Marie Bergman is one of those artists too far from progg to belong here and too close not to do so. She's 'progg-by-association' but she's basically a singer/songwriter with the oft-hired Swedish studio mafia of the 70s backing her, granting her a couple of commercial successes in the second half of the decade. Her cover of Kate & Anna McGarrigle's ”Complainte Pour Ste-Catherine”, translated to Swedish by her good friend Ola Magnell as ”Ingen kommer undan politiken”, was a radio staple in and around 1977, and her version of Kjell Höglund's ”Lugnare vatten” was also on a rather heavy rotation a couple of years later. She appeared as a backing singer on all three of John Holm's 70s albums, as well as on discs by Ola Magnell, Rolf Wikström, Björn J:son Lindh, Pugh Rogefeldt and several others less progg related artists. In short, she was a stahlwart on the Metronome label led by producer Anders Burman's instincts and nose to sniff out off-kilter yet still commercially viable signings. Well, she was actually on Metronome already earlier as a member of the very successful vocal group Family Four which she joined in 1969.
Swedish vocals
International relevance *
Her first album after leaving Family Four sounds a bit like a crossbreed of Ola Magnell and Joni Mitchell, the latter absolutely permeating the track ”Tiden”. The American West Coast sounds also come through in her cover of Neil Young's ”Helpless” (translated by Magnell). The title track and ”Villiga Ville” however are two funky tracks in sync with the times, while ”Sånger” is a loungy throwback to the Family Four style.
Third album and more of the
same, only with a glossier production. This time the covers are by
Swedish songwriters only, namely Björn Afzelius and his ”Balladen
om K”, and the aforementioned Kjell Höglund's ”Lugnare vatten”.
”Lugnare vatten” is the best track on the album along with the
surprisingly anguished (for Bergman) ”Lägg inga plåster på
såren”. The most obvious ersatz Joni Mitchell this time is called
”Lekvisa”.
Swedish vocals
International relevance*
A joint venture between
Bergman and much respected guitarist Lasse Englund; they also married the following year. It's a children's album and also
the most interesting installment in Bergman's discography. Some songs
are rather strange, and it seems that the idea of making music for
kids pushed both Bergman and Englund out of their comfort zones. One
track – ”Mammas stora säng” – even shows a faint resemblance
to psych collector Hawaiian darlings These Trails. All in all, this
is the Bergman album that comes closest to progg. But despite that,
and despite being the most interesting album of hers, it's still not
good enough to recommend. It's a bit of a curiousity, but not much
more than that.
All these albums have their moments, but too few to recommend. From a progg perspective, they remain very minor footnotes.
Bergman's recording career continued to 2013 when her, for now, last
album was released. Her style hasn't changed much over the years and
the sound of her albums have been very anxious to follow the
production trends. When her early albums, her best ones, aren't very
good you can imagine the rest.
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