A SEVEN INCH SPECIAL, VOL. 4: Late era progg

 BALL
Leaving (For A New Land) / Ballgame (Philips, 1977)
Busker / Frida's Bank (Hi-Hat, 1978)
English vocals
International relevance: *

A Finnish-Swedish band active in Stockholm. They only made two singles, the first one also released in Finland on Hi-Hat with sides reversed and a different cover, the second one only released in Finland. They are mentioned in ”The Encyclopedia of Swedish Progressive Music” but none of them is very proggish at all. Ball was more of a classic rock band who probably thought they were very metal, but only ”Ballgame” could possibly be called hard rock. Bass player Kaj Söderström and drummer Henrik ”Hempo” Hilldén were previously in Splash and later went on to the rhyming Trash, a heavy metal band who made two albums in the 80s. Hilldén also played with Pugh Rogefeldt and Mikael Ramel in the 70s and later had an international career. 

 

SYDKRAFT – Surfway / Så tung, så lång (EMI, 1978)
English vocals, Swedish vocals
International relevance: *

Two tracks both on Sydkraft's bad full length album but in different and better versions. ”Surfway” works vastly better as the surf punk number it's here than as the terrible fake reggae track on the LP, If you want great neo-surf pop, please go to UK band The Barracudas debut album instead. Flipside ”Så tung, så lång” has more energy in this early version than on the re-recorded album version. Yes, better, but still not good.

 

 

HETS – Uran / Valutatango (Alternativ, 1979)
Swedish vocals
International relevance: -

Peripherally interesting for being on Kjell Höglund's Alternativ label. The 'A' side is an anti-nuclear song and the 'B' side is a cabaret styled song against tax refugees. Not worth the effort. Another single exists plus a full album, both on Alternativ.

STAFFANS LÄRJUNGAR – Tures trumpet / Dresden '45 (Staffan Records, 1979)
Swedish vocals, instrumental
International relevance: **

Private 45 from a Gävle band with no further releases. ”Tures trumpet” sounds a bit like an inferior early Dom Smutsiga Hundarna track, with a whacky trumpet solo at the end. ”Dresden '45” is a bit more interesting, an instrumental with a bit of atmosphere with organ and clumsy guitars. Recorded in two days in Mora Träsk's studio. Bassist Bengt-Olof Tedeborg later went to other Gävle bands including new wave band Grenzfall. Trumpeter and organist Jan Lindström later changed his surname to Berglin and became one of Sweden's most brilliant cartoonists.

STEVE ROPER BAND – Freda'n är här / Betonglåten (Opel, 1979)

Swedish vocals

International relevance: **

Umeå band with Lars Gillén on drums. Gillén later co-founded Umeå label Garageland Records that did some early reissues of Lea Riders Group and Friends. ”Betonglåten” is the best and most proggish track of the two with some prominent guitar playing. ”Freda'n är här” is more pop oriented, and later Steve Roper Band releases are mediocre power pop. They also have a track on V/A compilation "Vi har rätt till jobb".

 

ALDRIG I LIVET – När Hyland sjunger lalala... / Brända barn (Fest Produktion, 1981)

Swedish vocals

International relevance: **

Yet another act from the north of Sweden, this time from Luleå. The 'A' side is a forgettable ska track but ”Brända barn” is OK, not entirely unlike a slow Nynningen or late Nationalteatern track in style. I suspect Tomas Forssell might have been an inspiration here as he moved to Luleå after Nynningen's demise.
 

 

DOM SMUTSIGA HUNDARNA – Festen är över / Sista dansen (Nacksving, 1982)
Swedish vocals

International relevance: *

Second to last outing from this Gothenburg band, only followed by their final album ”Framtiden rusar emot dig” in 1983. By this time they had lost their early scruffy appeal and become just another Nacksving band, and hadn't it been for the saxophone, this could have been any mediocre band of 1982.

 

GOTLANDS TEATER

Knark (Noon, EP 1982)

Rockpojken / Tonys sång (Noon, 1982)

Swedish vocals

International relevance: *

Gotlands Teater was a theatre ensemble who made its vinyl debut already in 1974 with single-sided LP ”Modell /74”. Eight years later three singles appeared, including five track 33 1/3 EP ”Knark” and ”Rockpojken”. Obviously styled after the edgier side of Nationalteatern, most of it is just unexceptional rock music. Best track is ”Horor och knarkluder” from ”Knark”. 

"Rockpojken" was released with three different covers. 

Worth noting is the theatre's creative director and actor Anders T. Peedú who was in garage band Friends in the 60s. 

 

CRUT

Efter 5 långa år / Tunnan (Ljudbarrikaden Spartacus, 1978)

Jönköping / Balladen om puben Lycka (Skivbolaget Sjöbo, 1980)

Hååvee / Grande Finale (Sjöbo Påpp, 1981)

Swedish vocals

International relevance: *

Crut is already on this blog with their album ”Världspremiär”. ”Jönköping” and ”Grand Finale” are both on the album in very similar versions, while ”Balladen om puben Lycka” is an entirely different recording. The basement hard rock of ”Efter 5 långa år” is the best thing they ever did while ”Hååvee” is absolutely moronic crap. Remaining tracks fall somewhere inbetween, but closer to crap.

GUNNAR EDANDER – Musiken ur ”Kameliadamens kärlek och död” (Skådebanan, 1981)
Instrumental
International relevance: **

Gunnar Edander composed the music for ”Kärleksföreställningen”, ”Jösses flickor”, and ”Sånger om kvinnor" to name but some of his best known work. This seven-inch belongs to his most obscure efforts however. It's two instrumental tracks from a play based on Alexander Dumas' ”The Lady of the Camellias” (also knowns as simply ”Camille”) and performed at Stockholm City Theatre in 1981. ”Kameliavalsen” (with French subtitle ”La Valse aux Camélias”) is almost akin to 20th century modernist piano music. Or perhaps even a spastic unknown recording by a completely psychotic Lars Hollmer. B side is the title track from the play, ”Kameliadamens kärlek och död” (”L'amour et la Mort de la Dame aux Camélias”) and a very different thing. Starting off like a variation on ”Fûr Elise”, it soon expands into a romantic, spacious piece with strong melancholic underpinnings. A very moody composition and quite captivating. This is by and large the most intriguing music I've ever heard from Gunnar Edander and it's a shame it remains virtually unknown.

Sydkraft full single 
Hets full single
Staffans Lärjungar full single 
Aldrig I Livet full single
Dom Smutsiga Hundarna full single
Ball:
Leaving (For A New Land)
Ballgame 
Busker
Frida's Bank
Steve Roper Band:
Freda'n är här
Betonglåten
Gotlands Teater:
Knark full single
Rockpojken full single
Crut:
Efter 5 långa år full single playlist
Jönköping full single playlist
Hååvee full single playlist
Gunnar Edander no links found

VARIOUS ARTISTS – Framtid – decentralisering (Centerns Ungdomsförbund, EP 1972) / Gemenskap där alla behövs (Centerns ungdomsförbund, 1976)

An infamous pamphlet published by Oktoberförlaget in 1977 decided that ”the people have never triumphed to the music of the enemy”. Perhaps the youth league of the Swedish Centre Party (the right wing party most to the left) adapted that credo years before the communists did. Or they simply thought that it was unfair that only the leftist groupings should release records to push their politics.

VARIOUS ARTISTS - Framtid – decentralisering (Centerns Ungdomsförbund, EP 1972)
Sparxs / unknown artist 

Swedish vocals
International relevance: *

This four track EP was released already in 1972 and has the incredibly sexy title ”Future – decentralization” (spot the irony). Side A belongs to the otherwise completely unknown Sparxs. “Säga vad man vill” sounds like a Christian song of the 60s while “Vi talar ej – vi tiger” is comparitvely OK. The uncredited performers of side B have nothing going for them however. “Hembygdsmuseet” sounds like an old-timey waltz that certainly doesn't suggest any youthfulness. “Biocider” sounds like any generic attempt at securing a place on the Svensktoppen radio hit list of the 60s. Best thing about the EP is the nice green vinyl.

VARIOUS ARTISTS - Gemenskap där alla behövs (Centerns Ungfomsförbund, 1976)
Björn Scharin / Cheese Doodles / Piteå-Långnäs Programlag / Mats Ohlsson / Rodney Liljeholm / Birgit Wallouch / Karin Stattin / Margaretha Bäckstrom / Tommy Engström / Birgitta Söderström / Folke Antonsson / Freddie Hedman / Gert Ove Lundberg / Karin Stenvall / Marianne Olofsson / Per Stenvall / Anette Apleryd / Ann Hallberg / Berith Gustafsson / Elisabeth Larsson / Marie Hallberg / Yvonne Nilsson / Birgitta Johansson / Eva Hansson
Swedish vocals, spoken word
International relevance: -

1976 was the year when the Social Democratic Party lost the power for the first time in 40 years. The Centre Party was the biggest party in the right wing coalition why the Prime Minister spot went to slow-talking leader Torbjörn Fälldin. I can assure you that this album, released in the very same year, had absolutely no role in their victory. Had more people heard it, they surely would have lost. If a four song EP was too much, then a full album becomes a health issue. With songs taken from various theatrical plays, the style is roughly the same, with old-timey stuff, Svensktoppen dross, and that persistent, rosy-cheeked Christian vibe. New to this album are dashes of debile country music which certainly don't ease the pain. “Best” track is Björn Scharin's “Lokalsamhällen” which sounds like cross between Bernt Staf and an underslept Ragnar Borgedahl.

Framtid - decentralisering:
Sparxs - Säga vad man vill
Sparxs - Vi talar ej - vi tiger
Unknown artist - Hembygdsmuseet
Unknown artist - Biocider

Gemenskap där alla behövs full album playlist

BENGT-ARNE WALLIN – Varmluft (Sonet, 1972)

Swedish vocals, instrumental
International relevance: **

Bengt-Arne Wallin is surrounded by an interesting lot of performers on ”Varmluft”. Apart from the internationally renowned swing and bebop trumpeter Clark Terry, there's a number of domestic dignitaries here including Marie Selander, Lennart Åberg (of Rena Rama), Georg Riedel, Sabu Martinez, Anthony Reebop Kwaku Bah and Maffy Falay. And as always, Janne Schaffer. The music could be called progressive big band, but that doesn't quite say much about its variety. There are low-key, moody moments, funky sections, folksy moments – there's a little bit of everything working together as a kaleidoscopic whole. Wallin sometimes wanted too much at once which is the problem with for instance ”Wallin/Wallin”, but ”Varmluft” is a bit better sorted out. Not everything here is successful, but some of it is. And I do appreciate his approach even when it doesn't work out completely. He was a visionary and it's always heartwarming delving into a visionary's work.

The cover art is made by Lasse Åberg.

No links found 

SJUNNE FERGER'S EXIT – Childrens Mind (Strangelove Music, 2021; rec. 1979-1982)

Instrumental

International relevance: *

Sjunne Ferger had a long history. Originally a blues drummer and one of the original members of Örebro band Blues Quality famous for backing Peps Persson on one album before evolving into Nature, he switched to jazz after meeting Don Cherry. He was in obscure late 60s organ/drums duo Takt & Ton before founding nebulous outfit Exit by the beginning of the 70s, but it wasn't until the end of the decade he first used the name on disc. ”Childrens Mind” is a New Zealand release compiling the two singles Sjunne Ferger's Exit released in 1979 and 1982 respectively, adding two previously unreleased tracks to flesh out the album.

It's not at all what you might expect from soneone with Ferger's past. Instead of blues and jazz, ”Childrens Mind” sounds more like an artsier Ralph Lundsten, heavy on electronics with a touch of new age. Only ”Beginners Mind” reveals a jazz influence in the fusion-y guitars but that's not praise. It's not a good album at all; the only mildly interesting track is ”Romance” from Exit's self-released debut 7”, a recording slightly reminiscent of Steve Reich's minimalism.

With only one Takt & Ton track released officially (on Caprice Records 4CD box set ”Jazz Cosmopolit”), I'd much rather hear a compilation of their archival material, or something from Exit's early years. That would surely be much more interesting than anything on ”Children's Mind”.

Full album playlist (Bandcamp)

ANDRA BULLAR – I krig och kärlek... och Göteborg (Silence, 1981)

Swedish vocals, a cappella

International relevance: *

The first album was like a low-calory version of Röda Bönor, lacking everything that make Röda Böners fun to listen to, especially their humour and even self-irony. For their follow-up, rhey've lost the little enthusiasm they had which obviously makes for an even duller album. Not even Kenny Håkansson can save ”I krig och kärlek... och Göteborg” from being an insipid sign of a progg movement sorely losing steam. It's almost as if Andra Bullar didn't really believe in their own feminismist manifesto anymore which in turn makes me wonder if even their first album was a simply a gold-digger's attempt at political bandwagon jumping. Röda Bönor knew how to make me listen, Andra Bullar just knew how to make me want to turn it off.

Full album playlist

MARSFOLKET – Marsfolket (Mellotronen, 2025; rec. 1971)

 English vocals, instrumental
International relevance: ***

Marsfolket was a supergroup of sorts even though the members of this six-piece wasn't necessarily 'superstars' as of yet. Björn Skifs had been in 60s band Slam Creepers, and Claes ”Clabbe” af Geijerstam used to be a teen idol in pop band Ola & The Janglers. But Bo Häggström (previously of Lea Riders Group and Made In Sweden, then replaced in Marsfolket by Mike Watson), Björn Linder (post-Tages outfit Blond), Janne Schaffer and Ola Brunkert (later ABBA's go to drummer) weren't quite household names in these days (and some of them probably aren't still). They only existed for a very bried period, from to March to April 1971 – hence their name Marsfolket (a pun meaning both ”the people of March” and "martians"). Their main purpose was touring, and for long, the only physical proof of their existence was a single and one track on Janne Schaffer's debut album, the massively funky ”Jordbruksmaskinen”. The single entitled ”Marsfolkets justa rattar” with the tracks ”Maria, Maria” and ”The Hunter” is somewhat rare, and for long I hoped there would be more recordings of theirs. Then out of the blue this full-length album of previously unreleased recordings in studio quality appeared!

Given the group's ephimeral nature, they relied a fair bit on cover versions of contemporary acts such as Grand Funk Railroad, J.J. Cale, Derek & The Dominoes and The Band. While that might not look too tasty on paper, the thing is that Marsfolket were a brilliant bunch who knew how to shake up even the most wooden material. A little less than half of their repertoire was nevertheless original songs and they are every bit as rocking, grooving, funky and musically abundant as their borrowed material.

Björn Skifs is best known internationally for ”Hooked On A Feeling” which took his band Blue Suede to the top of the Billboard charts years before ABBA claimed the same spot. One thing that ”Marsfolket” proves is what a great singer Björn Skifs indeed was. He's unfortunately one of those singers born with an excellent voice that he – much like Tommy Körberg – habitually has wasted on uninteresting or plain stupid material. When he doesn't hold back, he's a truly gifted blue eyed soul vocalist. Geijerstam isn't too shabby either although his voice isn't quite as strong as Skifs's, but alternating between the two work just fine in this setting and adds a little extra variation.

My guess why Marsfolket was such a vibrant band is because they didn't have anything to prove. Knowing their time was limited already from the start meant they could let loose and simply enjoy themselves in each other's company without having to deliver absolute perfection as session musicians or big stage entertainers. That's what makes this album so delightful. Yes, that's exactly what this is – a delight!

Full album playlist

FINN ZETTERHOLM & KABARETORKESTERN – Längtans blåa elefant (YTF, 1977)

 Swedish vocals
International relevance: *

Visa singer Finn Zetterholm is more interesting as a troublemaker than a musician, and this album is
mostly academically interesting for having Mikael Wiehe's Kabaréorkestern as a backing band. It guarantees some good musicianship, if nothing else. It does have a few decent moments apart from that though, especially when Zetterholm gets a bit closer to folk melodies, as on ”Sven i Rosengård anno 1977”, and the melancholy ”Fågelns visa” and ”Vaggvisa vid Ekofisk”. They also try for a more creepy atmosphere on ”Flickan som skrek” without really succeeding. But too many songs are just silly, and all in all, this isn't a very memorable album at all.

Näktergalen
Fridas klagan över snön 
Fången på Hall 
Flickan som skrek
Bröllopet i hönsgården
Sven i Rosengård anno 1977
Balladen om Sussie
Jimmy Carters Rag
Barnvisa
Vaggvisa vid Ekofisk
Sång till fars dag
Sång i lönearbetestakt eller Nyaste grottesången
Fågelns visa

PEPS PERSSON – Walking By Myself: Live At Fattighuset 1972 (Mellotronen, 2025; rec. 1972)

English vocals
International relevance: **

This is very strange. It was released through streaming sites only in early 2025 with the info that Mellotronen's behind it, but it's an unusually shoddy release coming from them. To begin with, it's short on info. What we know, or at least are told, is that was recorded at Club Fattighuset in Stockholm. But there are no musicians credits (although it sounds like Slim Notini on piano) and the recording year is uncertain. The ”cover” says 1972 (a date also given by long running Swedish blues magazine Jefferson on Facebook shortly before the release) but every streaming platform says it's from 1973. The ”cover” is as unimaginative as it gets and looks more like the work of some kitchen table bootlegger. The sound is in stereo; it's either an execeptionally good audience tape or a B+ soundboard recording. 

Being from the early 70s it's an all blues set but edited down to a six songs of a mere 25 minutes. What's interesting is that it only has songs not on any other Peps album, and being a good performance it's highly interesting to Peps fans. But if someone bothers to release it even in such a disappointing fashion, why cut it down to EP length, and why such careless presentation? Being of musical as well as great historical value, I wish whoever's responsible for this hack job would have paid more respect to the source material and Peps devotees.

Full EP playlist

VARIOUS ARTISTS – Samlade krafter (Avanti, 1978)

 
Featured artists: Mikael Wiehe & Kabaréorkestern / Herr T Och Hans Spelmän / Elektriska Linden / Pierre Ström & Kenneth Kvist / Björn Afzelius / Göteborgs Visgrupp 
Swedish vocals
International relevance: **

A album recorded live in Stockholm Easter 1978 and released to commemorate the 75th anniversary of the formation of the youth organisation KU of the Swedish communist party VPK. Some high profile names here, most notably Hoola Bandoola Band ex-members Mikael Wiehe and Björn Afzelius, both represented with two tracks each. One of Afzelius's contributions is interesting as it's an acoustic cover of Nationalteatern's magnum opus ”Barn av vår tid”. But interesting doesn't necessarily mean good. The bare bones approach with only voice and guitar bereaves the song most of its original prowess. Afzelius's other track ”Nattlig visit” fares better as it's a folk styled number reminiscent of Bob Dylan's earliest narrative songs. I'm not an Afzelius fan but ”Nattlig visit” is actually good, clearly one of his best ever.

Mikael Wiehe's two tracks with his then backing band Kabaréorkestern are also at both ends of the quality spectrum. ”Kärlek, ömhet och disciplin” is bloody awful in a marching band style (and absurdly enough later released as the 'A' side of a 1980 Avanti single backed with Afzelius's ”Nattlig visit”). ”Högt till tak” is much better, unusually heavy for Wiehe and also instrumental with a persistent, groovy drive and a rich horn section almost moving into jazz territory at times. The guitar solo has a nice bite to it as well.

Elektriska Linden's sole album ”Torbjörns dansskola” isn't too impressive, but their sole track here – ”Ugglan far i natten” – is pretty vivid and raucous taking cues from both Nationalteatern and The Rolling Stones. ”Smeden” by long running folkish band Herr T Och Hans Spelmän is more typical to the style you could expect from an album like this, half decent for the style but still forgettable. The two tracks each by Göteborgs Visgrupp and singer/songwriter Pierre Ström on the other hand are exactly as bad as one might suspect.

”Samlade krafter” is too inconsistent but the good or at least decent tracks make this a little better than several other LPs in this vein.

Full album (poor sound)

DICE – Live 1977 (Belle Antique, 2013; rec. 1977)

Instrumental
International relevance: ***

Japanese archival label Belle Antique released three discs of archival Dice material. The recordings here were made for Swedish Radio on 11 May, 1977, and portions of the show were also included in ”Progglådan”. But this is the complete session.

Recorded between ”The Four Riders Of The Apocalypse” (one of the archival CDs) and their only proper album ”Dice”, ”Live 1977” falls somewhere inbetween stylistically. It's not quite as pompous as ”Four Riders”, more 'complex' or if you prefer 'unnecessary complicated” and thus not as focused as the following album.

I'm not sure it's actually a live recording because there's no audience – it sounds more like a studio session with the songs interspersed with interview bits. A distracting feature as the album would have run much smoother without the spoken parts. They should have been edited together to a bonus track instead. Still, a must to Dice fans.

Sjukdomen (from Progglådan)
Begäret (from Progglådan)

GRUS I DOJJAN – I klackbaren (Metronome, 1978)

Swedish vocals, other languages, instrumental
International relevance: -

Just another Grus I Dojjan album. The only thing that differs their later albums from the earlier is that the later ones are better recorded. Other than that, it's the same cheerful, good-timey folk/bluegrass fare as always. The skewed ”Tokfans polska” is a bit fun though with the deliberate off-key playing that will surely drive some people nuts.

But whar's Jeff Lynne doing in cover shot???

Full album playlist

MICHAEL, SALT & PEPPER – Live At Alexandra's (Blueberry, 1970) / THE BLOOM GREEN GROUP – Discoteque (Haparanda, 1971)

 English vocals, instrumental
International relevance: **

A largely insignificant group sounding a bit like a power horn rock version of Made In Sweden. Their first album was recorded live and is pretty vital if unnecessary consisting of all covers such as ”By The Time I Get To Phoenix”, ”Eleanor Rigby”, and a ”Hair” medley of ”Aquarius” and ”Let The Sunshine In”. I have to say though that their take on ”Try (Just A Little Bit Harder” is pretty powerful with some stinging solo guitar.

They re-emerged the following year under the moniker The Bloom Green Group, with some tracks from their debuted re-recorded in studio. The Made In Sweden vibe is stronger here, largely due to what might be Mats Westman from the first album – the album cover has no musicians listed. It does however have a massively cheap looking front that was changed for the digital reissue.

The group also had two 45s out and undertook a Mexican tour in 1971.

Live At Alexandra's full album playlist
Discoteque full album playlist

JOJJE WADENIUS – Puss puss sant sant (Sonet, 1978)

Swedish vocals
International relevance: **

”Goda' goda'” is one of the GREAT Swedish childrens' records of all time, a fantastic LP chock full of brilliant songs and Jojje Wadenius and his Made In Sweden pals at their very best. The lyrics were written by children's author Barbro Lindgren, and she did the same for ”Puss puss sant sant”, recorded almost ten years after ”Goda' goda'” as a kind of sequel. But times were different and so were the musicians, and the childlike joy that permeated the original album wasn't to be repeated in 1978. The band tracks sound like an ordinary day at work, very studio musicians-like, and Wadenius himself often sounds as if he just goes through the motions vocally. Some songs are fine though, with the best one being the beautiful and ironically enough instrumental ”Vintervisa” which is close to what John Renbourn Group did on their albums from roughly the same time, complete with tablas. But compared to the album ”Puss puss sant sant” was styled after, this is a real disappointment.

Full album playlist

PIERRE STRÖM – Complete solo albums 1970-1976

Pierre Ström was one of the prime exponents of the wave of Swedish troubadours, or visa singers, in the 60s and 70s that included among others Cornelis Vreeswijk, Fred Åkerström, Thorstein Bergman and Finn Zetterholm. The visa singers rarely went progg full on, but they shared progg's general political sympathies more often than not so there's a loose connection between them.

Ström is already on the blog with ”Joe Hill lever!”, a joint release with Oscar Norrman and Anders Granell. Ström had two more collaborative albums out in the 70s (one with Finn Zetterholm), but this review is for the albums solely credited to him.

I vädurens tecken (Intersound, 1970)
Swedish vocals
nternational relevance: *

After making a sneak debut on a various artists compilation in 1969 and a 7” on MNW subsidiary Green Light, ”I vädurens tecken” was his first full length album. It has it's share of mildly brooding moments but it's generally a more good natured collection than the album cover might lead you to believe. The emphasis on Swedish covers of Tom Paxton, Leonard Cohen and Simon & Garfunkel and the light pop backing sometimes augmented with orchestral arrangements suggest that Ström was more in tune with his times than some of his peers. Pleasant but not hugely exciting.

Pierre Ström sjunger sånger av Leonard Cohen (Intersound, 1971)
Swedish vocals
International relevance: *

The title says ”Pierre Ström sings songs by Leonard Cohen”, and that's exactly what it is, a full disc of translated Cohen songs. Ström never strays far from the original versions, and that perhaps served a purpose in 1971 before the original artist was a household name in Sweden, but 50 years on the album has severely deteriorated into redundancy. The Leslie treated vocals on ”Lavin” (=”Avalanche”) is a nice touch though.

The album was reissued as "Cohen på svenska" (="Cohen in Swedish") by YTF in 1974. 

Rallarvisor (YTF, 1973)
Swedish vocals, a cappella, instrumental
International relevance: *

Two years on and a switch to the visa movement's own label YTF. Still having problems getting original material together, or a lack of interest in such a venture, Ström looked to the traditional songs of the rail layers of old. He obviously felt at home in this material because he sounds much more confident than on his first two albums. The light pop ambitions are gone in favour of a small ensemble consisting of old-timey dance accordeonist Sone Banger, jazz bassist Red Mitchell and folk fiddler Björn Ståbi, giving ”Rallarvisor” a stronger local flavour. A handful of a cappella tracks (or backed with the metallic clang of hammers against railway sleepers) further helps setting it apart from what came before. The problem with thematic albums such as this though is that they can come across as museal, and that goes for this one as well.

På Palmes tid (YTF, 1976)

Swedish vocals

International relevance: **

Finally an album of Pierre Ström originals, and a return to fuller arrangements. Banger and Ståbi are still on board, but the personnel's expanded with drummer Jan Bandel (Atlantic Ocean, Jason's Fleece, Baltik and many more), Bengan Karlsson (Heta Linjen, Svenska Löd AB!) and Björn J:son Lindh (but no Schaffer!). It's not as rockish as one could have hoped for though. Ström's songs are closer to the political progg of the day than say, a Heta Linjen groove although both ”Motströms” and ”Solens gyllne lampa” adds a bit of funkiness to the mix. Best track by far is ”En kväll rätt sent”, politically charged but with a slight mysterious mood brought on by Bengan Karlsson's watery guitar sound and bated playing. A must-hear it is not, but Pierre Ström's best album nonetheless, housed in an eye-catching jolie laide album cover.

I vädurens tid full album playlist
Sjunger sånger av Leonard Cohen full album playlist
Rallarvisor full album playlist
På Palmes tid full album playlist

VARIOUS ARTISTS – En kärlekshistoria (CBS, 1970)

Swedish vocals, English vocals, instrumental
International relevance: ***

This is the soundtrack to Roy Andersson's first feature film ("A Love Story") which resulted in his immediate domestic breakthrough as a director (although he's best known internationally for his award winning 2000 movie ”Songs From The Second Floor”).

Björn Isfält of Xtra was hired to score the film and he's written or co-written all pieces here except ”Would You Like To” which is by Jan Bandel and Greg FitzPatrick, with vocals by Staffan Stenström. Stenström sings on four of the songs, all them also also released as singles. If his name sounds familiar, it's probably because he was also in Atlantic Ocean (and their forerunners Quints) and, as numerous others, later involved in the Tillsammans project. A more surprising name in this context is Anita Lindblom who was a commercial pop singer in the 60s and 70s, whose ”Sånt är livet” was a massive hit in 1961 and has since become a Swedish evergreen. But she had a role in the movie and was probably expected to sing as well.

As always the case with soundtrack albums, this isn't meant to be a consistent whole, and it isn't. The Lindblom tracks stick out as two sore thumbs, and while Isfält's instrumentals are pleasant, they're really not something that motivates too many listens. Which leaves Staffan Stenström's contributions which are very good. I really like his husky voice which adds a beautifully brooding atmosphere to the four songs he's on. As the singles are rather hard to come by (and the same can be said of original copies of the soundtrack LP), the CD reissue from 2003 is probably the easiest way to obtain them. I think it's worth it, actually mandatory to Atlantic Ocean fans as these four tracks make for a very nice addition to their otherwise small output.

Full album playlist

ROCKVINDAR – Första gången (MNW, 1980)

 Swedish vocals
International relevance: *

Really bad album most notable for featuring Thorsten Flinck on vocals (and his twin brother Richard on bass). Thorsten Flinck later became widely famous and infamous as a talented actor and a madman in equal parts.

”Första gången” appeared one year after Rockvindar's self-released debut single ”På lörda e're fest hos Catrin” with a cover of Nationalteatern's ”Barn av vår tid” on the flipside. While the band came from Stockholm, they sound a bit like an updated version of Northeners Rekyl. The release date means there are elements of punk and ska with best (or least bad) song ”Flum-rock” being the closest to progg.

They had another 45 out in 1982, this time on Metronome, before disbanding some time later. Thorsten Flinck has also released a couple of solo albums.

Full album playlist

A SEVEN INCH SPECIAL, VOL. 3: Hard & heavy

 UPPÅT VÄGGARNA – Jag hatar politik / Jag färdas (Efel, 1971)
Swedish vocals
International relevance: ***

One of the best Swedish heavy rock singles ever! No wonder originals are dead expensive. ”Jag hatar politik” was also on the third volume of ”Who Will Buy These Wonderful Evils” as well as ”The Essence Of Swedish Progressive Music 1967-1979”, the 4CD box set released in conjunction with Tobias Peterson's progg encyclopedia. But the B side is almost as good with an inescapable riff and great soloing. Thankfully, the single was reissued in 2022 by Regain Records as a 12”. Not only that, Regain also unearthed two previously unreleased tracks, doubling Uppåt Väggarna's frustratingly slim discography. The two ”new” tracks, one sung in English, are from a radio session, and while the second of those aren't up to snuff, it's great seeing them out. Let's hope someone will find more archival material soon – Subliminal Sounds?

AFTER LIFE – Help Me / Into The Fire (Playback, 1971)
English vocals
International relevance: ***

Another classic single and another ”Who Will Buy These Wonderful Evils, Vol III” selection, namely ”Help Me”. It's a decent track, not on the same level as Uppåt Väggarna, but it's better than the unnecessary and pretty tame Deep Purple cover ”Into The Fire” on the flip.

ZANE – Step Aside / Damage (MM, 1976)
English vocals
International relevance: ***

If After Life found their inspiration in Deep Purple, then Malmö's Zane are closer to Black Sabbath. With their seedy underground vibe, both tracks were comped on different volumes in the often great ”Brown Acid” series successfully exhuming obscure raw and rare hard rock singles from near and far. Both tracks are good, especially ”Step Aside”. A third track was recorded in 1980 and released on ”Vykort från Malmö”, an Amalthea V/A compilation of wildly disparate bands. The song, ”Malmö City”, shows a Zane then a wee bit closer to punk. Still OK though. 

BARON BULT – 75 ton stål / Gamla hjältar (PETCLA, 1979)
Swedish vocals
International relevance: **

Baron Bult came from Stockkholm but sounds more like a Gothenburg band. ”75 ton stål” has some heavy aspirations but is essentially just dull rock typical to the turn of the decade. The B side is too close to youth center disco. It's not particularly expensive but I wouldn't pay even a small sum for it. They had another single out on RCA Victor in 1980 before fading into well-deserved obscurity. Prior to Baron Bult, main man Peter Wartin made an album with Claes Nordenskiöld in 1978, also on private label PETCLA.

E.F. BAND – Night Angel / Another Day Gone (Aerco, 1979)
English vocals
International relevance: **

E.F. Band, where E stands for bassist Pär Ericsson and F stands for guitarist/singer Bengt Fisher, became a rather successful band with some longevity, releasing three albums and as many singles during their lifetime. They were part of the FWOSHM, i.e. The First Wave Of Swedish Heavy Metal, the domestic equivalent to NWOBHM, the New Wave Of British Heavy Metal. Only their debut 45 ”Night Angel” is remotely relevant to this blog, simply because it's a pretty effective track with an unexepected almost-Hawkwind drive to it. B side ”Another Day Gone” isn't too exciting though.

THE WAGABOND – This Is Life! / Wagabond (Grisbäck, 1979)
Swedish vocals
International relevance: *

Released on Ulf Bejerstrand's Grisbäck label, a fact that should put you off immediately. ”This Is Life!” is a clumsy attempt at hard rock with faint punk elements. B side ”Wagabond” seems to aim for a more progressive style with tempo changes that they handle with the same elegance as if they were a poo snake in their hands. Terrible.

TIDEN LIDER / IMPULS – Norrland Export / Andetag (Manifest, 1979)
Swedish vocals
International relevance: **

A split single on the Northern Manifest label. ”Norrland Export” by Tiden Lider is a rather ambitious track perfectly ruined by Helena Tewolde Berhan's painfully piercing vocals. She sounds like Savage Rose's Anisette on 78 rpm. ”Andetag” by Impuls may or may not have a Pink Floyd influence, depending on what you're references are. Non-descript vocals are a relief after Tewolde Berhan's ear assault, but the entire track is uninteresting with an overlong guitar solo that leads nowhere.

TONVIKT – Samma batonger / Morgontankar (HRM, 1979)
Swedish vocals
International relevance: **

Somewhat expensive 45, possibly because of the guitar playing which probably is the best thing about it. The A side is an anti-police brutality statement with clichés well-known from a plethora of punk songs of the same era. ”Morgontankar” is a kind of a ballad which is better than ”Samma batonger” but still not very good. An album's worth of 1978-80 material, some of it better than the 45, has been added to the single on guitarist Hans Hogedahl's Youtube channel. The band came from Kungälv outside Gothenburg.

FROZEN FIRE – Den mogna kvinnan / Eller hur (Pang, 1982)
Swedish vocals
International relevance: **

Released on the shady Pang Records. ”Den mogna kvinnan” is little less than a revamp of ”Ballroom Blitz” and the B side is a bit too much boogie rock. Most surprising feature is an organ rarely associated with this kind of music. Pang had a few hard rock releases out, some more sought after than others. 

VAMPA – Plugget E.P. (BMP Produktion, 1982)
Swedish vocals
International relevance: *

An extremely rare three-track EP with an adolescent take on punk inclined hard rock/heavy metal but not without progressive touches. Title track ”Plugget” is a hate song to school and the weakest song on the seven-inch. ”Tåget” is pretty effective with a couple of tempo changes which is a far cry from anything Yes plus an endearingly bad guitar solo. Best track is the 6/8 instrumental ”Blackout”. Not for everyone but I find it all pretty charming. Reissued with new cover art in 2021 by Swedish reissue label On The Dole Records. 

CHRISTER NAHRENDORF 
 Sju minuter kvar (Återblick på år 2003.2) / En existensiell blues (Musiklaget, 1978)
Då e're alright / Hard Rock (Metronome, 1982)
Swedish vocals
International relevance: **/*

Solen Skiner frontman Christer Nahrendorf made three solo singles between 1978 and 1986. None of these two here is that interesting but ”Sju minuter kvar” and ”En existensiell blues” both have a a slight symphonic vibe to them that might attract some listeners. At least if you can stand Nahrendorf reciting the dystopic lyrics of ”Sju minuter kvar”.

His second single has back-up band Hårt Regn (=”hard rain”) and is entirely ignorable. ”Då e're alright” sounds like a blatant attempt to get airplay. The B side's ”Hard Rock” in turn sounds like a parody ot exactly that.

Baron Bult full single
E.F. Band full single playlist
The Wagabond full single
Tiden Lider - Norrland Export full single
Impuls - Andetag full single
Tonvikt full single playlist + bonus
Frozen Fire full single playlist
Uppåt Väggarna full single playlist + bonus tracks (Bandcamp)
Vampa full single playlist (Bandcamp)
After Life:
Help Me
Into The Fire
Zane:
Step Aside
Damage
Christer Nahrendorf:
Sju minuter kvar / En existensiell blues full single playlist
Då e're alright / Hard Rock full single playlist

PHILEMON ARTHUR AND THE DUNG – Skisser över 1914 års badmössor (Silence, MC 1987; rec. 1967-72) / Får jag spy i ditt paraply? (Silence, 2002; rec. 1967-72)

 

Skisser över 1914 års bandmössor (Silence, MC, 1987; rec. 1967-72)

Får jag spy i ditt paraply?: The Pest Of Philemon Arthur And The Dung (Silence, 2002; rec. 1967-72)

Swedish vocals

International relevance: **

Philemon Arthur And The Dung's 1972 album is a stone cold classic of absurdist, nonsensical, anti-fi craziness that killed the Swedish Grammy Awards for 15 years. Ironically but probably perfectly planned, once they revived the Awards in 1987, the first new Philemon Arthur release appeared as a riposte. ”Skisser över 1914 års badmössor” (= ”sketches of 1914 swimming caps” -- don't ask!) was a cassette-only release that came in a sardine can. To play the tape, you had to open it. A great fuck you to mint condition collectors! (Although some probably bought two, one to play and to keep for posterity. Or they bought one and never played it. You know how collectors are.)

The tape contained 24 previously unreleased nuggets from the secret archives of the equally secret group, recorded around the same time as their LP. (Yes, the true identities of the Philemon Arthur And The Dung members is still unknown to all but a handful people.) It simply was more of the same meaning two brothers (or were they friends?) strumming a guitar sometimes tuned, banging away on pots and pans, and hollering out lyrics about flyswatters, braces, dromedaries and soup bowls. Nothing strange about that.

Thing is, you can never get too much of the same. This world always needs more Philemon Arthur And The Dung. Which is why “Får jag spy i ditt paraply” (=”may I puke in your umbrella?”), subtitled “The Pest Of Philemon Arthur And The Dung” was just as welcome as the archival collection before it. But here the discography a wee bit complicated.

“Får jag spy i ditt paraply?” was actually a complementary CD release to “Musikens historia del 1 & 2” (=”the history of music, parts 1 & 2) released ten years earlier, in 1992. “Musikens historia” in turn was a re-release of the original album with selections from the cassette added as bonus tracks. Due to popular demand, “Får jag spy i ditt paraply?” gathered the remaining tracks from the tape plus 19 more previously unreleased tracks from the original golden days. To uncomplicate things a bit: if you get “Musikens historia del 1 & 2” and “Får jag spy i ditt paraply?” you'll have a complete collection of all Philemon Arthur's released material in two convenient CDs. And believe me, you need it. At least if you're anything like me. It helps understanding the strange lyrics, but the unhinged zaniness of Philemon Arthur's music comes through loud and clear (or unclear) no matter what.

Actually, there is one more Philemon Arthur track out there, found a bonus 12" that came with the 2023 vinyl reissue of the original album. The single has Swedish art punk band Bob Hund doing a Philemon song on one side and Philemon Arthur doing a Bob Hund song on the other. But that is an afterthought, a curious modern day postscript that doesn't count.

Instead of messing about with the tracklists trying to re-create the running order of the original cassette, the links below are the two CD's as they come.

Musikens historia del 1 & 2 full album playlist
Får jag spy i ditt paraply full album playlist

COMMUNICATION – Communication (Grammofonverket, 1974)

 Instrumental, English vocals, wordless vocals
International relevance: *

Featured in the also-rans list in Tobias Peterson's Swedish progg encyclopedia, but really too un-progg to conveniently fit here. Bassist Red Mitchell is at the helm of this constellation, and he rarely went for very adventurous sounds. Communication briefly touches on soul jazz in ”Cirrus” and give a nod to Coltrane in ”Pamukkale”, but apart from that, this is mainly standard jazz. Well executed but not very interesting.

The album was reissued on CD in 2015 as a Red Mitchell album with a new cover art.

Full album playlist (Spotify)

GÖSTA LINDERHOLM – In kommer Gösta (Metronome, 1973) / Göstas skiva (Metronome, 1975)

Anyone familiar with Gösta Linderholm (and that includes just about every Swede of a certain age or inclination) surely wonders if I've lost it completely by including him here. He's something of a laughing stock found in every charity shop bin across the nation. I doubt many people take him seriously, and he actually has himself to blame after the dreadful mega hit ”Rulla in en boll och låt den rulla”, a 1978 faux cajun song that plagued the airwaves here for an eternity. And me, I never once thought he'd be something I'd offer any progg blog space. Until I took a closer look at his first two albums, that is.

In kommer Gösta (Metronome, 1973)
Swedish vocals
International relevance: *

After an early career with trad jazz band Sveriges Jazzband (best known for their 1970 song ”Brittas restaurang”), Gösta Linderholm made his solo debut with an album taking its title from a Philemon Arthur & The Dung song. He immediately established himself as a happy-go-lucky troubadour with a warbly voice. But, hang on – is that tablas in opening track, the droning ”Herr Fantasi”? It is indeed, played by Jan Bandel. And there's Björn J:son Lindh in his best ”Ramadan” mode. ”Påtalåten”? Yes, an Ola Magnell cover recorded the same year as Magnell's own 45 version. And that bassist Stefan Brolund, wasn't he in Pop Workshop and later EGBA and Oriental Wind? He was.

”In kommer Gösta” isn't a great album and rather typical Metronome label singer/songwriter fare along the lines of the aforementioned Ola Magnell and, for better or for worse, Marie Bergman.
But it nevertheless shows that there was a wee bit more to Gösta Linderholm than he gets cred for. 

Göstas skiva (Metronome, 1975)
Swedish vocals
International relevance: *

Not surprisingly, both Magnell and Bergman pop up on Linderholm's second album along with Thommie Fransson and, again, Björn J:son Lindh. The style is similar to the debut but with a few better songs and slightly darker shades, as on ”I natten” and the Magnell/Linderholm co-composition ”Kom liv”. I remember "Herr Fantasi” from my radio listening childhood days, so I have a certain nostalgic relation to that particular track. But the best track here is the album's most unexpected inclusion.

Guitarist Finn Sjöberg appears prominently on the album and that might explain Kvartetten Som Sprängde cover ”Gånglåt från Valhallavägen”. Originally an instrumental track but here with added Linderholm lyrics, and I can promise there's nothing else in his ouvre to prepare you for this. It's a bleak, actually apocalyptic depiction of a winter's day in Stockholm, soaked in alienation, internal turmoil and impending chaos. Junkies are dying in the streets and a hysterical Lady Luck screams out in agony. This track is truly a lost progg gem hidden in plain sight.

Linderholm made many albums after these two, some of them with credible musicians helping him out such as Kebnekajse's Mats Glenngård on ”Blå ballader & gröna demoner” from 1977. Some of them even have a half OK track or two, but there's really no point in getting into them in detail. A thumb rule is that the later it gets, the more Linderholm lived up to his own caricature.

In kommer Gösta full album playlist
Göstas skiva full album playlist