Thursday, July 19, 2018

THOMAS WIEHE – The 1970's albums

Thomas Wiehe has always been overshadowed by his more successful brother Mikael who rose to fame with Hoola Bandoola Band before launching a much applauded solo career. While it can be argued that Mikael Wiehe was the most melodically talented of the two, Thomas made a couple of interesting album in the 70's. The Wiehe brothers originally played in the 60's band The Moccers, and Mikael has appeared on some of Thomas's albums.

I rummet intill (Silence, 1973)
Swedish vocals
International relevance: ***

Housed in an eye-catching cover sporting a Channa Bankier painting, Thomas Wiehe immediately appeared as someone well acquainted with Incredible String Band (more Mike Heron than Robin Williamson). Side two of ”I rummet intill” is better than side one, including ”Vargen”, the spiritually inclined ”Skapelsen”, and ”Landskap”. Overall, a decent album.

Drömskugga (Silence, 1974)
as Thomas Wiehe:s Första Förband
Swedish vocals, instrumental 
International relevance: *** 

”Drömskugga” is a better album than ”I rummet intill”, much thanks to Wiehe's band on the album, Första Förband. The electric backing provides the songs with a greater stability even during the spacier parts and improvisational passages of ”Raga vid det relativas nollpunkt”. The weakest moment is the thankfully short fusion track ”Leve de vilda strejkerna”. 

Vilse i pannkakan (Silence, 1975)
with Staffan Westerberg
Swedish vocals, spoken word 
International relevance: *
 
Wiehe's third consists of music from children's television series ”Vilse i pannkakan”, made by Staffan Westerberg. Any kid that grew up in the 70's watched it but few liked it. A strong sense of eerie unease ran through the series with Westerberg speaking in a creepy hush and playing with dolls made of socks. He was subsequently accused of ruining the childhood of a generation (that is MY generation!) and what can I say... It didn't do me particularly good. In an attempt to conquer my childhood traumas, I tried watching the series again as an adult but that only instilled new life in my elusive fear provoked by the fears of my younger days... It all came back to me with fangs and glowing eyes. So the album's a hard listen for me. Each time I hear Staffan Westerberg's voice during the spoken parts, I throw the album to the wall and hide under the bed. Sort of. Wiehe's songs aren't very good either, too silly even for a children's album.
Mögel (Silence, 1975)
International relevance: **
Swedish vocals

The proper follow-up to ”Drömskugga” and again with a full band backing on some tracks. ”Mögel” isn't as good though, too intangible due to diffuse songwriting. A largely forgettable album.

Tårta och raketer (Silence, 1977)
International relevance: ***
Swedish vocals

A huge improvement over ”Mögel” and hands down Thomas Wiehe's best album. The arrangements are meticulous, substituting the rock band with baroque pop viola and violin, adding bass saxophone, English horn, bongos and congas and thanks to Anita Livstrand, tamboura on ”Längtan”. A beautifully crafted album of reflective and thoroughly composed songs, dissimilar to most other progg albums – if not all progg albums. A minor masterpiece and a should-be classic. This largely forgotten album deserves proper discovery and love.

Två vindar (Silence, 1978)
International relevance: *
Swedish vocals

Just about any album following the splendorous ”Tårta och raketer” would be a disappointment, but ”Två vindar” is disappointing every which way you look at it. Dull songs, dull sound, dull playing surely make for a – you guessed it – dull album with too many pop mainstream ambitions that should leave most progg fans cold.

Thomas Wiehe made several albums after ”Två vindar” including one featuring Turid in 1982. He's also continued working with children's music. He's also featured in ”Progglådan”.

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