A SEVEN INCH SPECIAL, VOL. 13: FRINGE PROGG

 
BRUNO WINTZELL
Idag sköt jag ihjäl en okänd man / Du och jag – en kärlekshistoria (Polydor, 1970)
Balladen om Joe Hill / Som en seglande mås (Polydor, 1971)
Swedish vocals
International relevance: *

Roger Cook's ”Today I Shot A Man I Didn't Know” proved very popular when translated by Hawkey Franzén. There are four Swedish versions from 1970, that I know of, but there might be even more hiding away somewhere. The antiwar message was of course perfectly in tune with the times with the mindless Vietnam war raging like a tameless beast so loud the entire world could hear it. Actor (known for his role in ”Hår”) and singer Bruno Wintzell must have found it irresistable to record it as it's a perfect song for his voice and rather haughty vocal style. Vocally speaking, the best Swedish version is probably Tommy Körberg's, but the arrangement and the production is more to my taste with Wintzell. Still, the calculated maudlinness of the song is always overbearing. The sound and arrangement is what's best with the flipside as well. ”Du och jag – en kärlekshistoria” isn't progg but nice (if you like that kind of stuff) albeit undistinguished orchestral pop lacking the necessary distinctive features.

"Balladen om Joe Hill" was originally known as "I Dreamed I Saw Joe Hill Last Night", and was first recorded in Swedish by Fred Åkerström. That one and "Som en seglande mås" (which is Leonard Cohen's "Bird On A Wire" in Swedish) are country tinged but both of them are pretty terrible, with Wintzell taking himself even more seriously than usual.
 

VARIOUS ARTISTS – Jukebox JSEP 5601 (Jukebox, EP, 1970)

Featured artists: Tommy Körberg / Mike Castle / November / Diddlers

 English vocals, Swedish vocals

International relevance: *

The so called Jukebox EPs were a long running series of budget compilation seven-inches known for mixing completely unrelated bands and artists, usually four at a time. They're in low demand as most of the tracks chosen for the EPs were taken from already existing releases. This one here is an exception, as blues artist Mike Castle's ”Walkin' Blues” was unavailable elsewhere at the time. It's a not very imaginative rendition of Robert Johnson's classic and was later added as a bonus to the digital reissue of Castle's lone (and Peps related) album ”Kaligyga Express”, also from 1970. But this is the only place to get it on vinyl, why I mention it here. The others are non-exclusive tracks by November, Diddlers and Tommy Körberg..
 

BJÖRN JANSON – Det är skönt / Sommar i en skärgård (no label, 1976)
Swedish vocals
International relevance: *

Apart from music, Björn Janson was a boat designer and a restaurant owner, and he released this single at his own expense. The B side is pure dross, a nondescript piano ballad I wish a long and painful death, but ”Det är skönt” has some nice features of which the soaking reverb isn't one. It's certainly on the commercial side, but the fake funky drive is pretty catchy, and it has some semicool and semiheavy guitar passages which unfortunately are too short. You could probably remix ”Det är skönt” and bring a better track out of it, but I suppose the master tapes are long gone. Probably very rare, but I suppose nobody wants it and that most likely includes you too.

ENVOYS – Kräv Bryggeriet kvar / Så svårt (Marilla, 1976)
Swedish vocals
International relevance: *

Envoys were more than anything a pop band, having started already in 1964 (then with future journalist and TV personality Robert Aschberg as a singer). Their first single appeared on MNW in 1969, a cover of The Beatles' ”I Saw Her Standing There”. Their best known track however is ”Almarna åt folket”, a translation of John Lennon's ”Power To The People” released in support of those who fought for the preservation of the elm trees in Stockholm in 1971. The next single had David Bowie cover ”Starman” on the 'A' side, which was followed by their second charity single ”Kräv Bryggeriet kvar” in 1976. Bryggeriet's full name was Münchenbryggeriet (=”the Munich brewery”) and was built in the 19th century. From the early 1970s, it was a node for various cultural activities, but the powers in charge wanted to tear it down and make room for a new housing area. It caused an outrage with the people, and the protesters against the teardown included several well-known musicians, actors and writers. As in the case of the elm battle, the authorities eventually backed down and Bryggeriet was spared. Envoys' call to arms isn't as powerful as their Lennon interpretation from five years earlier. ”Kräv Bryggeriet kvar” is fairly rocking, especially in the choruses, but it doesn't have the same punch, coming across like a mix of Björn Afzelius and Nationalteatern. The 'B' side is a sappy ballad that sounds more like teenybopper singer/songwriter Ted Gärdestad than a progg band, revealing Envoys' true commercial nature.

 

GOG – The Beatless E.P. (Magog, 1979)
Instrumental
International relevance: *

Not only fringe progg, but on the fringes of everything. Gog was a one man project by Gothenburg's visual artist and musician Dan Fröberg. Gog's self-released EP is basically an abstract sound sculpture in four parts with fractured musique concrète characteristics. It's not without artistic merits, but it's best suited for adventurous listeners accustomed to prototypical tape music and primitive EAM. Might interest those who consider Imp.Ink, Psynkopat and Friz Be too mainstream... Some, perhaps all, copies had extra, off-centre, hand-carved spindle holes so you could choose between a regular playback and a wowy one. 500 copies were pressed, some came with a picture sleeve and an insert. A rare item today, sometimes fetching €100 on the collectors market.

TOMAS BERGH – Upp till kamp / Oh... tryggare kan ingen vara (Frituna, 1979)
Swedish vocals
International relevance: ?

A very peculiar single with no clear target audience. Because who would possibly want a disco version of ”L'Internationale” in five different languages? Studio 54 strings, perky horns, cheesy basslines and a high BPM number – huh?! And a deconstructed punk version of the hymn ”Children of the Heavenly Father” on the B side?! I mean, what the hell is really going here??? It's obviously tongue-in-cheek but it's still so bizarre and absurd that I dare say that you've never heard anything quite like it before and never will again unless you play it a second time. And you might as well want to, just to figure it out.

I've no idea who Tomas Bergh was, if it even was his real name, but the guys backing him up were sessions musicians including Anders Eljas who thought up the concept. Eljas was a music conservatory graduate who worked with opera singers as well as pop stars (he played keyboards on ABBA's 1977 world tour for instance); he orchestrated the ”Chess” musical; produced stage shows for Povel Ramel (Mikael's dad), and conducted the London Symphony Orchestra during a Hyde Park show featuring guest stars like Kylie Minogue, Jamie Cullum, Lulu and Chaka Khan – to mention just a few things he's done. But I still think this very single must be the most askew thing he ever did. Do I like it? Not at all, but I'm intrigued by it. 

It was also issued as a 12” with an extended disco mix of the A side. Burn, baby, burn!

MAKE UP – Hot Love Street / My First Love (Wave, 1980)
Swedish vocals
International relevance: - 

Included here more as a warning. Make Up are often classified as a hard rock band, but there are not many features on this single to back up such an assertion. ”Hot Love Street” is a really terrible discofied pop rock track while ”My First Love” is a sappy ballad where the singer's linguistical and vocal shortcomings really come to the fore. A full length album followed in 1981.

DYNAMO VARBERG – Ayatollah Khomeini / Anwar Sadat (Nacksving, 1980)
Swedish vocals
International relevance: **

Dynamo Varberg made their debut with a very rare cassette-only album called ”Filiberts höna” in 1978. The 1980 single at hand is a fairly elusive Nacksving release with two songs taking a clear leftist stand against Middle Eastern dictatorship and oppression, with an additional stab at Sweden's then rightwing prime minister Gösta Bohman, like Rävjunk did on their legendary ”Bohman Bohman” single. The music itself has in fact a wee bit in common with Rävjunk's more rock oriented style. It's not as punkish, but Dynamo Varberg had a similar sleazy vibe. There's some biting guitar playing including wah-wah going on, and the songs are quite good – especially ”Anwar Sadat” where singer Björn Spåls also manage to sound a bit like Eldkvarn's singer Plura Jonsson. The worst element is the sitar on the A-side which sounds as if it was played by a stoned-out Edward Scissorhands. Apart from that, this quite appeals to me, and it's certainly one of the more vital releases on Nacksving.

CALCUTTA TRANSFER

Mannen (som på tunnelbanan sket) / Howrah Station (Mistlur, 1980)
India Waits (Mistlur, 1981)

Swedish vocals
International relevance: **

If Calcutta Transfer hoped for any radio play with their first single, they probably shouldn't have named it ”the man who shat in the subway”, so a lot of people probably missed the lyrics' environmental worries. Like almost everything coming from the Transfers, ”Mannen (som på tunnelbanan sket) is outlined from Dag Vag, more precisely ”Ogräs” from their debut album. It's still one of the Transfers' best songs. The clavinet sounds like a spider tapdancing on a hot hob. It's either bloody annoying or oddly effective depending on your mood. ”Howrah Station” isn't their typical reggae but closer to disco. It was a live favourite apparantely, and I can imagine they could stretch it out with plenty of Kenny Håkansson styled guitar soloing on stage, but here it's as dull as yesterday's pasta leftovers.

Their second single is called ”India Waits”, but there's no track here by that title. Both songs are non-album tracks, and the Dag Vag influence is intact. The 'A' side ”Plus minus noll” is a fast paced ska track with a debt to pay to Dag Vag's ”Glappkontakt” but the 'B' side ”Fet guru” shows more originality. It's a slightly spacey track with a rock beat, thick layers of tasty organ and soaring guitars. The band whips up quite some energy the longer it goes on, and it stands out not only as one of their proggiest efforts but also one of their very best.

PAJ VAJ – Med hacka och spade / Flum e dum (Bums, 1980)
Swedish vocals
International relevance: *

It's actually rare that I hear something that leaves me stumped, but this eccentric 45 knocks me off course. What on earth am I listening to? Is it for real or is it a joke?

I've no idea who's behind it because I can't find any valuable info on it anywhere. The songs were written by Bask (who?) and Lindström (which one?), and the Bums label mostly released commercial artists. Paj Vaj were anything but. The singer sounds like Blå Tåget's Torkel Rasmusson trying to cure a hangover from hell by eating three pounds of chalk. He remains hungover but with a demolished voice. Ot maybe he sounds like a Kenta with a rubber ball stuffed down his throat? Is he fucking around or does he need a doctor? Is he immaculately groggy? Deranged? Is he, at all, for real? His idea of enunciation is, er, unusual but it's obvious that the singer (or lyricist, or both) holds a grudge against... parents, teachers, the police, the authorities, actually the entire society. Kill them and bury them. Problem solved.

The music is pretty straightforward with a certain lilt; it's standard rock setting plus harmonica, but thanks to the off-kilter vocals, it has some bizarre gravity. It's too straight qualifying as outsider music, and it's way too odd for any mainstream appeal. I can't really recommend it, but I can't not recommend it either. I'll probably play it a lot more, if only to find out what the hell is going on here. If the discofied "L'Internationale" was puzzling, then this is completely bewildering.

ROCKTEATERGRUPPEN SMÅFOLKET – Nu drar vi ner på stan (Rainbow, EP, 1980)
Swedish vocals
International relevance: *

Little known four track E.P. by a self-appointed 'rock theatre group' which immediately makes you think of Nationalteatern. Which is perfectly true because it's hard to imagine this would exist without the source inspiration from said group, But it lacks the sharpness of the Ulf Dageby's and Anders Melander's songwriting, and the instrumental prowess that Nationalteatern developed is surely lacking here. Småfolket sounds like a local group (more precisely from Malmö) performing at youth clubs to a less than excited underage audience. The drummer is rudimentary, the guitarist is far from experienced, but the the two singers – male and female – are especially amateurish. Esther Nordenbrink in particular sounds shrill and shouty which suggests a punk awareness in a Mörbyligan way.

The four songs were featured in the play that gave the E.P. it's title, roughly meaning ”let's go downtown”, and while the B side is a wee bit better with ”Nu är jag ung” (=”now I'm young”) being the best song of all, none of them is up to snuff. A 'B' grade effort that time rightly forgot.

HS3 BOYS – Fel tåg / Hon är ett lik / Pia Love (no label, 1983; rec. 1981)
Swedish vocals
International relevance: *

Little information availabe for this one as well. There's no print on the colour-coded labels and only the members' first names are stated on the cover. However, HS3 Boys might originate from Östersund as Myrbein's bass player Johan Von Sydow is featured here, and both bands used the Tommys Musiklab studio. While this three-track EP wasn't released until 1983, it was recorded already in 1981 according to information presented to Swedish Radio. With no drummer present, the rhythm is provided by a drum machine which defines their original sound. It's hard to pinpoint it, but there's definitely a Latin influence there. I also sense a touch of Mikael Ramel, but that's possibly only in my head. Still, it's not a very good disc, so not worth the effort hunting it down. 

LJUDLÖST ÖS – Jerry / USA (Natty Records, 1981)
Swedish vocals
International relevance: *

Reggae has always been pretty popular in Sweden after Peps Persson introduced the style in the mid 70s, and we had a few quite good or at least decent reggae bands already back in the day. Not only were there high profile names as Dag Vag, Rotpuls and to some extent Rockamöllan following Peps in his footsteps, but there was also a pretty widespread undergrowth of local bands. Ljudlöst Ös was one of the unknowns trying to adapt to the Jamaican backbeat, but thay had certain problems succeeding. If anything, reggae demands a drummer who can forget everything he learnt about the standard rock beat, and Matte Pettersson of Ljudlöst Ös struggles a bit. I've heard far worse examples of drummers losing the concept when switching to reggae, but a Bosse Skoglund he is not. Both songs on their lone, privately released single speak out against racism and cultural colonialism. With female singer Maria Johansson, Ljudlöst Ös sound like I imagine Nationalteatern would sound like if they attempted to be a reggae band. It all sounds a bit chunky and awkward proving that good intentions won't always come out as good results. 

MANTRA – Made In Japan / Här är jag (Mercury, 1981)
Swedish vocals
International relevance: -

This is probably Mantra's biggest claim to fame being released on major label Mercury, produced by Janne Schaffer and with lyrics for both tracks written by Mikael Ramel. It's not Mantra's typical test tube jazz fusion but it still sucks. ”Made In Japan” is some misguided attempt at synth pop an while ”Här är jag” is a bit better, the quasi-punkish rock falls on its feet just the same. 

ZVENSKA MUSKLER – Fyra årstider / När elden har brunnit... (no label, 1981)

Swedish vocals

International relevance: **

One-off single from a band that grew out of probably unrecorded band Dr Rockford, and with a name would translate into "Zwedish Muscles, featuring singer/guitarist Tobbe Rüsslander. ”Fyra årstider” isn't that great and not too proggish either, while the slower ”När elden har brunnit” is OK with some extended guitar workouts, electric piano and a peculiar, almost ghostly atmosphere – perhaps due to the decidedly non-professional mix. It's not as good Rüsslander's 1978 solo cassette, but it's still worth hearing once for "När elden har brunnit".

JSMB – Låt fler forma... / Håll mej varm (JSMB, 1982)
Swedish vocals
International relevance: *

More progg in the socially concerned lyrics than in the actual music. The lyrics are unusual in the sense that singer Magnus Sjögren declares he's a liberal (i.e. not a leftist), but he proclaims care for your fellowman whoever and wherever he or she is, so the fundamental tone is that of humanism rather than politics. Sjögren's phrasing suggests he's an Ulf Lundell fan although I wouldn't call the vocals exactly epigonic. ”Låt fler forma...” is decent enough in a rock singer/songwriter style, and certainly much better than the other track. ”Håll mej varm” is totally terrible, a rheumatic rockabilly pastiche which is entirely embarrassing complete with a bathroom reverb to make it sound 'authentic' which it of course does not.

Sjögren later reappeared in Örebro band Big Deal who had some success in the late 80s and is still active. I know nothing about the other members' whereabouts – there are no credits on the label and the single came in a plain white sleeve when originally released.

COREY – Havet / Livet är en dröm (GAT, 1982)
Swedish vocal
International relevance: *

A Gothenburg band apparently with some connections to the Social Democratic Youth Association SSU. Corey's lone single was a private release and features two pop/rock tracks with some semi-heavy and progressive elements. It's quite OK for what it is, especially ”Havet” which is actually rather good, but although it has some nice touches of the right kind, there may not be enough prog/progg here for most blog readers. Two versions of it exists, one in black vinyl and one in red.

Bruno Wintzell
Du och jag - en kärlekshistoria / Balladen om Joe Hill / Som en seglande mås  
Jukebox EP
November - Cinderella / Mike Castle - Walkin' Blues  
Björn Janson
Det är skönt (poor sound)
Envoys
Kräv Bryggeriet kvar  
Gog
Full single 
Tomas Bergh
Upp till kamp / Oh... tryggare kan ingen vara  
Make Up
Hot Love Street  
Calcutta Transfer
Howrah Station / Plus minus noll  
Paj Vaj
Med hacka och spade  
Rockteatergruppen Småfolket
Nu drar vi ner på stan  
Ljudlöst Ös
Jerry / USA 
Corey
Havet 
 
HS3 Boys, Dynamo Varberg, Mantra and JSMB no links found

A KLIPPAN PROGG SCENE SPECIAL – Tors Hammare / Heta Drömmar / Svenn Kruse / Christian Brandt

Klippan is a small mill town in the northwest part of the Skåne county in the south of Sweden. Way back in time, Klippan was known for their wool production, and later (and to this day) for their paper industry. But they did also leave an indelible mark on Swedish rock history in the late 70s and early 80s when local record label Svenska Pop Fabriken (and their various sublabels) began releasing singles and albums that gained nationwide attention from both media and record buyers. Responsible for the first ever Swedish punk single ”Vårdad klädsel” by Kriminella Gitarrer, they soon added bands like Torsson, Kommissarie Roy, Noise, The Push, and Wilmer X to their roster. Being a very Swedish label, none of the bands (mostly singing in Swedish) are known outside our borders, although Kriminella Gitarrer have indeed earned a belated international reputation as interest in local punk scenes has grown around the world. Most of Svenska Pop Fabriken's output may be called rural rock'n'roll with a strong sense of pop melodicity, but to someone like me who pretty much grew up with in their golden era 1978-1985, their legendary status is carved in stone.

However, Svenska Pop Fabriken's history goes further back in time to the music association Bombadill who took the homegrown music very seriously. Not only did Bombadill function as a local network for the bands, Bombadill also built their own studio. Plenty of recordings were made there from the mid 70s and on. One album and a couple of cassettes of Bombadill recordings were released at the time. Although Klippan is best known for the pop/rock of Svenska Pop Fabriken, a few of those early bands and artists represented a more progressive and experimental style. 

Tors Hammare: Ska du med på disco 

Tors Hammare went through several line-up changes, but important members in their fledgling days were Örjan Mjörnheden (guitars, vocals), Svenn Kruse (guitars, vocals) and Christian Brandt (percussion, violin). The so called Mk I only ever released one official track, ”Vägen till Valhall”, on the first Bombadill cassette. It's a surprisingly heavy, guitar infused, folk tinged instrumental, as was the five-part suite ”Ska du med på disco”. Among their true confessed heroes were Träd, Gräs Och Stenar and similar bands, plus the latin rock of most prominently Santana. There's strong psychedelic overtones with wailing wah-wah leads on the shambolic ”Hästen” as well as on their slightly revamped take on Träd, Gräs Och Stenar's ”Sommarlåten”.
 

Tors Hammare: Demo 1

The Santana influence grew stronger when Kruse and Brandt left the band, as proven by a surviving 1980 demo by Tors Hammare Mk II, but the demo also shows they developed a stronger grip of their progressive ambitions as on ”Myrornas flykt” and ”Nattens drottning”.

Meanwhile, Svenn Kruse and Christian Brandt made their own recordings in the Bombadill studio. Judging by those, they were the real avantgarde force of Tors Hammare Mk I. Their joint recording ”Kretsloppet” mixes field recordings, electronics and tiny slices of more organized music – it's almost like a nine minute condensate of Thomas Mera Gartz's ”Luftsånger”. ”Vernissagemusik del 1” (=”music for an exhibition”) is based around an extended organ drone before turning into a summery piece for acoustic guitar and synthesizer. A second part of ”Vernissagemusik” was recorded as Heta Drömmar (=”hot dreams”), which is pretty close to the lyricism of Anna Själv Tredje. The lyrical side also comes to the fore on ”Hjortronguld”, a 27 minute piece with guitar and violin, while their Träd, Gräs Och Stenar admiration is obvious on their very strange cover of ”Sanningens silverflod” with sped-up vocals similar to those on Kebnekajse's debut and Mikael Ramel's first album, a trick also used on Svenn Kruse's solo recording ”Tomtar på loftet”.

Christin Brandt & Svenn Kruse: Vernissagemusik 1

Other short Kruse tracks further emphasized his infatuation with Swedish folk progg and psychedelia – ”Svens psykedeliska ögonblick” (=”Sven's psychedelic moment”) gives it away already in the title, while ”Säkkijärven polka” (a Finnish tune popular in Sweden at the time) sounds like some lost demo for Kenny Håkansson's ”Springlekar och gånglåtar” album.

When Tors Hammare transformed into Mk 3 in the early 80s, they had lost just about all of their original underground charm. They got better at playing for sure, but their watered down takes on ska, funk and fusion simply suggest a band without a vision. They really could have used Brandt's and Kruse's experimental spirit.

There's also an 'all-star' recording of several Bombadill artists coming together as The Bombadill Chosen Few, "Latino Blasfemia" that mixes latin with Swedish folk.

All these recordings (and more) have thankfully been digitzed for the Bandcamp age. Although a lot of the music is admittedly sloppy, it has a youthful energy and explorative desire. More importantly, it reveals a part of the local Klippan scene that has previously been only fond memories in the minds of those who were there, but only tales and legends to those who weren't. It adds several fascinating pieces to the ever so nebulous jigsaw puzzle called Swedish progg. 

Bandcamp links:
Tors Hammare
Vägen till Valhall / Ska du med på disco - Svit i fem delar / Hästen / Sommarlåten / Vinternatt i Klagshamn / Demo 1 full album playlist 
Christian Brandt & Svenn Kruse
Vernissagemusik del 1 / Kretsloppet 
Heta Drömmar 
Vernissagemusik del 2 / Hjortronguld / Sanningens silverflod / Tomtar på loftet  
Svenn Kruse 
Hymn / Svens psykedeliska ögonblick / Säkkijärven polka / Långt ute 
The Bombadill Chosen Few 
Latino Blasfemia  

KENNY HÅKANSSON – Beno's ben (Silence, 1981)

 

Instrumental, Swedish vocals
International relevance: **

A peculiar album lacking both direction and ideas. Those who expect electric folk rock à la Kebnekajse or Håkansson's first solo album ”Springlekar och gånglåtar” will be sorely let down. A couple of tracks sound like a heavier Isildurs Bane, including the best one here, ”Existensproblem”. Another in turn is an approximation of sequencer Tangerine Dream but with guitars instead of electronics. ”Om döden” is better in Dag Vag's live version on ”Almanacka”. The oriental touches in”Egna ben” can't hide it's really just an inferior postpunk song but still better than the pseudo melodic heavy metal of ”Encore”. All sounds like song sketches that should best have been left on hissy 4 track home tapes and not turned into a full, officially released album. I love Kenny Håkansson but this album just isn't any good.

Full album playlist

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

CORNELIS VREESWIJK – Poem, ballader och lite blues (Metronome, 1970)

 Swedish vocals, spoken word
International relevance: **

Cornelis Vreeswijk came to Sweden from The Netherlands as a 12 year old, well in time to learn Swedish to the point he mastered the Swedish language better than many native Swedes. His debut album ”Ballader och oförskämdheter” hit like a bomb upon its release in 1964 and more or less kickstarted the wave of new Swedish troubadours and visa singers. No-one could touch his excellence though, and up to his untimely death in 1987, he had released dozens of albums of sharp-witted observations, great acoustic guitar playing and brilliant songwriting. Not a lot of it is within the progg realm however, but he did have some friends in high progg places as proven by his albums around the turn of the decade 1969/71. Looking closely at the musician credits from these years, you'll find names like Kenny Håkansson, Lasse Wellander and Slim Borgudd. Borgudd is also on ”Poem, ballader och lite blues” along with Jojje Wadenius and Bosse Häggström meaning the entire Made In Sweden is present here. Add to that Björn J:son Lindh and Sten Bergman, and you have an album with progg credentials enough.

The title is self-explanatory. It translates to ”poems, ballads and a bit of blues”, and that's exactly what you get. The poetry recitals may be short but they're nevertheless distracting and interrupts the flow but the strictly musical parts are, for the most part, simply brilliant. You could argue that it would have been an even better album if the double album had been trimmed down to a single disc omitting a few out-of-place numbers, but that's essentially hairsplitting. Not only does it feature some of Vreeswijk's best songs of all time, the musicianship is absolutely great on tracks like ”Rosenblad, rosenblad”, ”Cool Water – på den Gyldene Freden” and the really heavy blues ”Ett gammalt bergtroll”. Eveyrhing adds up to Cornelis's best album and thus, one of the great Swedish albums.

Full album playlist

KENTA – Complete albums 1979-1981

You don't have to be a coldblooded cynic to say that hadn't it been for ”They Call Us Misfits” and ”A Respectable Life”, Edgar Froese lookalike Kenta would never have gotten a recording career.

Kenneth ”Kenta” Gustafsson was born in Stockholm in 1948 to a rough upbringing. Both his parents were alcoholics and Kenta was left to take care of himself. When the Swedish mod scene grew in the mid/late 60s, Kenta was drawn into it. Swedish mods had very little in common with UK mods, with a completely different dressing style and dissimilar values. Most people only knew about the mod subculture from the newspaper headlines of 1965 when mods and raggare (another youth subculture, centered around American cars and music from the 50s) clashed in the city centre of Stockholm. The tumult came to be known as the Hötorget riots after the location where the it happened. Stefan Jarl's 1968 semi-documentary ”They Call Us Misfits”, original title ”Dom kallar oss mods”, portrays the drink and drug-fuelled mod lifestyle with greater compassion and depth, and brought buddies Kenta and Gustav ”Stoffe” Svensson to the public eye. The movie had a follow-up in 1978 with ”Ett anständigt liv” (English title ”A Respectable Life”), a much darker and grittier work than its predecessor. Ulf Dageby's relentlessly bleak soundtrack reflects the the movie with scary accurance, and marks the vocal debut of Kenta who sings on four of the tracks.

Kenta (Metronome, 1979)

Swedish vocals

International relevance: *

Kenta's co-writing partner Aapo Sääsk brought Kenta to ABBA manager and Polar Records owner Stikkan Andersson's attention, but when Andersson got cold feed, Kenta ended up with Anders Burman's Metronome. A much better choice to begin with considering Burman's penchant for odd voices and self-styled songwriters. Production work was delegated to Finn Sjöberg (Kvartetten Som Sprängde) who also plays guitar on a few tracks. As do Kenny Håkansson among several other weathered studio musicians. The instrumental backing is much more lavish and polished than Kenta himself. He sings with great conviction in a slight post-Ulf Lundell fashion, but his barky, gruff voice is certainly an acquired taste. But it serves the lyrical purpose; the words are monochromatic snapshots from life's other side and it's impossible imagining a better singer deliver them with equal confidence. The album may be a minor Swedish classic but truth is it really isn't very good. It's more of a statement entirely dependent on Kenta's persona.

In a strange turn of events, Kenta found himself competing in the Swedish Eurovision Song Contest in 1980. His contribution ”Utan att fråga” ended up as #6 – imagine that happening now! – but what many people were far more concerned with was the T-shirt Kenta wore. Depicting a couple in the sex position popularly known as 69 with the words ”try it you'll like it” had the moral majority choking in front of their TV sets. Despite, or most likely thanks to that, ”Utan att fråga” reached number 2 in the singles charts and was added to later editions of ”Kenta”.

Kan det va' fel på systemet? (Metronome, 1980)

Swedish vocals
International relevance: *

”Kenta” could very well have ended up as a one-off novelty thing, but after his ESC success, he returned with another LP. ”Kan det va' fel på systemet?” (=”could it be that the system's wrong?”) is basically more from the same stock, only a wee bit heavier with a somewhat tighter sound. Again produced by Finn Sjöberg but no Kenny Håkansson this time. More uneven than the debut but with a few better songs including ”Vi behöver hjälp”, a rather heavy track unfortunately spoiled by the vocals. Also featured is ”Bajen”, Kenta's tribute song to his favourite football team Hammarby IF.

August & Kenta (Metronome, 1981)
Swedish vocals
International relevance: *

Third time around and Kenta makes an unexpected move setting music to poems by Sweden's major author August Strindberg. It's also a step away from the large number of studio musicians to a smaller ensemble consisting of for instance Nynningen cohorts Nikke Ström and Bernt Andersson, with electric guitar provided by Ulf Dageby who also stepped in as an arranger. With Stefan Jarl in the rare position of record producer, this is almost a throwback to the ”Ett anständigt liv” soundtrack. ”Esplanadsystemet” even sounds like an outtake from it (which it isn't). At any rate, ”August & Kenta” is probably the Kenta's most focused album. The smaller line-up proves beneficial to the songs, and Kenta the singer sounds more relaxed here than on any of his previous albums. Still not great, but it showed that Kenta had more to give than just his personality.

But as fate had it, this was to be his last album. He appeared in the third installment in Stefan Jarl's Misfits series in 1993, and he popped out as for guest vocals on an album by commercial keyed fiddle player Åsa Jinder in 2002. He provided one track to a V/A tribute album to Hammarby football club in 2001. Kenta Gustafsson died from cancer two years later at the age of 54. Two posthumous albums of previously unreleased songs and demos appeared in 2022/23 in strictly limited vinyl editions.

Kenta full album playlist including "Utan att fråga"
Kan det va' fel på systemet full album playlist
August & Kenta full album playlist

JOHNNY 'MBIZO' DYANI – Witchdoctor's Son 'Together' (Cadillac, 1987; rec. 1979-80)

Instrumental, other languages
International relevance: *

Not to be confused with the ”Witchdoctor's Son” album from 1978, this album was recorded in Stockholm winter 1979/80 with Kenny Håkansson, Bosse Skoglund, Hassan Bah (of Kebnekajse) and Dudu Pukwana. It wears Johnny Dyani's South African heritage proudly, and despite Dyani being best known as a jazz pianist and bassist, there's very little actual jazz here. It's much closer to Soweto's township music. A huge exception is the track ”Kalahari” clocking in at almost nine minutes with Kenny Håkansson really letting it loose, firing off psychedelic fireworks almost as if it was Baby Grandmothers all over again. It comes a real surprise as there's nothing else on the album even close to that. The rest of the album isn't too interesting from a progg perspective, but that track alone is worth the price of admission.

Together
Johnny's Kwela
Marabi Soweto
High Priest
Kalahari
Crossroads
Tula Tula

MATS GLENNGÅRD – Violin Race (Bastun, 1980)

Instrumental, English vocals
IRG: **

The expression ”don't be fooled by the name” has rarely been as appliable as here. If you expect anything close to Kebnekajse violinist Mats Glenngård's first solo album, the lovely ”Kosterläge” from 1972, then you'll be sorely disappointed. This is closer to Kebnekajse's last album ”Vi drar vidare” which had Glenngård at the helm as Kenny Håkansson had left the group by then. ”Vi drar vidare” is an insult to the band's once glorious name, with limp fusion jazz, and that goes for ”Violin Race” as well. This is an equally bloody awful piece of shit, with fretless basses (and ”funky” slap bass), appalling keyboards and even electronic disco handclaps, featuring members of EGBA, Häxmjölk, Wasa Express and Hörselmat. It's almost scary thinking that this is what an ex-member of one of the greatest Swedish progg bands really had in him.

I hate this album so very much.

Full album playlist

JAN HAMMARLUND – Järnvägsräls - Live (Silence, 1982)

Swedish vocals
International relevance: *

As always with Jan Hammarlund's albums, it's a lot more fun to see who appears on them than it is to listen to them. This time, Kenny Håkansson joins forces with Ye Olde Helium Warbler. A live document recorded on various locations in the early summer of 1982, it's a set of songs not appearing on any other Hammarlund albums up to that point. With mostly band accompaniment, it has a fuller sound than other albums of his, but as many of the musicians (Håkansson included) adopt an up-to-date early 80's sound, it still sounds slicker than a lot of his prior work, especially with Dane Niels Hofman on fretless bass (not a good thing).

The album is notable for featuring a first ”Jag vill leva i Europa” that became something of a signature song for Hammarlund, especially when re-recorded a couple of years before the Swedish EU referendum.

Full album playlist with bonus track

SCALA-TEATERNS ENSEMBLE - Hår (Sonet, 1968)

Swedish vocals

International relevance: **

Originally an off-Broadway production in 1967, musical "Hair" eventually became a Broadway blockbuster, spawning multiple domestic versions in numerous countries of the free world. The Swedish staging was performed at the Scala theatre in Stockholm 1968, the very same year it moved to the proper Broadway stages (thus being the very first musical to make that particular move).

Appallingly subtitled "American Hippie-Yippie Love-In Musical", the musical backing was provided by Baby Grandmothers in their later Mecki Mark Men incarnation, although the album was technically credited to Scala-Teaterns Ensemble. The inclusion of Kenny Håkansson, Mecki Bodemark et al is the only thing to make this release historically interesting, but it has to be said that it's impossible to tell the identity of the band just by listening to the LP. While they conjure up some appropriate groove when needed, any fairly talented group of musicians could have achieved the same thing. The focus is on the singers, but the male and female vocals are maddening, with the female vocals being especially grating. After all, it is a musical, and musicals are an inherently grating abuse of music, like a watered-down version of the operetta which is a watered-down version of the opera which is annoying to begin with.

Those expecting anything along the lines of Baby Grandmothers' "Somebody Keeps Calling My Name" or the Jimi Hendrix impersonations of Mecki Mark Men are up for a major disappointment. "Hår" is just another provincial below average take on a silly musical parodying starry-eyed hippies. Which too was annoying to begin with...

The album was also released by Sonet in collaboration with shampoo and conditioner manufacturer Sunsilk (what else!) with a different sleeve (see below), also in 1968.

Full album playlist

BEFORE PROGG - A SPECIAL FEATURE ON SWEDISH 60'S POP, ROCK & PSYCH

It is of course very convenient declaring the two Gärdet festivals the starting point of Swedish progg, but as with any 'movement', progg is the result of what came before it. There's not one thing that appears completely out of the blue with no ties to the history. Besides, claims of the Gärdet festivals as the real beginning of progg exclude bands such as Hansson & Karlsson and Baby Grandmothers from the equation which needless to say is plain revisionism. But the roots of progg go deeper and further back than that too. Several prominent and important characters of progg or, if you will, 'the music movement', were in bands long before progg was a thinkable concept. Therefore, and despite the 1967-1982 scope of this blog, I think it's time to go back a bit in history and shed some light on what went on in Sweden in the 60's.

I don't think anyone actually ever counted how many active bands there were between 1962 and 1968, but likely several hundreds. Some of them hit big while others had just a single or two released, while others in turn never rose above the amateur level playing to friends and rehearsing in their parents' garages and basements. Needless to say, it's impossible to mention even a fraction of all those bands here, why this is merely a small overview of some of the domestically better known bands. Bands familiar to Swedes but not necessarily to anyone outside our borders.

Just a linguistic note before plunging ahead: Swedish 60's bands rarely used the grammatical article 'the' in their names. It's ”Namelosers”, not ”The Namelosers”; ”Mascots”, not ”The Mascots”. While it may appear inadequate to English speakers, and although exceptions exist, I've decided to keep in line with the original and most common band name procedure.

As in most Western countries, the impact of The Beatles were massive on the Swedish youth. Through pirate radio stations such as Radio Syd ('Radio South') and Radio Nord ('Radio North'), and through national broadcasting radio show Tio i topp ('Top ten'), the new melodic sounds from the UK reached our domestic listeners. A pop band craze took on swiftly, although those new amateur bands from all over the country were called twist bands early on. A wimpy name but truth be told: many of the bands were pretty wimpy sounding anyway. Some started out even before The Beatles broke big, but The Beatles and, to a not negligible extent, also The Rolling Stones and The Who had a huge impact on the majority of the Swedish beat groups.

TAGES

With limited knowledge of the English language (including some truly awkward pronunciation) and a not necessarily natural penchant for songwriting, many of those bands relied on covers of UK bands and American rhythm & blues standards, but some creatively fortunate bands featured good songwriters and above-average skills. Most notably Gothenburg's Tages (pronunced 'tah-gehs', not 'taygs'). After a weak start with a couple of less than impressive 45's, they got the chance to record and release an impressive amount of five LP's before disbanding (or rather evolving into Blond who also had one full length disc out, in 1969). Tages won a battle of the bands contest early on and became known as ”The Beatles of the Swedish West coast”. Soon freeing up a considerable amount of songwriting skills and a genuine sense of creative studio work, their last two albums are exceptional for a Swedish 60's band. Both ”Contrast” (featuring the psychedelic workout "Fuzzy Patterns") and especially their final album ”Studio” are landmark efforts of very elaborate pop psych. Add to that their final singles among which "Fantasy Island" is a beautiful example of how far the band would go before the saga ended.

Tages featured one Göran Lagerberg on bass, who later became a stahlwart on the progg scene, generously sharing his abilities with bands such as Kebnekajse, Fläsket Brinner, Jason's Fleece and Egba. He was also an oft-hired studio musician why his name can be found on albums by Joakim Skogsberg, Sam Ellison, Bernt Staf, Pugh Rogefeldt, Bo Hansson and the likes.

MASCOTS

The decidedly second best Beatles influenced beat group was Mascots. As with Tages, Mascots had an excellent flair for short, catchy pop tunes appropriate for the 7” format. They did however release two full length discs, the eponymous debut album in 1965, and ”Ellpee” the following year. Their best track by far was however first issued on a flexi disc that came free to subscribers to the premier Swedish pop magazine Bildjournalen (the song later released on a proper 7"): ”Words Enough to Tell You” is where Mascots let all their melodic expertise shine the brightest. It even beats Tages in their own game, with lush harmony vocals and an absolutely irresistable melody line moving in perfect ways somewhere between The Beatles and The Hollies. It's no wonder that ”Words Enough to Tell You” has found its way to several various artists comps over the years, both nationally and abroad. It certainly deserves it.

It's a sad fact that a burgeoning interest in politics brought Mascots to their demise. The band evolved into the unfathomably abysmal political band/theatre ensemble/general break-every-record-with-their-name-on-it-inspiring Fria Proteatern. What an utter waste of almost unrivalled pop sensibilities!

SHANES

Predating both Tages and Mascots were Shanes. They first tried their luck as an instro band in the Ventures vein in 1963, but as pop mania spread like a wildfire across the nation, the Western twang of their very earliest 45's changed in favour of a more typical beat group sound. When they went for a rougher, more garage or freakbeat inspired style, as on the pounding and hard-driving ”I Don't Want Your Love”, and when they at the very end of their career moved a step or two towards pop psych as on the very nice Yardbirds influenced ”Faces, Faces”, it really worked in their favour. That said, their shamelessly poppy ”Chris Craft No. 9” is a prime example of Swedish 60's beat. Shanes compilations exist but tend to focus on their most familiar hits and not necessarily on their most worthwhile tracks why it's a pretty frustrating task approaching the band's output. You need to sit through a fair amount of crap to save the nuggets.

OLA & THE JANGLERS

The same can be said about Ola & The Janglers. A graphic diagram of the quality of their output would look conspicuously similar to an ECG curve. Their bad songs were really bad and their good songs were really good. At their rawest they were a rather convincing garage rock band, and their stabs at psychedelia – most notably the Eastern-tinged track ”No One Knows What Happens Round the Corner” – were credible enough. Their good stuff would fill an LP length compilation, but a good one doesn't exist, only a couple focusing on their hits, including pointless Johnny-come-lately covers of Del Shannon's ”Runaway” and Chris Montez's ”Let's Dance”. I wish compilers would cast off the demon of nostalgia and go for the truly good stuff instead. There's one pretty great album hidden in Ola & The Janglers' ouvre but that has yet to see the light of day.

One of the Janglers' most prominent members, Claes af Geijerstam, recorded one underrated popsikey album in 1970, ”Out of My Hair”. The Ola of the bunch, Håkansson, went on to fame and fortune with bands like Secret Service who scored big with their single ”Oh Susie” in the 80's. He also became an influential music business honcho.

LEE KINGS

Lee Kings' output is relatively slim. Apart from a slew of singles it consists of one and a half LP only (the half one being shared with the forgettable band The Sunspots which contribute three tracks). Lee Kings were obviously sensitive to the changing times, constantly trying to come up with a song that would sit particularly well with the adolescent record buyers. You can easily say their vision, if ever they had one, was shaped by the whims of Tio i topp. That said, they did put out some memorable tracks, especially when psychedelia was slowly becoming the new worldwide fad. From Lee Kings' last year in existence, 1967, it's well worth lending an ear to ”Coming from the Ground” (backed by a surprisingly rowdy and fuzz fuelled "Day Tripper") and the highly endearing "The Trees Are Talking".

Singer Lenne Broberg later scored a brontosaurus sized hit with ”Mälarö kyrka”, a soft sounding predecessor of sorts to Contact's ”Fyrvaktarens dotter” and something of a 'guilty pleasure' of mine. And of course: guitarist Bengan Dahlén went to Fläsket Brinner.

STEAMPACKET

Steampacket, a.k.a. Steampacket II, a.k.a. The Longboatmen were also stylistic grasshoppers, even more so than Lee Kings. Their eight 45's present a wide array of styles, from the moody balladry of ”Bara ett par dar” to the fiery freakbeat of ”Take Her Any Time”, with stops at psychedelia, country music and straightforward pop along the way. But with the great Rolf Scherrer and the exceptionally talented Mikael Ramel (both vocals and guitar) in the band, they were well equipped to dabble in whatever they felt like. Their complete recordings were released on the print-on-demand CD ”The Singles and More 1965-68” in 2015, and although it's far from stylistically lucid there's certainly not much to object to as far as quality goes. Having already mentioned Scherrer and Ramel, it's obvious why Steampacket are crucial to the pre-history of progg. Scherer was an early member of Kebnekajse and can also be heard on several Bo Hansson albums. And Mikael Ramel – well, he's Mikael Ramel, i.e. a genius solo artist of ”Till dej” et al fame, plus a one-time member of Fläsket Brinner.

So what about their multiple band names? Well, in Sweden they were called Steampacket II for their first three singles to avoid being confused with Rod Stewart's band Steampacket. For the same reason, ”Take Her Anytime” was released in the UK as The Longboatmen. Later they were domestically known simply as Steampacket.

SHAKERS

Say what you will of Tommy Rander – later to become main leftwing fundamentalist operator on Gothenburg's progg scene and eventually the nemesis and relentless decapitator of progg's unkempt creativity, and recently taking an unnerving turn towards ideas sampled from the extreme rightwing (after all, politics aren't a linear scale but a circle where the extreme right and the extreme left are much closer neighbours than a lot of people have the guts to admit) – but he indeed had a strong vision of what Shakers were supposed to be. More precisely a snotty Rolling Stones/Pretty Things styled, abrasive rhythm & blues band. If you don't mind his fonetical gibberish (English in Rander's mind) on early tracks and only slightly bettered in time for the band's final releases, you have quite a few highlights to discover. Shakers were also one of the earliest and most eager condoners of psychedelia, as evident on excellent numbers such as ”Who Will Buy (These Wonderful Evils)” and ”Tracks Remain”. All their recordings are decidedly rough-hewn which is a welcome change of pace after delving into the discographies of the more polite sounding bands. And if you pretend there's no Rander involvement whatsoever, it gets even better...

NAMELOSERS

In terms of rawness, Malmö's Namelosers gave Shakers a run for their money. Few Swedish 60's singles rock as hard and brutal as Namelosers' throat-grabbing rendition of ”Land of a 1000 Dances”. Of all the recorded versions of that old chestnut, Namelosers' version is hands down among the top 3. I mean, seriously, that fuzz guitar can simply melt concrete walls! It's hard to fathom the fact it was recorded and released in Sweden as early as 1965 when fuzz boxes were a brand new thing only just heard on Rolling Stones and Beatles records. Namelosers were truly in with the in-crowd.

Founded already in 1962 as Tony Lee & The Fenders, they soon changed their name to The Beatchers. As such they released their debut EP in late 1964 with Gary U.S. Bonds cover ”New Orleans” as the lead track. A Gothenburg band called The Beachers, without a 'T' in the middle, wasn't too happy having another similarly named band around, and threatened The Beatchers, with a 'T' in the middle, with a lawsuit. The now nameless band needed to come up with something catchy to call themselves, and a name contest was arranged by pirate radio station Radio Syd. I've no idea what other listener suggestions there might have been, but whoever came up with Namelosers (with an obvious reference to the recent Beachers debacle) won... ”New Orleans” was hastily reissued (on a new label) with the substituted band name on the cover. The name mess proved advantageous however, bringing a fair amount of attention to the band, and the song went straight to No. 3 on the Tio i topp chart. Fans were frantic, causing havoc at Namelosers shows, and the band quickly earned a bad boys reputation, Rolling Stones style. Restaurants wouldn't let them in because of their long hair and scruffy looks. (Those were the days...) To further nurture their hoodlum image, they told Bildjournalen that one of their favourite pastimes was to go to Malmö's local dump and shoot rats. Probably nothing more than a publicity stunt, although their best singles indeed sound as if they could kill a diversity of rodents...

Namelosers released a total of fourteen tracks from 1964 to December 1965. One further song appeared on a Bildjournalen flexi disc in 1966, the storming ”Do-Ao”. For some odd reason, the impossible-to-overrate ”Land of a 1000 Dances” failed to enter Tio i topp. Taken by surprise and hugely disappointed, Namelosers called it quits shortly after. In 1989, rare records shop and record label Got To Hurry issued a compilation of Namelosers complete studio recordings. Still possible to locate in used condition, a reissue is nevertheless long overdue.

ANNAABEE-NOX

In the small but loud legion of more garage infused bands you can't ignore the curiously spelled Annaabee-Nox. As with Shakers, no label trusted them with an album contract. Seven singles and a track on a Bildjournalen flexi disc are all that officially remain from their 1965-1968 lifespan. A rare surviving live tape confirms what people lucky enough to have seen them in concert have said ever since: they were one wild stage act. Not all of their studio recordings retain that same high level fervor, but you really don't want to mess with ”I'm Not Talking” and ”Bo Bo Boggie Pack” [sic!] if you love your mother. If you love your wife/husband and yourself, you don't want to pay the prices for the original 45's either – if they ever appear in playable condition that is. Thankfully, their complete discography received the compilation treatment in 2014 by Allatiders Skivhandel, and it's also easily obtainable in digital format courtesy of Parlophone.

LEA RIDERS GROUP

Of all 60's bands, Lea Riders Group is probably the one that most notably bridges the 60's and the progg era. They were also one of the most technically mature rock bands Sweden spawned during the entire decade. Led by Hawkey Franzén and featuring Slim Borgudd and Bosse Häggström, they were the embryo of Made In Sweden. Without Jojje Wadenius, the jazz elements were a lot fewer, although you could still hear jazz strains in their best known track ”Dom kallar oss mods” (the leitmotif from Stefan Jarl's [semi-]documentary of the same name). Without a doubt the band's high point, with wild screeching guitars, frenetic staccato vocals dissolving into stoned and paranoid groans, drums pounding out a disintegrating beat that is hazy and hard as rebar at the same time, a full frontal psychedelic assault leaving only smoke and dead bodies behind. A lot of people are familiar with it from being famously included on ”Pebbles Volume 3” (and subsequently on other comps as well). A track like that obviously raises the expectations for Lea Riders Group's other outpourings, but they might leave you disappointed at first. Which is not to say that the rest of their material is bad. Not at all. On the contrary, a lot of it is hard-boiled, thick-skinned, jailhouse badass rhythm & blues of international stature with all the chops needed to pull it off with brilliant precision. Just not from the same mould as ”Dom kallar oss mods”.

For an annoyingly long time, Lea Riders Group's recordings were just about impossible to find. Swedish label Garageland Records tried to rectify that in the late 80's when they released a vinyl comp, later reissued on CD as ”The Forgotten Generation”. However, the Garageland CD is best forgotten too as the sound is so dull and hissy that I suspect the tracks were taken from a fourth or fifth generation cassette dub. That hack job was thoroughly pushed into the depths of redundancy when Universal (for once!) did a good thing and released the collected singles on a Record Store Day LP in 2018. Although losing the bonuses from the Garageland CD (all of them live recordings and/or rehearsals in dubious fidelity from what I recall) and not including the additional instrumental tracks from the soundtrack to Jarl's movie, Universal's ”The Singles 1966-68” is absolutely essential from any perspective.

FRIENDS

When Garageland put out the unsatisfactory ”Forgotten Generation” CD, they concurrently reissued two other titles from their back catalogue, one by Panthers, and one by the rather peculiar band Friends. The Panthers release is best ignored altogether, but the Friends CD ”Talkin' 'bout Us” is well worthy of attention. At least to some. They're probably a band in the 'love it or hate it' category, all depending on what you think of Anders Peedú's vocals which admittedly is an acquired taste. The pronunciation heard on the early Shakers singles is Queen's English compared to the sometimes indecipherable syllables coming out of Peedú's mouth. But if that doesn't bother you (and I've learnt not to let it bother me although it took some time and persistance), then Friends were a rather remarkable group who despised the commonly overt Beatles and Stones influences. Their take on rhythm & blues was quite frankly unique among Swedish bands. ”It Ain't Necessarily So” and ”Empty Handed”, both taken from Friends' 1965 debut 45, are as raw as any of the American garage bands, untrained to the nth degree but nevertheless consistent and chock-full of self-assured and cocky attitude bordering on the nihilistic. Despite all Friends' obvious shortcomings (like having a twelve year old drummer, but so did Ornette Coleman), the three singles released during their short lifetime as a band are some rather exceptional stuff. The Garageland album fleshes out the short playing time those singles make for with some previously unreleased tapes which add nicely to the dizzying experience.

Although having Karusell, a major label with a thorough experience of bringing fame to their acts, backing them, nothing could catapult Friends to the commercially viable level of Tages, Mascots and Shanes. An appearance on the biggest (actually, only) TV talk show Hylands hörna generated gigs but no impressive record sales. Friends' fan base was largely made up of outcasts and mods from Stockholm's underground circuits, people often sharing the hard-living Friends' destructive lifestyle of drugs and alcohol. Years after the demise of the band – it was all over in 1966 – two of the members died from substance abuse. A unique band with an ever so inspiring integrity, but with a tragic story attached to it.

HEP STARS

I've not yet mentioned the biggest act of all: Hep Stars. Still heralded among a lot of people, I refuse to believe their position in people's minds is anything but pure nostalgia. Because man, did they suck! The only thing worthy of acknowledgement is their smash hit cover of Vince Taylor's ”Cadillac” which remains a stone cold classic. Albumwise, the only remotely amusing thing they did was the undeniably frantic live document ”On Stage” where they rush through their repertoire at breakneck speed in front of hysterical teenage girls. It's not a good album by any stretch, but yeah, it is remotely amusing. Hep Stars member Benny Andersson later became a mega star with ABBA.

COMPILATIONS

There are several shortcuts to the Swedish 60's if you don't want to take the long and often disappointing road to it. For a general overview there are two vastly different editions of ”Stora popboxen”. The first one leans towards the poppier side, while the second edition is more towards the rhythm & blues sounds. Both of them are a bit much to chew for the average listener, why I'd rather recommend the almost flawless one disc comp ”Searching for Shakes”. Originally released on vinyl by Amigo Records in the mid 80's, the CD reissue is graciously expanded with meticulously chosen tracks in the same garage/freakbeat vein as the original album. Some of the songs I've specifically mentioned above are featured on this five star compendium of Sweden's rawest sounds from the 60's. A similarly styled 2 CD set was fairly recently put together by UK's RPM Records, entitled ”Svenska Shakers”, accurately subtitled "R&B crunchers, Mod grooves, Freakbeat and Psych-pop from Sweden 1964-1968". There's some overlap with ”Searching for Shakes”, but the RPM release has several hard-to-find nuggets not on the Amigo artefact and vice versa, so if you like one of them, chances are you'll want the other one as well. The RPM set looks pretty nice too.

There are several minor acts that released utterly mindblowing one-off singles that are very rare and seldom comped. The six-volume series ”Who Will Buy These Wonderful Evils” does a brilliant job bringing several more psychedelic sides together. Well-known bands such as Tages, Shanes, Ola & The Janglers and Mascots rub shoulders with more obscure acts like The Outsiders ("On My Magic Carpet" is a killer track!), T-Boones (featuring a very young Kenny Håkansson, as on the devastating "I Want You"), the garage punk of The Other Side's "Out My Light", the brilliant Members Blues Band (whose ”P.S. Elic” is quite possibly the trippiest single ever released in Sweden), New Creation (Christian outfit whose ”He Is There” is a jawdropping slice of proto-progressive late night psych), The Junk's & The Angels, Älgarna etc etc etc. Reaching into the 70's, the ”Who Will Buy These Wonderful Evils” volumes are mandatory to readers of this blog. I'm not sure of their current availability but I assure you it's worth some effort to track them down, the first four volumes in particular.