing, there's a NM copy for sale on Discogs at €1,500. That's appalling, no matter how rare an album. Still, I understand why collectors lose their minds over ”Resan” – it is, after all, a masterpiece. Thankfully, the album has been reissued, making it obtainable even to us without a fancy house to sell for big bucks or a mother to kill for inheritance.

Full album playlist

ABDO – Salma سالمة (Odeon, 1973)

Other languages

International relevance: **

 

Not exactly progg but progg related, with Solar Plexus appearing during one of the segments of 17+ minutes track ”Ah Ya Zen”; Slim Borgudd (drums), Bosse Häggström (bass), Monica Dominique (organ), and Carl-Axel Dominique (electric piano). Borgudd and Häggström were also in Lea Riders Group and Made In Sweden. Also guesting are Torbjörn Carlsson of Splash and Björn J:son Lindh. Abd al-Rahman al-Khatib (Abdelrahman Elkhatib, عبد الرحمن الخطيب) himself left his native Egypt for Sweden, there becoming a teacher and a musician, sometimes known as Abdo.

”Salma” is a rather ambitious work, drawing inspiration from the Arabian classical music of Egypt with Western choral music – three different choirs appear on the album. Although its progg appeal is limited overall, the album is well worth seeking out for its qualities of its own. The music is often sparse and reflective, spacious yet intimate, much thanks to Abdo's pleasantly melancholic baryton voice.

The album was released in France in 1974, also on the Odeon label but housed in a different, more "progressive" looking cover:

Salma Ya Salama 

Hela Hop
Ah Ya Zen

TOMMY BROMAN – Efter midnatt (YTF, 1976)

Instrumental

International relevance: ***

”Efter midnatt” is something of an all-star affair, featuring keen session musician Jan Bandel (formerly of Atlantic Ocean) on violin and tablas, Panta Rei's Georg Trolin on harmonica, commercially successful songwriter Peter Lundblad (who had a roaring national hit with ”Ta mig till havet” in 1986, and died a few days short of Christmas in 2015) on guitar, and oft-hired studio players Rolf Alex and Peter Sahlin on drums and bass respectively. Also featured is Björn J:son Lindh on flute and keys. Lindh co-produced the album with Bo Anders Larsson, co-founder of MNW and previously in Scorpion (of ”I Am the Scorpion” fame) and Ron Faust. Tommy Broman himself had been in E=mc² which turned into Telefon Paisa which turned into Sogmusobil which turned into Levande Livet. He also played guitar on several albums by Tom Zacharias, including the infamous ”Belinda” in 1975. (As a side note, the girl on the ”Belinda” cover was Broman's girlfriend at the time, Karin.)

”Efter midnatt” is quite different to what one would expect from an album released by YTF, a label best known for their many releases by troubadours and singer/songwriters (and still in operation). The album is heavy on guitars (no wonder as Broman was a talented guitar player), including a thundering cover of folk/folk rock standard ”Morning Dew” performed in a Neil Young & Crazy Horse style, albeit instrumental like the rest of the album. ”Delilah” plays like a less overwrought Santana while ”När jag vaknade i morse”, ”Nattjamaren” and ”12-12 Blues” all have a funky swagger. The weakest track is the last one, a pointless rendition of ”Sailing”, the mawkish Sutherland Brothers song that Rod Stewart had turned into a worldwide hit the previous year.

While the Broman's guitar is prominent all through, he steers clear of most of the guitar hero bombasm; instead, he focuses on the smooth and gentle groove. ”Efter midnatt” might not be the most memorable album, but it's pleasant enough to put on while doing other things.

Sadly, Tommy Broman died an untimely death in 1990, reputedly from an overdose, only 38 years old. 

Full album playlist

MOTVIND - Känn dej blåst! (Nacksving, 1976) / Jo jo, ja ja (Nacksving, 1977) / Motvind (Nacksving, 1978) / Snacka går ju (Nacksving, 1980)

There's been much debate over the years as to what is progg and what is not. With the renewed interest in progressive music in the 90's and the emergence of neo-prog acts like Änglagård, Anekdoten and Landberk, the politically inclined music and the out-and-out rock bands of the 70's were pushed even further back in the public's mind than before, even though they originally were as much part of the progg movement as, say Kaipa, Fläsket Brinner and Trettioåriga Kriget (all of which reformed in the 90's and 00's). Truth is, progg is a nebulous term for a nebulous movement, and saying that the Bob Dylan and The Band inspired Hoola Bandoola Band or the straightforward rock sound of Nationalteaternweren't progg is just revisionist nonsense. Progg refers to the politically progressive every bit as much as the musically progressive. Of course, one can choose not to listen to the political bands but the Swedish progg music must be perceived as the broad palette of expressions it was, otherwise we end up in the wrong spot historically.

That said, there was a heated debate going on already in the 70's, especially towards the tail end of the decade as the more politically oriented groupings of the progg movement re-positioned and moved closer to the fore. There were bizarre discussions if it was OK to even play music inspired by American rock'n'roll which by some was considered counterproductive to the socialist struggle against imperialism. A book of essays and articles was published by Oktoberförlaget in 1977, ”Folket har aldrig segrat till fiendens musik” – ”the people has never conquered to the sound of the enemy's music”, and that title perfectly reflects the general zeitgeist.

Some bands had pejoratives like ”stone crusher rock” thrown at them, among them Gothenburg's Motvind. Musically speaking, they were anti-progressive, much like several other Gothenburg progg bands. Then again, Motvind weren't overt propagandists and didn't like the progg movement at all, calling it ”a fog-minded sect with too many theories and tea drinking on the agenda”. Nevertheless, they and Nationalteatern possibly had the greatest appeal to the sometimes less fortunate youth, addressing concerns and problems of the everyday life growing up in the suburbs, acknowledging their existence in a way few others did. Motvind gained a reputation as a reliable live act, often performing in youth centres in the Gothenburg area.

Känn dej blåst! (Nacksving, 1976)

International relevance: *

Swedish vocals

Hearing debut album ”Känn dej blåst!”, it's easy to understand why Motvind struck a chord with the under-acknowledged, marginalized youth of the day. It's outspoken and down-to-earth lyrics set to hard edged rock for a hard edged life, well enough exemplified by the Rolling Stones infused ”Skolanlåten”, the guitar driven ”Öppna gårdar” (very similar to fellow Gothenburg band Nynningen's ”För full hals”) and the updated Chuck Berry rock'n'roll of ”Solidaritetslåten”. The gusto of ”Känn dej blåst!” is what makes it Motvind's best album, but what made it great to people of a certain age in a certain time is what makes it hard to sit through today. Motvind's brand of socially aware and simplistic rock simply hasn't aged very well.

Jo jo, ja ja (Nacksving 1977)

International relevance: *

Swedish vocals

Follow up album ”Jo jo, ja ja” is more of the same down & dirty boogie rock as on "Känn dej blåst!", only with a somewhat tighter production and an overall heavier sound. Slower numbers such as ”Arbetslös” and ”Lära för livet” fare better. ”Lära för livet” is great actually, the best track Motvind ever did. However, this is the instrumental version used in the controversial 1977 TV series of the same name  – the much better vocal version can be heard on the various artists ”Fristil” compilation also on the Nacksving label, on the ”Pregnant Rainbows For Colourblind Dreamers” 4CD various artists box set, as well as on 'best of' styled Motvind comps.

Motvind (Nacksving, 1978)

International relevance: *

Swedish vocals

Three albums into their career and Motvind's original but limited appeal has definitely worn off. They still try to rock macho hard, but ”Motvind” as an even weaker effort than the previous one. "Asfalt, glas, betong och stål" starts in a promising way but soon turns into standard Motvind track. The best track by far is album opener ”I välfärdens tecken” in a melancholy and slightly uneasy vein, a bit similar to ”Lära för livet”.

Snacka går ju... (Nacksving, 1980)

International relevance: *

Swedish vocals

And down and down and down it goes... In 1980, Motvind realized they needed to expand their style a bit which only made things even worse. Beer breath heavy metal seeped into their songs, and in order to get a fuller sound, they hired back-up singers which was an act of serious miscalculation, like pouring Worcester sauce (I hate Worcester sauce) on rice pudding (I hate rice pudding). ”Mr. X” even adds a touch of antiseptic funk to the mix, irreversibly sealing the sad fate of the album. Not to mention that Rolling Stones inspired album art... 

The four Nacksving albums above have all been released in a 4CD box set entitled "Svinhugg från Götet". Motvind made two further albums for different labels in the 80's, ”Hjärta av stål” (1981) and ”Kamikaze” (1983). A non-album 7" ("Plockepinn" b/w "Törst") was released in 1979. A previously unreleased 1977 radio session is included in the ”Progglådan” 40CD box set, and there's an official bootleg of a 1980 gig, "Slaget vid Stångebro", sold through the band's website. Motvind reunited a couple of years ago, now with singer/guitarist Juris Salmins known as Jack McGuinness.

Känn dej blåst full album playlist
Jo jo, ja ja full album playlist
Motvind full album playlist
Snacka går ju full album playlist
Tonkraft/Progglådan full album playlist
"Lära för livet" vocal version

JOHN-ERIK AXELSSON – Spår (G-Produktion, 1972)

International relevance: **

Swedish vocals

John-Erik Axelsson was a remarkably untalented singer/songwriter from Malung who somehow managed to convince G-Produktion (home of Acke & Gurra) that it was a splendid idea to release not one but two numbingly inept albums in the early 70's. Both albums were released as Axelsson.

In the liner notes to his first album ”Spår”, Axelsson gladly explained that the arrangements were a group effort but that he, as a self-proclaimed dictator, was in charge of the final results. I guess he was ultimately responsible for ”Spår” too but maybe he shouldn't take too much pride in it. 'Real people' and outsider albums can be amazingly intriguing, but they can also be amazingly bad – not good bad, just bad bad. ”Spår” fits the latter category, falling somewhere inbetween Erik Aschan and U.S. dunce Cosmic Michael. Just to say something kind about it: it's short, less than 28 minutes.

If I had to pick the best or rather, the least worst track, it would be "Barkbrödsdag".

 
Not only was Axelsson a sub-par songwriter, a sub-sub-par singer, a sub-sub-sub-par guitar player, he was also a sub-sub-sub-sub-par lyricist. While there's no doubt his concerns with, for instance, environmental issues were sincere, his ability to express them weren't quite Nobel Prize winning material. Try this line from "Ode till Göran Nilsson": ”Det är så långt till ditt öra/men nu måste du höra” (”It's so far to your ear/but now you've got to hear” – and no, it does not sound any better in Swedish).

It's possible, even likely, that some will find the unintentional silliness cute and the naivety endearing, but an album this unimaginative and scoring this high on the bungler scale just makes me feel antsy and uncomfortable. I've seen ”Spår” compared to Kjell Höglund but that's as close you can get to defaming Höglund without being prosecuted.

Year of release might be incorrect. I've seen it listed as 1970 but according to "The Encyclopedia of Swedish Progressive Music" it was released in 1972 so I stuck with that.

Ode till Göran Nilsson

Barkbrödsdag

JASON'S FLEECE – Jason's Fleece (Mercury, 1970)

English vocals

International relevance: ***

Jason's Fleece was a supergroup comprising several famous members about to become even more famous in the years following their first and only album.

Singer and guitarist Hawkey Franzén had been in Lea Riders Group immortalized by ”Dom kallar oss mods” in 1967, one of the rowdiest and most psychedelic 45's ever to come out in Sweden, subsequently gaining international notoriety when it was included (with misspelt title) on ”Pebbles Vol. 3”. Franzén also had a solo album out prior to Jason's Fleece.

Flute player Björn J:son Lindh and drummer Jan Bandel were fresh out of Atlantic Ocean who released one highly sought-after album in the same year as Jason's Fleece, ”Tranquillity Bay”. Of course, Lindh had several solo albums out in the 70's, as well as session musician credits on numerous albums.

Made in Sweden main man Georg ”Jojje”Wadenius is another frequent session player – he's played on literally hundreds of albums over the years. He rose to international fame during his stint with Blood Sweat and Tears during the first half of the 70's.

Remarkable bass player Göran Lagerberg has a striking CV as well, including the highly talented ”Swedish Beatles” Tages in the 60's, Kebnekajse, Fläsket Brinner, Tillsammans, Egba, Bolon Bata, and... Well, you get it.

New York born jazz bassist Red Mitchell had an international career as a sideman for everyone from Gerry Mulligan and Clark Terry to Paul Bley and Henry Mancini before moving to Sweden, becoming a stalwart on the Swedish jazz scene.

Singer and guitar player Sam Ellison released the ”Jag vill ha en lessen häst” 7” in 1970 which actually was Jason's Fleece before they adopted the name. The following year, Ellison (whose real name was Elison, with a single L) released an eponymous album, and then became an in-demand session player for a couple of years.

Sax blower Kenneth Arnström was in Handgjort along with Lindh, Bandel and Greg FitzPatrick, and is also on the Tillsammans album (but so is everybody).

With such an illustrious cast, one could expect ”Jason's Fleece” to live up to its reputation but sadly, it doesn't quite. Despite good intentions and great ambitions, the album's a bit too bland second tier pop psych with minor dashes of blue eyed soul. It looks good on paper, but with the possible exception of the Beatles flavoured ”Damn Long Way Behind Us”, the album won't quite take off. Maybe it's a matter of entities cancelling each other out? Maybe they just couldn't muster up enough inspiration once it was time to enter the studio?

Someone who certainly couldn't justify his remuneration was cover designer Göran Rossander. 'Progressive' layout or just a good old lapse of imagination? I'd say the latter.
 

Full album playlist

SAMLA MAMMAS MANNA – Samla Mammas Manna (Silence, 1971)

Instrumental, Swedish vocals

International relevance: ***

Ranked #14 on the blog's Top 25 list

There's something special about debut albums, sometimes showing artists in their fledgling phase while still trying to find their identity. At best they capture a certain spirit lost already at the second try, for better or for worse. Or that's how it used to be. Nowadays, record labels more often than not expect artists to be fully finished, marketable units already before the release of their first single (or iTunes file). There's not a huge difference between artists and genetically engineered crops anymore.

Their eponymous debut album would likely not be the first choice of the regular Samla Mammas Manna fan, but it's the one that remains my personal favourite. Recorded before percussionist Henrik ”Bebben” Öberg left the group and before guitarist Coste Apetrea joined them, the sound is very different to and more easy-going than that of second and third albums ”Måltid” and ”Klossa knapitatet”, more reliant on Lars Hollmer's keyboards, particularly his music box electric piano.

With less emphasis on intricacy, it relies more on mood and atmosphere. The well-known Samla playfulness is already evident (albeit in a not yet fully developed form), but the recordings have an almost basement-like ambience to them, making the album peculiarly ambiguous, charming yet oddly spooky. Although not similar in style, the feel of the album somehow reminds me of Czech underground band Plastic People Of The Universe. It's like peeking through the secret keyhole and what you see in there sets the album apart from more or less every other album there is.

”Samla Mammas Manna” is definitely a progressive album, but with less of the fireworks complexity typical to the later Apetrea line-up, I find it a more enduring listen.

Full album playlist with bonus tracks

SUNDANCE – Sundance (Harvest, 1976)

Instrumental, Swedish vocals

International relevance: ***

 

As in many places, fusion was a big thing in Sweden in the 70's, prompting several forgettable outfits to produce a fair amount of vastly forgettable albums. Enter Sundance, whose pedestrian 1976 effort is most notable for featuring Ahmadu Jarr on three tracks, and excellent jazz maestro Gilbert Holmström on flute and various saxophones. The album is tedious at best, annoying at worst mainly due to Carl-Axel Hall's intrusive clavinet, and Anita Nyman's equally irritating vocals – ”Some Drunk” is especially grating.

Other players include guitarist Ulf Wakenius (Guitars Unlimited, Hawk On Flight among others), Neils Nordin (Hawk On Flight, Tottas Bluesband with former Nynningen singer Totta Näslund), trumpeter Stephen Frankevich (Soffgruppen), and session cellist Ingemar Brantelid.

Full album

TILLSAMMANS – Tillsammans (Silence, 1973)

International relevance: ***

Swedish vocals

Tillsammans means ”together” and they could hardly have chosen a more appropriate name. There are so many people involved in the project including several members of Fläsket Brinner, Arbete & Fritid, Kebnekajse and other major early progg acts, that were I to mention them all, I'd expand the Internet's total amounts of data by half.

Headed by Greg FitzPatrick, ”Tillsammans” is a Handgjort spin-off, with several of the tracks originally written for them. Needless to say, the sound of Tillsammans is nowhere near as sparse as on Handgjort's legendary 1970 album, but the songs still have a sweet delicacy, be it the frail grandeur of ”Söner frågar fäder” (which sounds a bit like a slowed down ”Sympathy for the Devil”), the Leo Kottke/Jorma Kaukonen inspired ”Brev till Radionämnden”, or the tender ”Cathrine” highlighted by Kenny Håkansson's ever so beautiful guitar. Or any track really.

That's the thing about ”Tillsammans”: the multitude of players is used economically, timbres are never overused, only implemented when really needed to ensure the album to turn out as lush and rich as possible. Harp, accordeon, clarinet, bagpipe and cello all help creating a beautifully crafted web of characteristics, but a particularly nice touch is the appearance of balalaika orchestra Södra Bergens Balalaikor adding a unique texture to a very adorable album.

Two years in the making, it's no wonder this massive undertaking was a one-off thing. Omnipresent visionary FitzPatrick's next major venture was writing ”Snorungarnas symfoni” for Samla Mammas Manna in 1976, then releasing a couple of mildly entertaining solo albums before becoming in-house synthesizer wizard for pop duo Adolphson-Falk in the 80's. The lyrics (which are on the political side but not intrusive) were written by Christian Diesen who abruptly switched careers and is now a criminal law professor at the University of Stockholm. He's also author of crime fiction.

(Please note that the band Tillsammans who released an eponymous album in 1976 on the Kompass label is an entirely different Christian outfit.)

Full album playlist

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

ANDERS HELMERSON – End of Illusion (Skivbolaget, 1982)

Instrumental

International relevance: ***

Classically trained Anders Helmerson once said that ”End of Illusion” was known to music business insiders as ”the most expensive Swedish record production after ABBA”. I'm not sure if that's supposed to be a good thing or a bad thing, but there's no denying it has plenty of production sheen, supposedly necessary to an album of this nature.

Helmerson was an early member of Kung Tung, but ”End of Illusion” bears no similarities with the satirical balls-to-the-wall rock of his previous band. It's a full scale symphonic work, and Helmerson is proud to demonstrate his Keith Emerson/Rick Wakeman pretentions. I could stop there – symph fans might drool over it (although that too is doubtful, judging by the Prog Archives reviews); me, I just get exhausted by the vulgar pyrotechnics. Especially since the compositions lack substance and dynamics, merely being thick layers of late 70's/early 80's keyboard textures. It's actually hard to believe the number of musicians involved here, as most of them are obscured by Helmerson's ego, ego, ego, ego, ego, keyboards, keyboards, keyboards, keyboards and keyboards. Did I mention ego and keyboards? As if that wasn't enough, he even got Egba trumpeter Ulf Adåker to play synthesizer!

It took Helmerson almost three years – from 1979 to 1981 – to finish off the album, largely due to financial shortcomings. He could have saved some money on studio time wasted on ten billions of extra keyboard overdubs. Ironically, ”End of Illusion” initially proved to be a self-fulfilling prophecy, as the self-released album failed to make much of an impact, prompting Helmerson to leave for Canada, then Brazil, and a more successful career, leaving behind one of the worst examples of self-indulgent and preposterous symphonic rock ever. 

Full album playlist

PHILEMON ARTHUR AND THE DUNG - Philemon Arthur And The Dung (Silence, 1972)

Swedish vocals

International relevance: **

Ranked #20 on the blog's Top 25 list

Quite possibly the most peculiar progg album ever released, Philemon Arthur & The Dung's first (and for a long time, only) album still sounds as hilarious and bewildering as upon its original release in 1971. Philemon Arthur & The Dung caused an outrage when they won the Swedish Album of the year Grammy in 1972. So indignant was the music business establishment that no further national Grammy Awards ceremony were held until 1988. To add insult to the injury – at least as far as some people were concerned – Philemon Arthur & The Dung didn't even appear at the ceremony to collect their award. Instead, a reel-to-reel recorder was rolled onto stage, on which tracks from their self-titled album was played.

Thing is, there was no group. Or should I say, there were no group members known to anyone but a handful of people, including the staff of Silence Records and the members of Träd, Gräs & Stenar who had performed a cover version of Philemon Arthur's ”In kommer Gösta” at the Gärdet festival a year before Philemon Arthur themselves struck the unexptecting audience by baffled surprise.

The true identity of Philemon Arthur & The Dung remained a secret for decades, causing wild speculations as to who they really were. One of the most popular theories insisted that the name was a pseudonym for the Wiehe brothers Mikael (of highly successful Hoola Bandoola Band) and Thomas (with a a series of underappreciated solo albums under his belt). The idea was that the Wiehes had recorded the music while they were still kids. However, both have repeatedly denied it emphatically over the years. (Those who want a portrait of the artists as slightly younger men may want to check out the Moccers compilation released in 2004 – Moccers were a late 60's band featuring both brothers.) Others have suggested that Philemon Arthur & The Dung were in fact Risken Finns who released two albums in the 70's, while others in turn have named popular singer Dan Hylander as responsible for the eccentric, homemade recordings that caused the Grammy upheaval.

None of those assertions are, in fact, far-fetched as all suggested artists hail from the Skåne region in the south of Sweden, thereby speaking in a highly distinguishable Skåne dialect similar to the one heard on Philemon Arthur's album. However, Träd, Gräs & Stenar gave away a clue to the origins of the mysterious duo already with their Gärdet performance of "In kommer Gösta", when TG&S frontman Bo Anders Persson mentioned they got the song from someone in the small town of Torekov in the northwest part of Skåne. (Hylander and the Wiehe brothers are from Malmö, Risken Finns were from Lund.) In recent years, Philemon Arthur & The Dung have been identified as brothers Mats (today a school teacher) and Stellan Larsson from – you guessed it – Torekov.

Needless to say, the mystery surrounding them added to the public interest in Philemon Arthur & The Dung, but the truth is that even though the highly plausible identity of the band members has been revealed, the music they made has lost none of its quirky and bizarre appeal. Like many have done over the years, one could dismiss it as the ridiculous rantings of two kids in their mother's attic, and yes – ”Philemon Arthur & The Dung” is childish and silly and nonsensical, but the nonsense is incredibly uplifting, and the relentless banging of cookie jars instead of drums, the insane vocals and the unhinged hammering on guitars are all exhilarating and utterly exciting.

But more important, the songs are in fact good and irresistably melodic. The absurdist lyrics have serious strains, such as the eerie, post-apocalyptic ”Den sista veckan” (”the last week”), and ”Ingenting i din hjärna” (”nothing in your brain”) and ”Naturen” (”the nature”), both funny and cynical takes on the modern day consumerist society. Although entirely sung in Swedish, the uninhibited craziness of ”Philemon Arthur & The Dung” reaches far beyond any language barriers and reminds me of ”White Light/White Heat” by The Velvet Underground, albeit entirely free of distorted guitars. At least entirely free of distorted electric guitars.

Many years later, additional Philemon Arthur material was unearthed and released as cassette-only ”Skisser över 1914 års badmössor” (packaged to resemble a tin can of anchovies) and subsequently on CD. A lot of it as good as their subversive original album. Silence also released a "best of" compilation, "Får jag spy i ditt paraply?" ("may I puke in your umbrella?"). The first album was repackaged with bonus tracks as "Musikens historia del I & II" on CD.

A truly original act, Philemon Arthur & The Dung have inspired many Swedish bands over the years, including long running genre defying avant/dada band Dom Dummaste who covered "Men va fanken". Decidedly unpretentious and without the slightest ambitions to impress people, ”Philemon Arthur & The Dung” is a marvellous effort and an obvious inclusion on this blog's Top 25 list of progg albums.

Musikens historia del I & II full album playlist
Får jag spy i ditt paraply? full album playlist