STEFAN DAAGARSSON – Strömkarl i elransoneringstider (Forsaljud, 1976)

 
Swedish vocals
International grading: *

Stefan Daagarsson is quite an illustrious character. His career began in 1966 with pop band The Snippers which was followed by the advent of Charlie & The Others in 1967. The following year, major publishing company Bonniers published his first novel ”...är att berätta allt”, followed by another Bonniers book in 1969. In 1970, Daagarsson set up his own publishing company named Inferi through which all his subsequent books were released up until 1984. Inferi was also the name of the cultural magazine he ran up until 1979. Daagarsson was also the very first to publish poetry by Ulf Lundell who later became one of Sweden's most succesful writers and rock artists. For a couple of years, Swedish Television hired Daagarsson as a playwright. He's also a painter with several exhibitions under his belt. In 1984, he re-invented himself as Rotebergs-Raggarn, a fictious humurous character who had some success with both 45s and albums up until the early 90s. Simply put, Daagarson is a Jack of all trades.

”Strömkarl i elransoneringstider” is the only album under his birthname, and was released by Hudiksvall area label Forsaljud in 1976, a fairly active label responsible for both progg and non-progg discs including fusion band Berits Halsband sole LP and both albums by folk outfit Agö Fyr. ”Strömkarl i elransoneringstider” blends 'humurous' pastiches, typical Swedish troubadour styles and folk inspired numbers with lyrics with a sort-of-poetic flair. He obviously inhabits some talent but the album's disappointing with only very few decent moments, such as opening track ”Pigan” which alludes to Swedish folk songs in style as well as lyrical content. Daagarsson isn't much of a singer either, with a rugged, unmelodic phrasing and a lacklustre, slightly squeaky voice. In its best moments, ”Strömkarl i elransoneringstider” comes off as a 'C' grade version of Kjell Höglund who had a much better grasp of pastiches and lyrical vitality, and at worst, as an untalented parody of troubadour par excellence Cornelis Vreeswijk.

Spelmansminne

KENNETH THORSTENSSON – Ack Värmland... (Oktober, 1976)

Swedish vocals
International relevance: *

Hyper-leftist label Oktober, home to Fria Proteatern and other similar nincompoops as well as being responsible for a number of unlistenable fistwaving various artists compilations, released Kenneth Thorstensson's only album. As a singer, his talents are limited – to put it politely. He sings in the Värmland dialect with an annoying vocal style that's oddly shouty with a monotonous kind of timbre. He's backed by musicans from Södra Bergens Balalaikor and Opponer which imemediately gives away that the music is in a sort of folky style. Some songs have a cabaret touch which doesn't help its case. Most songs are Thorstensson penned, either entirely or in collaboration with others, but he borrows a traditional song as well as defaming John Fogerty with ”Vi gir aldri åpp”, an embarrasing translation of Creedence Clearwater Revival's ”Have You Ever Seen the Rain?”. Hearing it, I'd rather ask ”Have You Ever Felt the Pain?” because this is seriously painful to endure. Hopefully you haven't.

When Thorstensson turns to yodeling on side 2, I just fall down dead with shame on his behalf.

Thorstensson later founded (the better) Arvika Gammeldansorkester.

A curious footnote: Robert Aschberg took some of the pictures used for the album cover. Aschberg later
became known as a provocative talk show host and is still known as an outspoken media personality. In the 70's, he was involved in the leftist circuits. Later he explained it was because they had the prettiest girls.

Full album playlist

LASSE ENGLUND – Drakväder (Alternativ, 1974)

Instrumental
International relevance: **

Lasse Englund's first album, and the first of two released on Kjell Höglund's Alternativ label (the second one being ”Den andra depressionen” released three years later). His technical skills were already firmly in place this early on in his solo career, but as opposed to the previously reviewed ”Lila och orange”, here they are backed up by real substance. The songs are mostly instrumental; the only vocals heard are hummed harmonies on a couple of tracks. The well-composed pieces have an occasional Swedish folk feel, but really owe a lot more to English and Scottish folk music, with Englund even slipping in a short passage from ”She Moved Through the Fair” Davy Graham style to the intro of ”Benke Plankton”. However, Englund's style at this point was assumingly mostly influenced by John Renbourn. The tabla and hand drums work on multiple tracks wouldn't have been out of place on Renbourn albums such as ”A Maid in Bedlam”. But with that one being released in 1977 – who influenced who? I'm sure Renbourn must have known about this Swedish picker and was probably rather impressed by his chops.

Englund's playing is fluent, inspired and fun, and further help from other players including multitalent Kjell Westling makes ”Drakväder” a very appealing and often very beautiful listen. Especially if you're into the folk baroque guitar stylings of Graham, Renbourn, and Bert Jansch in his least bluesy moments. ”Drakväder” is indeed Englund's finest hour as a solo artist. The cover art is nice too, with an elaborate private pressing feel. Better yet: The album can still be found fairly cheap.

Fiskmåsen
Drakväder