HOOLA BANDOOLA BAND – Complete albums 1971-1975

There's an endless discussion going whether Hoola Bandoola Band is progg or not. Of course they're progg – any objections to that are pure nonsense. They were progressive in the political sense. But are they prog, with one 'g', as in musically progressive? No, they're not.

Part of the discussion is perhaps down to whether you can put up with Mikael Wiehe's pundit attitude. But I personally find Wiehe so much less maddening than any of his contemporary loudmouthed vociferous sectarian fire-fist-and-fury revolutionary fundamentalists. Wiehe too was overbearing and blinded by his convictions and to some extent still is. He's sure guilty of political idiocies too but at least he wrote good songs, you have to give him that. He deserves some respect for his craftmanship even if that wasn't always an appreciated quality in the days of progg. But well made things aren't automatically bad and crappy things aren't automatically good in some twist of reversed elitism.

Mikael Wiehe came from a middle class background (often a point of ridicule when people try to impugn his socialist beliefs, but hey – some Blå Tåget members too were middle class, even upper middle class academics). He started out playing trad jazz saxophone but turned to pop music with 60's band The Moccers that also featured his brother Thomas. When he heard Gunder Hägg – later to become Blå Tåget – he was so enraged by their inferior musical abilities he decided to start HBB.

HBB got in touch with ABBA manager Stikkan Andersson who saw great commercial potential in Wiehe's songs and wanted them to sign with Polar label. However, Wiehe turned him down, instead choosing the recently founded MNW. Andersson was infuriated and said that he would see to that HBB would never record, perform or even be heard. But no-one, not even Stikkan Andersson, could bereave HBB of their future success, and in 1971, their debut album appeared as MNW's 20th release. Not long after, they became the most successful progg band.

Garanterat individuell (MNW, 1971)

Swedish vocals

International relevance: **

Wiehe's original plan was to release a HBB album in English. At first MNW agreed to letting him have his way once ”Garanterat individuell” was out, but then Wiehe changed his mind, thinking it would be strange to follow up their debut with a non-Swedish album, why the English album was shelved (which is something of a half-truth – see next entry).

”Garanterat individuell” bears the unmistakeable stamp of Bob Dylan, The Band, and Neil Young (especially on ”Fred (till Melanie”), but also Latin American music (”Filosofen från Cuenca”), a re-occuring influence HBB's catalogue. It's not the perfect HBB album; Wiehe had yet to refine his songwriting skills, but tracks like ”Burrhuvet” and ”Vävar-Lasse” are great, the latter would have fit nicely on a Contact album by the way. It's a good effort, but the best was yet to come.

Svit för P (7”, MNW, 1972)

English vocals, instrumental
International relevance: *

The projected English album was cropped to an EP, intended as part of MNW's series of so called mini LP's which weren't LP's at all but 33/3 rpm seven inches. Six tracks were chosen, and the EP was actually manufactured. However, the entire edition was destroyed before even leaving the pressing plant. A few – very few – copies survived, making it one of the rarest progg artefacts ever. The songs were subsequently released on 1996 CD compilation ”Country Pleasures” with bonus tracks, and on Record Store Day vinyl in 2016.

It was a wise move cancelling the original release. The English lyrics and the songs' rural feel make HBB sound just like any early 70's run-of-the-mill U.S. country rock band. There's nothing here good enough for any of their regular albums, even if the lyrics had been in Swedish. More than anything, it's a curio.

Vem kan man lita på? (MNW, 1972)

Swedish vocals

International relevance: **

For HBB's second proper album, Wiehe the songwriter had matured massively. The style is similar to their debut, but the songs have a better focus, the melodies are sharper, the performances crisper. The album is shimmering of classic cuts – ”Herkules”, ”Vem kan man lita på?”, ”Man måste veta vad man önskar sig”, the jubilant ”Rocksamba” and to top it off in an untouchable way: ”Keops pyramid”, not only Wiehe's hands down best song but one of the best songs ever written in Sweden. The album as a whole isn't perfect, but ”Keops pyramid” is, and that song alone makes ”Vem kan man lita på?” an essential album.

På väg (MNW, 1973)

Swedish vocals, instrumental

International relevance: *

”På väg” suggests a couple of inspiration sources not obvious on previous HBB albums; Irish dance tunes on the instrumental ”Bogside”, and Russian music on for instance ”Jakten på Dalai Lama” (appropriately enough featuring members of Södra Bergens Balalaikor). Unfortunately, it's a rather weak album. ”Danslåt för yttrandefriheten” is charming but only opening track ”Hugget som stucket” reaches the heights of ”Vem kan man lita på?”.

A certain rivalry were beginning to appear within the band, with fellow singer Björn Afzelius attempting to introduce songs to the band. Mikael Wiehe was less than thrilled letting up any album space (or for that matter, the royalties it provided him with) to Afzelius. When Afzelius presented his song ”Bläckfisken”, Wiehe loved it. Still, it never appeared on an HBB album. Instead, Afzelius recorded it for his solo debut ”Vem är det som är rädd?” in 1974.

Fri information (MNW, 1975)

Swedish vocals

International relevance: **

 

In all fairness, Wiehe let Afzelius have four of nine songs on what was to be HBB's final album, ”Fri information”. Ironically enough, none was as good as ”Bläckfisken”, although ”LTO-tango” is one of the album's best, and I have a soft spot for ”Älska mej, Bill”. ”Victor Jara” became one of HBB's best loved tracks, but I'm a bit put off by the Latin American framework. Very uneven and it was obvious that HBB was running out of steam. 

They officially broke up on 30 April, 1976.

After the demise of HBB, Mikael Wiehe founded Kabaréorkestern which made two fine albums. Wiehe continues making music to this day and have had a number of hits as a solo act. Even more successful was Björn Afzelius, who is one of the best selling Swedish performers ever, being very popular also in Norway and Denmark, but most of his solo albums are best avoided. HBB reunited several times before Afzelius' death in 1999.

A couple of HBB Tonkraft shows exist, including one from 1972, officially released as part of ”Progglådan”. There's also a digital release of a show in Nässjö 1974. Non-album track ”Stoppa matchen!” was released as a single 'A' side in 1975.

Garanterat individuell full album playlist

Vem kan man lita på? full album playlist
På väg full album playlist
Fri information full album playlist
from Svit för P
Sun and Summerlight
You and I