SAMLA MAMMAS MANNA – Ur sync (Slask, MC 1988; recorded 1976)

Instrumental
International relevance: ***

The rarest ever Samla Mammas Manna release, a cassette-only edition of 100 copies. Although it should be said it's Samla Mammas Manna as a three-piece before they changed their name to Zamla Mammaz Manna, with Eino Haapala on guitar, Hans Bruniusson on drums and Per Nordin on keyboards. That's right, no Lars Hollmer.

The tape is a one-sided release (side 'B' is blank) with the 25 minute jam ”Den ovala metern” in rehearsal room audio. It's better than the live portion of ”Schlagerns mystik/För äldre nybegynnare”, but only just. The trio builds up a certain tension during the first 5-6 minutes, but then it just drags on forever until dissolving into nothing at around 15 minutes. Rare yes, but no loss. 

Full tape

KNÄCKEBRÖDERNA – Lyckosparken (MNW, 1976)

Swedish vocals
International relevance: **

I can't decide whether this is supposed to be a parody of or a tribute to Swedish rock singer/songwriter Ulf Lundell with the occasional stylistic dig at Anders F. Rönnblom or not. Not that it matters – it doesn't get any better any which way I look at it. I guess you could say it sounds like an uninspired version of Blå Tåget – as it happens, Mats G. Bengtsson plays keyboards on the album. Some bizarre touches such as 'psychedelic' mouth harp on ”Till monarkomanin” and the sped up vocals on best track ”Janson & von Hanzon”. Unless you consider Lennart Holving's off-key vocals bizarre that is. I think they're just bad like the album itself.

Precis som pärlemor

BLUESBLOCKET – Bluesblocket (Tredje Tåget, 1981)

Swedish vocals

International relevance: **

A blues band founded in Lund in 1980 by Mats Zetterberg, previously of progg/punk outfit Fiendens Musik. Bluesbocket's repertoire originally consisted of several John Mayall numbers translated into Swedish by Zetterberg. The band used two different guitar players, Mårten ”Micro” Tegnestam and Jan Gerfast who played on one side each on ”Bluesblocket”. A plethora of musicians has appeared with the band over the years, including Peps Persson.

Bluesblocket's only album hitherto came in 1981 with appealing tracks like ”Sovit så dåligt”, ”Vad är det för ett liv” and ”Du skriver och frågar”, but it's not in the same league as for instance Slim's Blues Gang and certainly not Peps Persson.

A rare blue vinyl edition of the album also exists.

The projected follow up 1985 album remains unreleased as a whole. A new album was however released in 2019, "Svart blues är ett vitt begrepp".

No links found

MONICA TÖRNELL – Jag är som jag är... (Philips, 1978) / Ingica Mångrind (Philips, 1979)

Jag är som jag är... (Philips, 1978)
Swedish vocals
International relevance: **

After two English language albums, Monica Törnell returned to Swedish with ”Jag är som jag är...”, produced by Björn J:son Lindh and featuring Okay Temiz on percussion on ”Lotus och Casanova”. Some samba, some jazz, some fusion, some folk, some blues, all with the typical session musician sound of the day, clean and perfect and ultimately very dull.

”Progglådan” features a live show from around the time of ”Jag är som jag är”.

Ingica Mångrind (Philips, 1979)

Swedish vocals
International relevance: *

Törnell's last album of the decade is even worse than ”Jag är som jag är...” with too much production sheen and hopelessly lifeless perfomances. Worst of all is the Swedish Dylan cover of ”Like a Rolling Stone”, and the disastrous take on The Beatles' ”Drive My Car”. 

Jag är som jag är full album playlist

"Vita om hösten" from "Ingica Mångrind"

"Nationernas visdom" from "Ingica Mångrind"
Tonkraft 1978 from "Progglådan"

ORIENTAL WIND – Bazaar (Sonet, 1981)

Instrumental

International relevance: ***

This album is a bit different to Okay Temiz's excellent ”Oriental Wind”. Recorded four years later, this is a somewhat more fusion influenced with a greater emphasis on instrumental technique (hint: Janne Schaffer appears). Some parts are veering towards free jazz, and while that's nice and while ”Bazaar” is a pretty good album, it's a bit too flashy for my taste and doesn't grab me as much as ”Oriental Wind”. 

Full album

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

VON ZAMLA – Zamlaranamma (Urspår, 1982)

Instrumental

International relevance: ***

Samla Mammas Manna's first 'Z incarnation' Zamla Mammaz Manna disbanded following the marvellous ”Familjesprickor” in 1980. The year after, Lars Hollmer and Eino Haapala formed the second 'Z incarnation', Von Zamla, and recorded this album in the autumn of 1981. Von Zamla continued up until 1984, and put out two albums before disbanding, this one and ”No Make Up!” (1983).

Like ”Familjesprickor”, the much more synthesizer heavy ”Zamlaranamma” sits firmly in the RIO category but lacks the powerful tension and brilliance. Most of this album sounds like Lars Hollmer's solo music but with a more serious approach. A lot of it sounds like a bit too intrusive background music to a TV series you're not sure if you like.The album's OK but a far cry from "Familjesprickor".

An album of previously unreleased 1983 Von Zamla live recordings, simply called "1983", was eventually released in 1999 on Cuneiform.

Full album

ÄLGARNAS TRÄDGÅRD – Delayed (Silence, recorded 1973-1974, released 2001)

Instrumental, Swedish vocals

International relevance: ***

The history's full of albums that have become legendary in their absence. The fewer that have heard an unreleased album, the better it gets in the imagination of those who haven't. Only rarely, albums like that can live up to the expectations.

Recorded in 1973 and 1974, the recordings subsequently released as ”Delayed” was meant for a follow up to Älgarnas Trädgård's highly regarded debut ”Framtiden är ett svävande skepp förankrat i forntiden” from 1972. During the mixing sessions for the album, cracks began to show within the band which led to them disbanding before the work was done, leaving the recordings unfinished until 2001 when Silence finally released it on CD with its appropriate album title.

If ”Framtiden är ett svävande skepp” was spacey, ”Delayed” is much less abstract with only ”My Childhood Trees” reminiscent of the debut. ”Delayed” is heavier in a more typical contemporary prog rock fashion. Unfortunately, when members Dan Söderqvist and Jan Ternald mixed it for the posthumous release, they added tons of reverb which make the album sound more anachronistic than I believe it would have if released as originally projected. I don't think the music is particularly good to begin with, but it would have been better if given a drier mix. Now it's still something of a lost album.

Full album playlist

BENGT BERGER & KJELL WESTLING – Spelar (Ett Minne För Livet, 1977)

Instrumental

International relevance: ***

Ett Minne För Livet was a label founded by a musicians' collective of Archimedes Badkar, Vargavinter, Spjärnsvallet and Iskra. They released only a handful of albums including this duo live recording by the great Bengt Berger and Kjell Westling. The album is an OK free jazz effort but it would have benefitted from shorter performances, maybe two improvisations on each LP side instead of just one. While they manage to keep the momentum going, it's hard even for them to come up with fresh perspectives on ideas when they're stretched out to around eighteen minutes. ”Till hafs” is better than "Ad Libido" in that regard, more dynamic, but the entire album suffers a bit from being repetitious.

The album has been rereleased with a new cover on Berger's excellent Country & Eastern label as "Live in Stockholm 77".

Full album playlist

SLIM'S BLUES GANG – The Blues Ain't Strange (Sonet, 1971)

English vocals

International relevance: **

Pianist Per 'Slim' Notini was an early flag-bearer of Swedish blues. He was greatly influenced by piano legends Memphis Slim and Fats Domino, and in 1967 he travelled to Chicago to play with Magic Sam on his classic ”West Side Soul” album. He was one of Peps Persson's earliest musical cohorts, and years later, in 1975, they made the album ”Blues på svenska” together. He also appeared with blues guitarist Rolf Wikström. He also co-founded Swedish world renowned reissue label Route 66 with Jonas Bernholm and Bengt Weine in 1976, championing rhythm & blues from the 40's and 50's, thereby bringing new and extremely well deserved attention to a largely forgotten kind of music.

Although founded already in 1962, Slim's Blues Gang didn't make their debut album ”The Blues Ain't Strange” until 1971 which, as it happens, is the gang's only album. Notini may not be a first rate blues vocalist, but he gets the job done. The album is a very credible effort with a tight and solid backing from Rolf Wikström on guitar, Ola Brunkert on drums, Åke Dahlberg on bass, and Christer Eklund and Olle Frankzén on saxes. The reworking of Elmore James's ”Stranger Blues” (”I'm a Stranger Here) has some really fine guitar work from Wikström, ”Break It on Down” moves its hips in a suggestive way, ”Gone Father Blues” rolls and tumbles along nicely, and the devil-may-care ”Tow Away Zone” is a hint at Notini's stint with Magic Sam. Very good!

Slim Notini later left the devil's music behind, became a Born Again Christian and turned to gospel music full time in the 90's.

Full album playlist

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

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

 Var ska du ta vägen? (Sonet, 1979)

Swedish vocals, English vocals

International relevance: *

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

Tron om varann (Marilla, 1980)

Swedish vocals, English vocals
International relevance: *

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

Vart ska du ta vägen full album playlist

Tron om varann full album playlist

VARIOUS ARTISTS – Röd 1:a maj-fest (Oktober, 1974)

Featured artists: Robert Karl Oskar Broberg / Peps Blodsband / Pepparn / Fria Proteatern / Athenians / Margareta Söderberg / Anders Linder / Lennart Johnsson / Röda Stjärnan

Swedish vocals, a capella, instrumental
International relevance: *

Recorded live on 1 May, 1974 celebrating Labour Day. Wildly uneven and certainly not essential, but with a couple of memorable performances. The majestic Peps Blodsband performs a spirited ”Fem långa år”, a translation of Eddie Boyd's classic blues ”Five Long Years”. They also team up with actor Anders Lind (Kapten Zoom, Ville & Valle & Viktor) for one track.  Hoola Bandoola Band backs up Robert Broberg for ”Vem är det som bromsar och vem är det som skjuter på”.and also appears on their own, with a surprisingly weak take on their otherwise excellent ”Keops pyramid”. Other artists include accordionist Pepparn, an a capella performance by Margareta Söderberg (known from her collaboration with Arbete & Fritid on ”Käringtand”), and three fatiguing tracks by Fria Proteatern.

No links found

MWENDO DAWA – Mwendo Dawa (Dragon, 1981)

Instrumental

International relevance: **

Gothenburg's Mwendo Dawa already had four albums behind them when they released this one in 1981. Core members were the fine saxophonist Ove Johansson and the equally fine pianist Susanna Lindeborg (Lindeborg was also in Salamander). ”Mwendo Dawa” features contemporary jazz with fusion leanings – competent for sure but fusionly unengaging. Mwendo Dawa is one of the groups that has become better over time – their more recent outings with more prominent electronics to go along with the jazz improvisation are more imaginative and satisfying. 

Hej vad det går

SOLAR PLEXUS – Complete albums 1972-1975

In terms of sheer musicality, it's hard to beat Solar Plexus. Led by married couple Carl-Axel and Monica Dominique, and featuring Jojje Wadenius and Bo Häggström from Made In Sweden, they could play anything – and sometimes did. They were originally named Bäska Droppar, a name they shared with the traditional Swedish wormwood liqour.

Solar Plexus (Odeon, 1972)

Instrumental, Swedish vocals [Swedish version] / 

Instrumental, English vocals [export version]
International relevance: ***

Funky, jazzy, bluesy, progressive, folky, avant, silly, serious, dull, exciting – all of it is true at one point or another on the album. The sheer musicality of it all is the greatest thing about this album. Sometimes they're actually too clever for their own good, but when it works it's certaonly better than Made In Sweden.

Jojje Wadenius original Swedish vocals for the album were substituted with English vocals by Tommy Körberg for an international launch. Körberg made a guest appearance on the Swedish version of the album, but after re-recording Wadenius's vocals, Körberg became a full time member of the band. Which version you prefer is a matter of taste I suppose. Both have their advantages, but my impression of the export edition is that Körberg doesn't quite feel at home being only a hired gun.

2 (Odeon, 1973)

Swedish vocals, English vocals, instrumental

International relevance: ***

Their second album, aptly titled ”2” and without Jojje Wadenius who had just left Sweden to join Blood Sweat & Tears. Tommy Körberg in turn was here a fully integrated part of Solar Plexus. You win some and you lose some; the band won a powerhouse vocalist but lost some of their curious-minded experimentation. ”2” isn't as adventurous as their first album focusing more on soul styled songs to fit Körberg's vocals. I wish they would have gone further out on a limb like they did on their debut.

Det är inte båten som gungar – det är havet som rör sig (Harvest, 1974)
Swedish vocals, English vocals, instrumental 

International relevance: ***

The album kicks off with the great, funky title track, but loses steam after that. Most of the album lacks real punch; the sound and songs are too polished, and it sounds like just another day at the jazz rock work.

Hellre gycklare än hycklare (Harvest, 1975)

English vocals, instrumental
International relevance: ***

If the previous album was weak, this is even lamer. The band goes through the motions and true inspiration is hard to find. Körberg's vocals sound a bit detached and uninspired, with a style hinting at his future career in musicals. Great rhyming album title though, especially if think of "better a joker than a hypocrite" as a well deserved quib at the increasingly holier-than-thou factions of the music movement.

Solar Plexus appears on several albums outside of their regular discography, most notably on ”Progglådan” that features a radio concert, probably from 1974. (”Progglådan” compiler Coste Apetrea cared as much for proper dates and correct info as he did for liner notes proof reading...) Solar Plexus provided music to actor Beppe Wolgers's children's album ”Gullivers resor” in 1971, appears on one track on Abdo's album ”Salma”, and provided music to comedy duo Hasse & Tage's live radio broadcast ”Öppen kanal – eller stängd?” in 1975, released on LP later the same year.

Although I don't like everything they did, I have the deepest respect for them and particularly the Dominique couple. They had free souls and a huge non-discriminating love for music, which in itself is a grand source for inspiration.

Solar Plexus (Swedish version) full album playlist

Solar Plexus (English version) full album playlist 
Solar Plexus 2 full album playlist
Det är inte båten som gungar full album playlist
Hellre gycklare än hycklare full album playlist

ROLF WIKSTRÖM – The 70s albums

To many, Rolf Wikström is the blues king of Sweden. No matter what you think of him, you have to admit his staying power. He has released numerous albums over the years, the most recent one in 2011, and he's appeared on several more as a studio musician, from the disastrous (Löpande Bandet's ”Nån gång måste man landa”) to the brilliant (John Holm's ”Sordin”). His first solo release was a 45 on the Tibet -46 label as Cool Hambone in 1972. His lyrics are sometimes on the political side. 

Sjung svenska folk (Ljudspår, 1975)
Swedish vocals, instrumental
International relevance: ***

 Rolf Wikström's full length debut established his style which unfortunately also includes his vocals. While the music is OK blues in the Buddy Guy and Albert King vein, Wikström sings as if he had chewed up three pounds of chalk. His voice is so raspy it almost can't produce a sound other than a toneless screach. It's an exceedingly unpleasant experience listening to him. Would it have been better if was an instrumental album? Nope, because his guitar playing is too much as well.

Jävla måndag (MNW, 1978)

as Rolf Wikström's Hjärtslag

Swedish vocals
International relevance: ***

After an LP for the Alternativ label (home of Kjell Höglund with whom Wikström performed on ”Baskervilles hund”), Wikström switched to MNW for ”Jävla måndag”. It's a sometimes funky thing with powerful playing courtesy of his backing band Hjärtslag, and again reminiscent of Albert King. But, again, the album's seriously injured by Wikström's voice that is unbearable. Pity, because this could have been a rather decent album.

Den åttonde dagen (Metronome, 1979)

Swedish vocals

International relevance: **

What Wikström's voice doesn't ruin on ”Den åttonde dagen”, the limp funk/soul/disco moves do. Give it to someone you hate.

Sjung svenska folk full album playlist
Jävla måndag full album playlist

Den åttonde dagen full album playlist

MONICA TÖRNELL – Ingica (Polydor, 1972) / Alrik (Polydor, 1973)

Ingica (Polydor, 1972)

Swedish vocals

International relevance: **

Swedish troubadour Cornelis Vreeswijk discovered Monica Törnell in 1971 when she was only 17 years old. Polydor released her debut the following year, an album that reveals Törnell had a surprisingly mature voice despite her young age. The label engaged a stellar cast of studio musicians for the recordings, including Björn J:son Lindh, Jan Bandel, Hawkey Franzén, Janne Schaffer and Vreeswijk himself.

”Ingica” features songs written specifically for the album by Vreeswijk, Carl-Axel Dominique (of Solar Plexus) and J:son Lindh, plus Franzén and Vreeswijk translated covers of Melanie, Eric Anderson and Jethro Tull. The album is in a melancholy folk rock vein with Törnell's raspy voice to the fore. A consistent work, especially for such a young artist as Törnell was at the time.

Alrik (Polydor, 1973)

Swedish vocals, English vocals

International relevance: **

”Alrik” is similar in tone and style to the debut, only with deeper running folk strains. The album uses more or less the same set of musicians, and Törnell herself sounds a bit more confident here, bringing in more songs written by herself than on the previous album. The best track however is the album's first, the traditional ”Öje brudmarsch” with some mean Schaffer guitar.

Ingica full album playlist
Alrik full album playlist

A VARIOUS ARTISTS SPECIAL – 3 jazz compilations

Featured artists: Kustbandet / Arbete Och Fritid

Club Jazz 6 (SR, 1972)

Instrumental

International relevance: ***

”Club Jazz” was a series of nine volumes of radio recordings released on Swedish Radio's own imprint SR Records from 1970 to 1974, a jazz equivalent of sorts to the early 80's ”Tonkraft – Levande musik från Sverige” series. The featured artists were either given a full album or one LP side each, and the series captures performers such as Eje Thelin, Stefan Abeleen with Lasse Färnlöf, Opposite Corner and vocalist Nannie Porres. The most interesting volume from a progg perspective is also the one with the most bizarre coupling. The sixth installment has one side of Kustbandet's uninteresting trad jazz and the second one dedicated to Arbete & Fritid. The Arbete & Fritid part is Ove Karlsson's fantastic 20 minute track ”Ostpusten-Västpusten” in its entirety, recorded at Uppsala Stadsteater in April 1972. It's Arbete & Fritid at their gorgeous best, and thankfully the track was resurrected as a bonus track on the CD reissue of their third album making it easier to obtain (and easier to avoid Kustbandet).

Jazz från det svenska 70-talet (Caprice, 1974)
Featured artists: Kustbandet / Jazz Doctors / Rolf Larsson & Jack Lidström Dixieband / Ove Linds Kvartett / Björn Milder / Umeå Big Band with Benny Bailey / Peps Blues Band / Gugge Hedrenius Big Blues Band / Lars Gullins Kvintett / Nisse Sandströms Kvartett / Lasse Werner och hans vänner / Nannie Porres Kvintett / Stefan Abeleens Kvintett / Arbe Domnérus Kvintett med Rune Gustafsson / Arbete & Fritid / Bernt Rosengrens Kvartett / Rena Rama / Egba

International relevance: **

Instrumental, English vocals

The title means ”Jazz from the Swedish 70's” and features a wide stylistic range, from the blues of Peps Persson to the fusion of Egba, from the dixieland stomp of Kustbandet to the post bop of Bernt Rosengrens Kvartett. So it serves its purpose of being a non-discriminating catalogue of contemporary jazz but it's also an incredibly frustrating spin if you listen to it all way through. But with such an array of styles, there are of course worthwhile moments. Fans of vocal jazz should be delighted by Nannie Porres's take on ”Willow Weep for Me” – after all, she's the second finest Swedish jazz vocalist after Monica Zetterlund. The contribution from the aforementioned quartet led by Bernt Rosengren is good and lively. Rena Rama makes one of their best vinyl appearances with ”Daisy Lee McGhee” – probably the best selection on the album, and better than Arbete & Fritid's bluesy but unsatisfying ”En solig dag på landet/The Big Bad Bag of Baba-Louie”.

Det nyJAZZte från Göteborg (Caprice, 1977)
Featured artists: Mount Everest / Opposite Corner / Mwendo Dawa / Soffgruppen

Instrumental

International relevance: **

Another Caprice Records release, this time showcasing the talents of the mid 70's Gothenburg jazz and improvisation scene. Mount Everest (as a trio) has a great Coltrane fuelled medley of ”Black Snow” and ”Sherpa Dance”, Mwendo Dawa is a little too close to fusion for my comfort, Opposite Corner is good, while Soffgruppen isn't quite as great as on their album.

Arbete & Fritid - Ostpusten-västpusten
Jazz från det svenska 70-talet full album playlist
Mwendo Dawa - Microsvit

Opposite Corner - Love Song

KEBNEKAISE – III (Silence, 1975)

Instrumental, Swedish vocals, other languages

International relevance: ***

After releasing what is my all time favourite progg album "II" in 1973, I obviously don't hold "III" in euqally high regard. Which is not to say it isn't good album, because it is. Half of it is very similar in style to their preceding LP, with cherry-picked traditional tunes Kebnekaise's bearing their unique hallmark. ”Leksands brudmarsch” is actually on the same level as their second album and a definite high point of tbe band's career (and thus, better than Merit Hemmingson's version).

The album also reveals a band looking to expand their sound, particularly examplified by percussionist Hassan Bah's African flavoured ”Mariamá”. Unfortunately it feels a bit like a democratic inclusion and detracts a lot from the rest of the album, making it feel out of place in this collection, even if it's the last track on the original album. That changed though when it was reissued on CD, when "Gånglåt från Dala-Järna" was added as a secret bonus track. This trad tune was previously only available on the eponymous compilation released by Silence in 1990.

Despite a few objections, ”III” is essential Kebnekaise. No progg collection should be without it.

Full album playlist

MIKAEL WIEHE – Complete solo albums 1977-1982

After the disbanding of Hoola Bandoola Band in 1976, Mikael Wiehe founded Kabaréorkestern with Hans Sjöström (Werup-Sjöströmgruppen), Arne Franck (Hoola Bandoola Band) and Ale Möller (allround folk musician) among others. They released only two albums but played on troubadour Finn Zetterholm's 1977 album ”Längtans blåa elefant” (with alternate spelling Kabaretorkestern).

Sjömansvisor (MNW/Amalthea, 1978) 
as Mikael Wiehe och Kabaréorkestern

Swedish vocals
International relevance: *

Mikael Wiehe's greatest achievement since Hoola Bandoola Band's ”Vem kan man lita på?” in 1972. Great songs, sharp lyrics and good playing. ”Titanic (Andraklasspassagerarens sista sång)” is one of his best known tracks, and an allegory of the music movement's post Tältprojektetcollapse (only that Wiehe himself didn't realized it when he wrote the song). One brilliant Dylan translation, ”Sakta lägger båten ut från land” (”It's All Over Now, Baby Blue”) and one good Dylan translation, ”Spanska stövlar” (”Boots of Spanish Leather”) are also notable. Also worthy of mention: ”När bolaget kom till byn”.

Elden är lös (Amalthea, 1979) 
as Kabaréorkestern

Swedish vocals, instrumental
International relevance: **

A four part suite that stands as Wiehe's musically most progressive achievement, sometimes even resembling Samla Mammas Manna (”Ouvertyr”, ”Krigsdans”) written by the versatile Ale Möller. Möller's a very important contributor to the album, providing bouzouki, accordion, trumpet, electric piano, organ, and percussion. A stylistically richer and more free-thinking album than usual when it comes to Mikael Wiehe. ”Elden är lös” is the Wiehe album for people who don't like Wiehe.

Kråksånger (Amalthea, 1981) 

as Mikael Wiehe, Nyberg, Franck & Fjellis

Swedish vocals

International relevance: *

New band, new sound. The mawkish hit ”Flickan och kråkan”, drenched in Greg FitzPatrick's synthesizers, isn't representative to the album which has a rougher sound. 

”Katarina”, the terrible Swedish language mock reggae version of ”All Along the Watchtower”, ”Strebersång” and ballad ”Kom hem till mej” are all dreadful, the funky ”Allt vad jag begär” and ”Som om ingenting har hänt” are OK, ”Gossekungen” is good. The album sounded better when it was new, but time certainly hasn't been kind to it.

De ensligas allé (Amalthea, 1982) 
as Mikael Wiehe, Nyberg, Franck & Fjellis

Swedish vocals

International relevance:*

One of the worst albums mentioned on this blog. Eight Dylan translations and a Wiehe completely lost in the land of synthesizers and dated gate reverb. 11 minute title track (”Desolation Row”, or at least what's left of it) is freaking Guantanamo.

Mikael Wiehe has released numerous albums since.

Sjömansvisor full album playlist
Elden är lös full album playlist
Kråksånger full album playlist
De ensligas allé full album playlist

RENA RAMA – The 1970's albums

Rena Rama were founded in 1971 by drummer Bengt Berger, bassist Palle Danielsson and pianist Bobo Stenson. Soon after, saxophonist Lennart Åberg joined. The newly formed band did a session for Swedish television, and toured in Germany in 1972. The following year they received Rikskonserter's yearly Jazz i Sverige (”jazz in Sweden”) award, and as a result they released their first album ”Jazz i Sverige '73”. Rena Rama was influenced by Indian and African music and their initial music may be described as a kind of 'world jazz'.

Jazz i Sverige '73 (Caprice, 1973)

Instrumental

International relevance: **

Everything is right about ”Jazz i Sverige '73”, the intentions, the musicians, their skills, their outlook on music, but somehow the album just don't take off. It sounds like a collection of great ideas they never manage to quite set into motion. The music often sounds forced, as if Rena Rama try hard to push it forward to where they want it, to a point where it takes on a life of its own, but it never really happens. ”Jazz i Sverige '73” is a rare example of a Bengt Berger driven album that doesn't fulfill its potential.

Landscapes (Japo, 1977)

Instrumental

International relevance: **

In 1975, Bengt Berger left the band and was replaced by American born drummer Leroy Lowe who had played with trombonist Eje Thelin prior to Rena Rama. He has a lighter touch on ”Landscapes” than Berger had on ”Jazz i Sverige '73” which makes for a smoother running albeit less 'ethnic' sounding music where Palle Danielsson in particular seems to be more at ease – his elevated ”Rumanian Folk Song” is the best moment on here. ”Landscapes” reaches further than Rena Rama's debut but still isn't quite there. 

 
Inside-Outside (Caprice, 1979)
Instrumental
International relevance: **

In 1979 Rena Rama was back with Caprice for an album that moves between the obvious traditional influences of the first album and the more straight ahead jazz of ”Landscapes”. It's all well played but not too inspiring.

Rena Rama existed for a long time still with a couple of line-up changes, and released a few more albums. A 1975 live recording with Leroy Lowe on drums was released in 1983, simply entitled ”Live”.

Rena Rama full album playlist

From Landscapes:

"Romanian Folk Song"

"Royal Song from Dahomey"
From Inside-Outside:

På hal is 

Lisas piano 

Banguana Song 

Inside-Outside

TED STRÖM – The complete 1970's albums

Following Contact's demise in late summer 1972, Ted Ström swiftly embarked on a solo career. Some of his songwriter characteristics prevailed. You can trace Contact's well known folk influence also on his solo albums, especially in the instrumentation of mandolin, clarinet, accordion etc.

Knut Teodor Ström (Grammofonverket, 1973)

Swedish vocals

International relevance: **

”Knut Teodor Ström” is not only the title of Ström's first solo album, but also his full birth name. The album was written shortly after Contact broke up. with some fine musicians of which Göran Lagerberg, and Fläsket Brinner's Erik Dahlbäck deserve a special mention, as does Björn Holmsten adding a special nuance to the music with his sax, clarinet and accordion. The album sounds what Contact could have sounded like within a somewhat rockier framework. Fine songwriting, with ”Anders Jansson, nyckelbarn” (written with a little help from Ström's friends), ”Frost” and the jazz tinged ”Tidig morgon” highlighting the set.

Kärva lägen (Manifest, 1977)

Swedish vocals

International relevance: **

With the formation of Norrbottens Järn following ”Knut Teodor Ström”, it took Ström four years to complete his second solo album, using Luleå band Rekyl as a back-up band, and augmented by Nynningen's Tomas Forsell on guitar and mandolin, and Christer Ödberg on horns. Writes Ström about the album on his website (my translation): ”The album is largely influenced by the time and place; an interest in social issues and the environment of Luleå in those days. Ray Davies and Randy Newman were my idols which is obvious on the tracks 'Alkohol' and 'Idolen' which are translations of songs of theirs.”

However, the album opens with Ted Ström's own version of ”Låt i framstegstakt”, originally written for Norrbottens Järn (released on their 1977 album ”Järnet”). The reggae beat here unfortunately doesn't do the song much good, and to be honest, ”Kärva lägen” is generally not Ström's finest hour. It has some good songs for sure but the album sounds dry and surprisingly unspired. Is it because of Rekyl, or is it because it was mixed by Nacksving producer Johannes Leyman? 

För evigt ung (Sonet, 1979)

Swedish vocals, instrumental

International relevance: **

Involving Kornet might not look like a good idea on paper – they're probably the most boring of all Swedish fusion bands of the 70's – but they adapt well to the circumstances and don't let loose too many of the instrumental acrobatics that make their own albums so unlistenable. Lasse Englund also appears with his typical acoustic sound, but he too is sympathetic to Ström's songs. Not all of them are good – the title track is just dreadful, and the reggae influence spilling over from ”Kärva lägen” is still awkward. But some songs are fine, better than ”Kärva lägen” including the Dire Straits influenced (yes, Dire Straits, you may stop choking now!) ”Vinterresa” bearing Ström's melancholy stamp.

Ted Ström has continued making records to and fro over the years. Monica Törnell's version of Ström's ”Vintersaga” became a huge hit in 1984. One of the best songs Ström has written, so good you can hear the qualities even through the layers and layers and layers of production polishes smeared all over Törnell's recording.

Knut Teodor Ström full album playlist

Kärva lägen full album playlist

För evigt ung full album playlist

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

SAMLA MAMMAS MANNA – Måltid (Silence, 1973) / Klossa knapitatet (Silence, 1974) / Snorungarnas symfoni (MNW, 1976)

It probably says more about me than about guitarist Coste Apetrea that the two Samla Mammas Manna albums I like the best don't have him in the line-up, the one they did before he joined the band, and ”Familjesprickor” by the Zamla Mammaz Manna incarnation. Most people would say that the 1972-1976 is their prime period and it's generally acknowledged as their most classic era.

Måltid (Silence, 1973)

Instrumental

International relevance: ***

”Måltid” is the first album to feature Apetrea, and needless to say it's a much different album to the band's eponymous, guitarless debut. With Apetrea, the music lost most of the mysterious aura that surrounds their maiden work. Instead they developed their famed complexity and patented humour. Sometimes it's far too much of that make-a-funny-face sing-with-a-silly-voice thumbs-up tomfoolery. And sometimes, it's very good, as in "Folkvisa i morse". Often within the same song. And that's why I find ”Måltid” so frustrating to listen to.

Klossa knapitatet (Silence, 1974)

Instrumental
International relevance: ***

Coste Apetrea's influence on the band was really beginning to show here. A greater amount of fusion was beginning to creep into the slapstick music, with constant time changes (”heh heh, funny, eh?”) and over-complex compositions (”aren't we clever, eh?”). I can't shake off the feeling that they do it just because they can, to impress. It's peacock prog. Again, some good moments but on the whole, well, juvenile really.

Snorungarnas symfoni (MNW, 1976)

as Gregory Allan FitzPatrick/Samla Mammas Manna
Instrumental
International relevance: *** 

Greg FitzPatrick wrote ”Snorungarnas symfoni”, an extended work in four movements. Considering Samla Mammas Manna's considerable skills, it was a natural thing to let them perform it. Augmented by a horn section, they toured with ”Snorungarnas symfoni” and recorded it for MNW in 1976. Although it has parts that allow Samla Mammas Manna to show off and despite its grander scope, it's less overwrought and not as hysterical as Samla's regular albums. The downside is that it's not imaginative enough to warrant a 34 minutes playing time. Some parts could easily have been cut down to make for an overall more effective piece. 

After ”Snorungarnas symfoni”, Samla Mammas Manna took a break during which Coste Apetrea left the band (good riddance). Eino Haapala stepped in as his replacement, and the band officially reformed as Zamla Mammaz Manna.

Måltid full album playlist
Klossa knapitatet full album playlist
Snorungarnas symfoni full album playlist

COMBO 8 – Vibrationer (LIM, 1976)

Instrumental
International relevance: **

It took Combo 8 four years and a massively trimmed down line-up (from twenty people down to six) before their sole album ”Vibrationer” was released on musicians run LIM (Levande Improviserad Musik) label in 1976. As a sextet, they still made a lot of sound. Their jazz rock/funk fusion is messy and hyperventilating, with too much going on at the same time, as if the the members wouldn't let anyone else into the spotlight. Tight yes, but overworked. Band founder and drummer Torbjörn Johansson, guitarist Björn Hallberg and bass player Ulf Mårtensson are particularly annoying. 

Regatta II
Vibrationer
Funk Five