LASSE ENGLUND – Den andra depressionen (Alternativ, 1977)

 
Swedish vocals, instrumental
International relevance: **

Lasse Englund's second and final album for Kjell Höglund's Alternativ imprint, following two years after his lovely debut ”Drakväder”. During that time, Englund broadened his musical palette, adding influences from African and Caribbean music, rock, jazz, and contemporary singer/songwriters to the folk baroque stylings that made ”Drakväder” such a sweet and delicate album. It's an admittedly more diverse album, which is another way of saying less focused. I really appreciate Englund as an acoustic guitarist steeped in the tradition of the great British fingerpickers, and while there are a couple of short examples of that on ”Den andra depressionen”, they're too few and far inbetween. Englund is neither the most distinctive songwriter (or cover chooser), nor the most engaging singer, so leaving his strictly instrumental work for songs with vocals isn't his best move for a winsome record. ”Den andra depressionen” is nice and pleasant but forgettable.

Worth noting is that Kjell Höglund wrote lyrics to four of the songs, while Turid provides backing vocals to one track.

No links found 

FRED LANE – Vi smida (A Disc, 1977)

Swedish vocals
International relevance: *

U.K. born singer Fred Lane moved to Sweden in 1970 and is in possession of a wonderful folk voice heard on albums by Låt & Trall and Bella Ciao. A multi-instrumentalist, he also plays accordeon on the Tillsammans album. ”Vi smida” however isn't his finest hour. It's a concept album with the concept explained by the subheading ”Proletariatets visor före och under industrialismen” (”songs of the proletariat before and during the industrialism”), and it shouldn't take much imagination to figure out what these songs sound like. It's not surprising that it's on the Social Democrat house label A Disc, quite possible the dullest of all Swedish 70's imprints. Some skilled players appear alongside Lane though, such as Hans Alatalo (Norrlåtar), Lasse Englund and Kjell Westling, but it's not enough to save the album which is best left in the era that made it possible.

Vi smida Side 1
Vi smida Side 2

MARIE BERGMAN – Complete albums 1974-1980

 

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.

Mitt ansikte (Metronome, 1974)
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.

Närma mej (Metronome, 1977)
Swedish vocals
International relevance *

It took her three years to deliver her second solo album, but marked a breakthrough to a wider audience. It features ”Ingen kommer undan politiken” and her sensitive take on Ola Magnell's ”När vällingklockan ringde” from his ”Höstkänning” album released the very same year. ”Närma mej” is an album very much in the same style as her debut albeit with the funk substituted for novelty-of-sorts duds like ”Sången om den eviga lyckan (Johan)” and ”Mål eller miss” (the latter actually a cover of American folk singer and activist Odetta). The ”Blue” era Joni Mitchell influence is still evident though, especially on the piano based title track. Also included is a Swedish cover of Little Feat's ”Roll Um Easy” as ”Vänj mej varsamt”. Say what you will, she had good taste!

Iris (Metronome, 1979)
Swedish vocals
International relevance *

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”.

MARIE BERGMAN & LASSE ENGLUND

Jorden är platt (Metronome, 1980)
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.

Mitt ansikte full album playlist
Närma mej full album playlist
Iris full album playlist
Jorden är platt full album playlist

LASSE ENGLUND – Drakväder (Alternativ, 1975; rec. 1974)

Instrumental
International relevance: **

Lasse Englund's first album, and the first of two released on Kjell Höglund's Alternativ label. 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

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 uninspired. 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

KJELL HÖGLUND - Complete albums 1971-1980

Undran (Alternativ, 1971)

Swedish vocals
International relevance: *

Kjell Höglund's first album, privately recorded, privately released, privately sold (originally with only an inner sleeve). Most of his trademarks are evident already here, small songs asking big questions in unassuming phrases, simple guitar accompaniment and his patented intimate voice. ”Jag hör hur de ligger med varandra i våningen ovanför” is one of Höglund's best known songs but hardly one of his best. The album is endearing for sure but very uneven – not all tracks are as good as ”Denna känsla av undran”, the utterly charming ”Gustav under trappan”, ”Den vita kråkan” and ”Stormen före lugnet” (the latter re-recorded for ”Vägen mot Shangri-La”). 

Later versions have the cover pictured above with the album title handwritten. Same cover was used for "Blomstertid", also with the title in handwriting. 

Blomstertid (Alternativ, 1972)

Swedish vocals, spoken word

International relevance: *

Second album, similar to the first so it makes sense that ”Undran” and ”Blomstertid” was later combined to a double LP. (Original copies were also sold in a white inner sleeve, as with "Undran".) The main difference between the two albums is that Höglund sounds more self-confident here, plus the addition of electric bass on a couple of tracks. ”Du sålde min biljett” is a great track, one of his best from the early years, but ”Blomstertid” has, generally speaking, higher lows and lower highs. Or if you will, it's a less uneven album than ”Undran”. 

Baskervilles hund (Alternativ, 1974)

Swedish vocals

International relevance: **

Höglund matured considerably with ”Häxprocess” released in 1973. With ”Baskervilles hund” (with appearances from Lasse Englund and Rolf Wikström) he had carved out his particular songwriting style rather well. Or actually his two styles – the perky songs, and the more reflective ones which usually are Höglund at his best. A terrific example of the latter is ”Man vänjer sig”, a heartwrenching description of a numbingly dull everyday life but, as the title says, ”you get used to it”... ”Trollfolk på bygden” is another brilliant track, this time featuring a funky full band. And, at the other end of the arrangement spectrum, the hysterically funny a capella tragicomedy of ”Sista valsen”.

This is Höglund's second best album, here and there actually reaching the heights of ”Häxprocess”.

Hjärtat sitter till vänster (Alternativ, 1975)

Swedish vocals

International relevance: *

A disappointment after the great ”Häxprocess” and ”Baskervilles hund”, with uninspired songs, some of them quoting blues and trad jazz with a yawn. Also, Höglund tries to adapt to the political agenda of the time which suits rather bad. He's an observer asking questions, but not leading questions as he does here. Only ”Lågor för dom döda” is up to the usual Höglund standards. 

Wikström and Englund are still on the job, and Greg FitzPatrick, Mats G. Bengtsson (Blå Tåget) and Hans Wiktorsson (Nationalteatern) join in too.

 Doktor Jekylls testamente (Alternativ, 1979)

Swedish vocals
International relevance: *

Pretty much a return to form. (I guess it some kind of inspiration proof that ”Desertören” is 17 minutes long, and thus the longest Höglund track recorded, even beating the title track from ”Häxprocess” with almost two minutes.) Some musical quotes that miss the target but they're easy to bear with when Höglund delivers tracks like the part serious, part ironic ”Höglund har blivit gammal”, the tongue-in-cheek gibe at (political) bigotry ”Slutstrid”, and the lovely almost-a-hit ”Lugnare vatten” (that actually was a hit, with Marie Bergman). Not a bull's eye album, but with several very good moments.

Vägen mot Shangri-La (Alternativ, 1980)

Swedish vocals
International relevance: *

Last album of Höglund's classic era, followed by another four year hiatus. Some good songs (”Holländsk genever”, ”Mr. Swanee”, the superior remake of ”Lugnet före stormen”) but ”Vägen mot Shangri-La” suffers a bit from a sterile production. Not as much as Höglund's later albums that are all suffocated by period synths and dated aesthetics, but a more vivid sound could possibly have given some of the lesser tracks a well needed punch.

Kjell Höglund's next album was "Tidens tempo" in 1984. Again it had some good songs, but the album is drenched in synths and studio polish and is hard to digest. Later albums are even worse productionwise.

Undran full album playlist
Blomstertid full album playlist
Baskervilles hund full album playlist
Hjärtat sitter till vänster full album playlist
Doktor Jekylls testamente full album playlist
Vägen mot Shangri-La full album playlist

LASSE TENNANDER – The 1970's albums

Lasse Tennander's first record appearance was as a member of 60's Kingston Trio styled folk trio The Wayfarers, and for his 1974 solo debut ”Lars Vegas” he had evolved into one of many progg singer/songwriters steeped in the Dylan tradition. His lyrics are often political but rarely shouty. A curious fact is that he translated the lyrics to Pugh Rogefeldt's ”Ja dä ä dä” album. His English translations were used for the back cover of the U.S. release on Vault.

Lars Vegas (Midnight Sun, 1974)

Swedish vocals, English vocals

International relevance: *

”Lars Vegas” mixes softer tracks with upbeat numbers. The most interesting thing about the album is the credits list. Many studio regulars appear – Janne Schaffer. Jan Bandel and Mike Watson but also Anders Nordh of Life on guitar. The songs lack originality, but "Shall We Join the Ladies" is mildly interesting with a string arrangement and reveals a surprising David Bowie influence both in style and Tennander's voice.

Alla är vi barn i början (Oktober, 1976)

Swedish vocals

International relevance: *

The title track is one of Tennander's best songs, and ”Yngve Frejs barn” is him at his proggiest, but the rest of the album is as yawny as ”Lars Vegas”. Several session musicians used on his debut appear here as well, including Nordh but they can't save this album either.

På jakt... (Sonet, 1978)
Swedish vocals 

International relevance: *

 

”På jakt I” is a four minute autobiography, ”För gammal för rock men för ung för att dö” is an obvious (and rather funny) gibe at rock singer/songwriter Ulf Lundell (now a national icon), and ”Långt bortom allt förnuft” has a bittersweet melancholy to it, and several lyrics deal with having a child. But it's still as unengaging as his previous two LP's.

”På jakt...” was also released with the sleeve variation seen above.

Längst därinne är himlen ändå röd (Sonet, 1979)

Swedish vocals

International relevance: *

Better than the previous ones, by a small margin. ”Med revade segel” is his best song, and possibly a comment to the subsiding progg movement in a similar vein to Mikael Wiehe's ”Titanic (Andraklasspassagerarens sista sång)”. Or a political analysis of the year when the Social Democratic Party lost the election to the right wing parties for the first time in 40 years. The song was also released a single. Lasse Englund, Stefan Nilsson and blues artist Rolf Wikström among the session players.

Lasse Tennander continued making albums for decades but appears to have retired now. A 1976 recording with back-up from Kaipa (?!) is included in ”Progglådan”.

Lars Vegas full album playlist
Alla är vi barn i början full album playlist 

På jakt... full album playlist

Längst därinne är himlen ändå röd full album playlist

Tonkraft 1976 full album playlist (tracks 1-4)

LASSE ENGLUND – Lila och orange (Metronome, 1980)

Instrumental, Swedish vocals

International relevance: **

After two albums for Kjell Höglund's independent label Alternativ and one album with his then future wife Marie Bergman, experienced guitarist Lasse Englund with released ”Lila och orange” in 1980. Housed in an unassuming cover, the music is a lot flashier. The album confirms Englund to be the technically brilliant fingerpicker already debut ”Drakväder” revealed him to be. But as with many a dazzling guitar player, the chops and brilliance gets in the way of songs. Englund's shortcomings as a songwriter are further demonstrated by the album's vocal tracks that are mediocre at best. Leo Kottke fans will be delighted, but others might just as well ignore this album.

Lasse Englund continued making solo records but his best known for his session work for countless of artists. 

Full album playlist

JAN HAMMARLUND – The 1970's albums

Jan Hammarlund was a controversial figure to some, especially to the far left. One of the first in Sweden to come out as gay, Hammarlund became a spokesman for the Swedish gay rights movement. He wrote songs where he openly criticized homophobia including that of KPML(r) communist party leader Frank Baude. Remember, Sweden in the 70's wasn't as open as some might think as far as gender equality and sexual minority liberation go, and openly declaring your homosexuality was a bold move back then (and in some quarters still is, sadly).

Befriade från skolan (Silence, 1972)

Swedish vocals, English vocals

International relevance: **

Hammarlund got in trouble for other reasons too. His first album was withdrawn as the track ”Flamma stolt” used the music of classical composer Hugo Alfvén without clearing copyright issued before the release. A second editions was quickly pressed with the song substitued for a recitation of the lyrics. A pretentious panic solution that doesn't work very well.

It was obvious from the start that Jan Hammarlund was a gifted songwriter in the UK folk and singer/songwriter vein (Tobias Petterson mentions Donovan, an appropriate comparison). What you think of him largely depends on what you think of his vocals. He possesses a thin, high voice with a vibrato that reminds me of Buffy Saint-Marie. To me, that style soon becomes hard to stand and mawkish which makes it hard for me to sit through more than a couple of songs, even if the music itself is pleasant. Those who can listen beyond those mannerisms can probably enjoy ”Befriade från skolan” a lot more than I.

The album also features a Hoola Bandoola Band cover, a mellow take on the classic ”Vem kan man lita på”.

När bandet slutar spela (Silence, 1973)

Swedish vocals

International relevance: **

His second album blends original compositions with well chosen covers of Nationalteatern, Richard Fariña (the beautiful ”Swallow Song”, turned into ”Svalornas sång”) and the aforementioned Buffy Saint-Marie. ”När bandet slutar spela” is his best album by far, but I still have a rough time with Hammarlund's gossamer voice.

Tusentals stjärnor över Chile (Chilekommittén, 1974)

Swedish vocals, other languages

International relevance: *

Hammarlund's first foray into Chilean music that helped popularizing political singer Violetta Parra in Sweden. Half of the tracks were written by her, with additional songs by for example Brecht/Weill. A dull album, especially colourless following ”När bandet slutar spela”.

Landet jag är van vid (Silence, 1976)

Swedish vocals

International relevance: *

One Parra song, three by Malvina Reynolds, a couple of traditionals and more of that increasingly irritating helium vibrato. Guest appearances from Fred Lane (Bella Ciao, Tillsammans, Margareta Söderberg), Kjell Westling and Turid.

Igår, idag, imorgon (Silence, 1976)  

with Turid and Lena Ekman

Swedish vocals

International relevance: **

Hammarlund, Turid and Lena Ekman are a perfect match as they were similar as both songwriters and singers. When they teamed up, however, their music earned a more prominent Swedish folk feel (many of the songs here are traditional), with several of the songs performed more or less a capella. Interesting as an atypical curiousity, but largely unsatisfying as an album.

Innan tåget är på väg (Silence, 1978)

Swedish vocals

International relevance: **

 

Hammarlund brought Lena Ekman along and added several other prominent players such as thr always excellent Bosse Skoglund on drums, Greg FitzPatrick on bass, and guitarist Lasse Englund. Includes songs by Malvina Reynolds, Björn Afzelius and Fria Proteatern.

Nåt på spisen med varann

Micke Malung

Ett rop som stiger (Silence, 1979)

Swedish vocals

International relevance: *

”I'll sing to you if you can stand my voice” begins ”Ett rop som stiger”, Hammarlund's second album of exclusively Chilean songs. Thing is, I can't. After seven albums (and a few 45's), I've had it with Hammarlund's vocals, and here they claw on my nerves even more than before, with Hammarlund singing in a strained and forced kind of way. Turid appears once again, and multi-instrumentalist Kjell Westling adds his bass clarinet talents.

Jan Hammarlund is still active and has released numerous albums over the years. He's also featured in ”Progglådan”. 

In my opinion, his greatest achievement is bringing attention to and fighting against the injustices brought on gay people. With the minor exception of "När bandet slutar spela", his albums are a sure pass for me.

När bandet slutar spela full album playlist
Innan tåget är på väg full album playlist