BO HANSSON – Ur trollkarlens hatt (Silence, 1972) / Mellanväsen (Silence, 1975) / El-Ahrairah (YTF, 1977)

 Ur trollkarlens hatt (Silence, 1972)

Instrumental
International relevance: ***

It's impossible for anyone to follow up a masterpiece like ”Sagan om ringen” with something equally good, Bo Hansson included. Therefore, his subsequent albums will always stand in the shadow of his monumental debut. You almost have to forget you've ever heard ”Sagan om ringen” – at least, that's what I had to do to fully appreciate ”Ur trollkarlens hatt”. Truth is, it's a very loveable album, not as dark as its predecessor (see? now I'm comparing it to ”Sagan om ringen” again!), more like drinking dewdrops in the morning with the sun shining through the foliage of trees. It's a wonderful album, meaning both incredibly beautiful and full of wonder.

The album was released abroad as ”Magician's Hat” with cover variations.

Mellanväsen (Silence, 1975)
Instrumental

International relevance: ***

There's something about ”Mellanväsen” (international title: ”Attic Thoughts”) that makes it more intangible than Hansson's previous albums. It has more guitars (courtesy of Finn Sjöberg of Kvartetten Som Sprängde, and Kenny Håkansson) that somehow seem to restrict the album, and with more syntesizers in use, it also has an unbecoming coldness to it. Also, Hansson's regular session drummer Rune Carlsson has a stiffer way of playing here than before. It's also a bit worrying that the music at times veers towards fusion, only a tiny bit as if it doesn't want you to notice, but you can't help but doing it anyway. ”Mellanväsen” isn't a bad album but somewhat unsatisfactory.

The international cover seen above is eye-slicingly terrible. The drawing of Hansson makes him look like a mean-spirited caricature of Sweden's then prime minister Olof Palme.

El-Ahrairah (YTF, 1977)

Instrumental
International relevance: ***

Another album based on a book, this time Richard Adams's ”Watership Down” (the album's international title is ”Music Inspired by Watership Down”). ”El-Ahrairah” also saw Bo Hansson signing with a new label, YTF. My concerns with ”Mellanväsen” are even greater here. It's further down fusion road and despite several excellent names in the credits list – Kenny Håkansson, Bosse Skoglund, Sten Bergman, Göran Lagerberg et al – the music just won't come to life. The best track is the first part of ”Flykt” which sounds like the music to a porn scene in an Italian horror movie. I want to like this album more than I do, but unfortunately, there's too little here to invite me into the music.

The cover art was again mutilated for the album's international release:

”El-Ahrairah” is the last of the 'real' Hansson albums. He made ”Mitt i livet” for Silence in 1985 but that one doesn't count.

Ur trollkarlens hatt full album playlist with bonus track
Mellanväsen full album playlist with bonus track
El-Ahrairah full album playlist with bonus track

VARIOUS ARTISTS - 3 x Tonkraft

Before there was ”Progglådan” and before there was a Mellotronen label raiding the Swedish Radio archives for other previously unreleased live tapes by notable bands, there was ”Tonkraft – Levande musik från Sverige”, three double LP volumes of Swedish bands recorded for the Tonkraft radio show that ran from 1971 to 1980. (It was preceded by another show, Midnight Hour.) All in excellent sound quality, the first volume covered 1972-74, the second 1975-76, and the third one 1977-78, all of them with a number of bands featured with one track each. Today the 'one band, one song' format is antiquated with the demand for preferably complete sessions, but the Tonkraft albums were long the only place to go if you wanted more progg than what was available on the artists' original albums and singles.

Despite that the 40CD ”Progglådan” box set contains many of the recordings from the original ”Tonkraft” albums, they aren't entirely redundant since they still feature recordings not available elsewhere. Also, there are a couple of bands here that never released any discs of their own, or bands that at least were underrepresented on vinyl back in the day, such as Plus Gäster, Kolossos Sandaler, Doggers Bankar, Kapten Krok, and Harem to mention a few. Also, some of the better known artists have tracks here not on any of their regular releases, among them Anna Själv Tredje, Mikael Ramel, Mount Everest, Berits Halsband, Elda Med Höns and Ensamma Hjärtan.

Taken together, the three 2LP's work as a quick (i.e. not sufficiently representative) 'here and now' (or now, rather a 'there and then') guide to what the music movement and progg had to offer.

Tonkraft – Levande musik från Sverige 1972-74 (Tonkraft, released 1980)

Featured artists: Peps Bluesband / Pugh & Nature / Hoola Bandoola Band / Trotsålderns Barn / Södra Bergens Balalaikor / Mikael Ramel & Unga Hjärtan / Kebnekajse / Solar Plexus / Plus Gäster / Blå Tåget / Samla Mammas Manna / Hörselmat / Mount Everest / Berits Halsband

International relevance: ***

Swedish vocals, instrumental

Several good ones here, most notably from Peps Bluesband, Pugh Rogefeldt with Nature, and Kebnekajse going berserk in a version of ”Comanche Spring”. Of the otherwise undocumented bands, the completely unknown Plus Gäster's ”I badkaret” is the best, like a blend of Kebnekajse and Fläsket Brinner.

Tonkraft – Levande musik från Sverige 1975-76 (Tonkraft, released 1981)

Featured artists: John Holm / Kolossos Sandaler / Norrbottens Järn / Doggers Bankar / Omlopp / Första Förband / Fläsket Brinner / Elda Med Höns / Östan Sol, Västan Måne / Eldkvarn / Kornet / Vargavinter / Kjell Höglund / Iskra / Guran / Trettioåriga Kriget / Kapten Krok / Resa

Swedish vocals, instrumental
International relevance: ***

With the ”Tonkraft” series following the chronological trends, the 1975-76 volume provides a fair bit of fusion and symphonic rock inspired music such as Kolossos Sandaler, Första Förband (with Thomas Wiehe), Östan Sol Västan Måne, Kornet, Trettioåriga Kriget and Resa. Some good stuff here though, especially John Holm (although now redundant as it has been released elsewhere since) and Fläsket Brinner's ”Barbarella” (later issued on their Swedish Radio sessions box set).

Tonkraft – Levande musik från Sverige 1977-78 (Tonkraft, released 1982)

Featured artists: Rolf Wikströms Hjärtslag / Moder Svea / Horizont / Dimmornas Bro / Norrlåtar / Ensamma Hjärtan / Folk Och Rackare / Harem / Solen Skiner / Rekyl / Little Big Horns / Mora Träsk / Alter Ego / Anna Själv Tredje / Hot Salsa / Contra / Ramlösa Kvällar / Tintomara

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

The weakest of the three ”Tonkraft” sets, with only a couple of interesting selections; Anna Själv Tredje's otherwise unavailable ”Snöfall och daggyra”, and Ramlösa Kvällar's ”Den maskulina mystiken”. Of the unknown bands, Harem is the best, coming off almost like a power version of UK renaissance folk rockers Gryphon. Apart from that, too much fusion, B grade symph and crappy blues rock. (Alter Ego is the same band that had an archival release on Musea as Alter Echo.)

As a sample of progg's stylistic development from 1972 to 1978, the ”Tonkraft” volumes are fine, but from a musical point of view, a 'best of' would be much more listenable.

SABU MARTINEZ – Afro Temple (Grammofonverket, 1973)

Instrumental, spoken word

International relevance: ***

New York born percussionist Louis 'Sabu' Martinez was something of a wunderkind, making his professional debut in 1941 at the age of 11. At 18 he was offered a place in Dizzy Gillespie's orchestra, and he later went on to work with jazz giants like Charlie Parker, Duke Ellington, Thelonious Monk, Art Blakey, and Charles Mingus. His band leader debut came in 1957 with ”Palo Congo” on the Blue Note label. Ten years later he moved to Sweden and released a couple of albums under his own name of which ”Afro Temple” is the best known.

The album was recorded in April 1973 with a number of renowned instrumentalists, among them Christer Boustedt and Bernt Rosengren on saxes and flutes, U.S. born Swedish bassist Red Mitchell, and drummer Ali Lundbohm (of Vildkaktus). Needless to say, it's a percussion heavy album with strong Afro-Cuban influences, not only featuring Martinez himself but also four other conga players. The title track is fine with Boustedt wailing away on his alto and the reverb drenched ”Para Ti, Tito Rodriguez” and funky ”My Christina” are pretty cool too, but I think the album as a whole is overrated.

The folks at Mellotronen wouldn't agree with me as they've released a series of previously unreleased Martinez recordings made for the Swedish Radio 1967-78, ”Winds & Skins” (with saxophonist/flautist Sahib Shihab), ”Burned Sugar” and ”Maldito Primivo”.

Martinez died in Sweden from gastric ulcer in 1979, only 48 years old.

Full album playlist

A VARIOUS ARTISTS SPECIAL – 3 regional compilations

HOPKOK (Partille Musikförening, 1975)

Featured artists: Akropolie / Impros / Varde Ljud / Måttbandet / Medium

Swedish vocals, instrumental
International relevance: **

Released in Gothenburg suburb Partille, featuring five local acts mostly in the progressive and symphonic vein. None of them is very interesting, the best being Medium with a slight krautrock vibe and lots of guitar/organ jamming.

JORDLJUS – BEFRIA MARKEN (Jordljus, 1978)

Featured artists: Lillemor Lund / Jordbandet / Mullvadarna / Lillen och Göran / Bank I Väggen / Margareta Söderberg, Margareta Van Gilpen & Sara Söderberg / Hagamal / Christer Öhrman

Swedish vocals, spoken word, a capella

International relevance: **

This private pressing (in an edition of 1,200) was a fund raising release for Jordfonden, an association of people known as Jordfolket ('the Earth people') wanting to buy some land to set up a hippie styled agricultural commune as an alternative to the modern industrial society.

The album has a distant Arbete & Fritid connection, with Margareta Söderberg who had the ”Käringtand” album out in 1976 with them backing her up, and Lillemor Lind whose album ”Hjortronblom och kärleksört” features several Arbete & Fritid members.

”Jordljus – Befria marken” consists of mainly folk and folk rock, all of it with a homemade vibe and some of it political sounding. Most of it isn't very good, but a couple of Jordbandet's contributions are OK, and Bank I Väggen's ”Springlek” is instrumental and acoustic folk rock somewhat reminiscent of Arbete & Fritid/Anders Rosén's ”Sen dansar vi ut”.

MUSIK I TANUM -80 (Tanum Skivristningar, 1980)

Featured artists: Pertinax / Björn och Tomas / Baltix / Nibokas / Siv och Sixten / Milda Makter / Henry och Einar Hedström / Marie Stensby / Hans Fromén / Bengt och Nisse / Andrea Ehnebom / Lur-Gunnar / Bohus-Dals Dragspelsklubb / Kalle i Kalleby / Kville Kyrkokör / Maud Tretom / Ärter Och Fläsk / Märta Thorwall / Aröette Chené Wiklander / Kurt Wiklander / Johan Johansson / Backa Skola, åk 3 / Kent Andersson / Gitarrkvartetten / Sara Reimbert / Gerlesborgslägret / Jazzgruppen / Muzzle

Swedish vocals, English vocals, instrumental
International relevance: *

Released in Tanum north of Gothenburg famed for its many impressive rock carvings – more impressive than this album for sure. Only one track is interesting from a progg perspective, ”Bibbi” by mediocre symph rockers Pertinax. The rest is unexciting jazz, school bands and classical music.

From Jordljus - Befria marken:
Jordbandet - Framåt tillsammans

RÖDA BÖNOR – Röda Bönor (MNW, 1976) / Sköna skrönor (MNW, 1978)

Founded in Lund 1973 and making their live debut in 1975, Röda Bönor soon became the premier feminist band of the 70's with a brash and disarming sense of humour. Their lyrics and musical presentation were fun in a time when humour and joy in music were rapidly falling out of fashion. (That kind of humour is something that today's feminism could do with too). They poked fun at the gender injustices, but the irony hit both ways. Still, some people thought Röda Bönor were too mean-spirited. In a fine 2016 interview by Kalle Lind for the Swedish podcast Snedtänkt, Kaya Ålander admitted that she can understand why men in particular were offended by them, and said that Röda Bönor indeed were a bit over the top from time to time, although she didn't realize it back then. (Her level of self-reflection is refreshing which is something that neo-feminism would benefit a lot from, but perhaps it takes the luxury of hindsight to have it.)

Röda Bönor (MNW, 1976)

Swedish vocals, a capella
International relevance: *

Röda Bönor's first, self-titled album includes several of their most familiar songs, such as their version of Neil Sedaka's ”Oh Carol”, ”Diskoteksjakt” and ”Det ska bli slut på rumban”. The music is mainly acoustic folk pop, not unique but effective. Even the a capella tracks work – Röda Bönor were actually pretty good singers, especially compared to several other contemporary political/topical groups at the time.

 Sköna skrönor (MNW, 1978)
Swedish vocals
International relevance: *

”Sköna skrönor” follows along the same stylistic lines, with pastiches, musical quotes and witty lyrics (”Sången om sexualmyterna” is a classic in that regard). However, the additional backing including prominent drums takes something away from the music, making it more serious sounding. The first album is a lot more unassuming, and with the success following it Röda Bönor's ambitions got higher which took some of the freshness out of the music.

A third album was projected, but halfway through the preparations for it, MNW declared they weren't interested in the band anymore. They kept playing for some time still but eventually disbanded 1982. Kaya Ålander is still an active musician, sometimes performing old Röda Bönor chestnuts with great success to a live audience. Kjerstin Norén (who left after Röda Bönor's debut album) made one solo album in 1979, ”Sånger om Anne-Marie och andra häxor”, and also appeared with Jan Hammarlund on the ”Några här, några där” album in 1981. Röda Bönor have also reunited for some one-off gigs over the years. Their two albums, particularly their first, are still the best feminist albums, much better than ”Tjejclown”, ”Sånger om kvinnor” et al.

A 1977 Tonkraft recording is featured in "Progglådan".

Röda Bönor full album playlist

Sköna skrönor full album playlist
Tonkraft 1977 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

FIENDENS MUSIK – Fiendens Musik (Bellatrix, 1979) / Häftiga hästen och andra äventyr (Bellatrix, 1980) / ZETTERBERG & CO – Z (Tredje Tåget, 1982)

Fiendens Musik (Bellatrix, 1979)

Swedish vocals

International relevance: **

Formed in Lund by singer Mats Zetterberg and saxophonist Mats Bäcker in 1977, Fiendens Musik was a transitional band with their roots in progg and the energy of punk and UK pub rock. After a couple of singles, this debut album appeared in 1979. An very good effort that deserves a lot more attention than it seems to get. ”En spark rätt i skallen” is a classic though, and among the other great tracks are ”Snutbil” (a translation of Larry Wallis' brilliant ”Police Car”), the frantic ”Mer eller mindre (mot din vilja)”, and the chilling album closer ”Sista skriket”. One of the greatest albums with one foot in progg and the other in the new, loud sonds of the late 70s.

Häftiga hästen och andra äventyr (Bellatrix, 1980)
Swedish vocals

International relevance: *

The second album isn't quite on par their debut album, with less energy. Or rather with more pop energy and less punk ditto. Best tracks: ”Unga så länge vi vill”, ”Jag kommer” and ”En våning upp”.

Z (Tredje Tåget, 1982)

as Zetterberg & Co

Swedish vocals, English vocals

International relevance: **

Released as Zetterberg & Co on Mats Zetterberg's label Tredje Tåget, but this is effectively the third Fiendens Musik album. The songwriting is a bit stronger than on ”Häftiga hästen och andra äventyr”, with ”Ingen trygghet”, ”Alltid en öl i min hand” and ”Underläge/överläge” highlighting the set. ”När tuppen kacklar” is a Swedish version of traditional song ”Black Jack Davy” with vocal assistance from Monica Törnell.

Fiendens Musik released a couple of great singles to expand their all too small discography. Mats Zetterberg was also in Bluesblocket. A reunited Fiendens Musik has recorded a yet unreleased comeback album.

Fiendens Musik full album playlist
Häftiga hästen & andra äventyr full album playlist
Z full album playlist