MIKE CASTLE – Kaliyuga Express (Sonet, 1970)

English vocals
International relevance: *

Chicago born guitarist Mike Castle spent time in Sweden and teamed up with Peps Persson and his then backing band Blues Quality for one album 1970, seemingly the only one Castle ever did. An all-blues effort with the exception of Gordon Lightfoot's ”Early Morning Rain”. Only ”Stockholm Blues” and ”Eagle Blues” are Castle originals, the rest is rather pedestrian cover choices such as ”Sweet Home Chicago”, ”Death Letter Blues” and ”Walkin' Blues” (although the latter is only a digital bonus track). Castle is an adequate but unexceptional acoustic guitarist and an uninspiring singer with a voice better suited for American folk styles than blues. Therefore he sounds best on the Lightfoot track and Mississippi John Hurt's ”Casey Jones” than the gruffer songs of Son House or Robert Johnson. He's learned the moves but fails to infuse much personality into them. Blues Quality appears on two tracks, Peps on six.

Kaliyuga Express full album playlist

ROBERT ERWING – Betongänglar (Text O Bild, 1982)

Swedish vocals
International relevance: **

After releasing one single on the vehemently commercial label Mariann in 1981, he returned with a privately released full album the following year. A strange affair with symph rock aspirations, loaded with cheesy synths and Erwing's thin, slightly nasal and rather funny sounding voice. He's definitely not much of a singer, and not a lyric writer of note either. His observations, summed up in album sub-title ”En förortssymfoni” (”a suburbian symphony”), are banal and sometimes out of metre, and they only get more in your face when delivered with Erwing's shaky, occasionally off-key vocals. The musicianship is otherwise decent – especially for a private release – with plenty of unknown local Gothenburg performers. The only one I can spot that had a career in music after this album is co-songwriter Göran Ihrfeld who later was in Beatles tribute band Lenny Pane. Most famous name here is well-known actor Reine Brynolfsson who draw the record label!

”Betongänglar” is unbearable if taken seriously, but if you're into off-beat music devoid of self-awareness, this is a gem.

Betongänglar (suite)

EJE THELIN GROUP – Hypothesis (Musicians Record Co, 1979) / EJE THELIN – Bits & Pieces (Phono Suecia, 1980)

Instrumental
International relevance: **/**

Eje Thelin already had a long career as a trombone revitalizer when he recorded these albums, entering the live scene already in the mid 1950's and making his record debut in the early 60's. He went through many changes including a free jazz phase with Joachim Kühn resulting in a couple of early 70's albums of which I gladly recommend the very expressionistic ”Acoustic Space”. He made a gradual slip towards jazz fusion in the 70's, and these two albums from the turn of the decade 1979/80 are probably the furthest he got in that direction. By that time, jazz fusion in general had become a very stale genres lazily giving in to the conventions it had created for itself.

”Hypothesis” however is an unusually vital effort, displaying an openness that had been long lost. Allowing free form (”Duett”) and soul jazz (”Back-woods Song”) into the mix, as well as giving piano player Harald Svensson free reign over the self-explanatory track ”Piano”, and allowing dreamy moods into ”Curved Space” and the two versions of ”Here's That Rainy Day” certainly broadens the palette. Svensson might in fact be the real star here, adding a certain lyricism to the album.

”Bits & Pieces” was recorded with roughly the same line-up as ”Hypothesis”, but expanded with bassist Bronisław Suchanek, occasionally percussionist Malando Gassama and with Steve Dobrogosz on piano on some tracks. The album opens in a moody way with the beautiful ”Gloomy” which lives up to its title and followed by the almost ambient ”Islands”. The entire album is much more peaceful than its predecessor; only ”Castor And Pollux” and ”Carneval” heaten it up a bit. Which album you prefer at a given moment is a matter of mood. You could say that they are two sides of the same coin.

These are not my favourite Thelin albums – I still prefer the noisy Thelin of the early 70's – but regarded in the jazz fusion context where they belong, these two discs are head and shoulders above what the genre most often had to offer at this late date.

Hypothesis full album
Bits & Pieces full album playlist

KLARA EXPRESS – 1975 (no label, 1975) / WASA EXPRESS – Live At Jarlateatern 1976 (no label, 1976)

Instrumental
International relevance ***/***

The seeds of Wasa Express were already in the ground by 1975, although their debut album wasn't released until 1977. They recorded an LP's worth of material as Klara Express in 1975 in the legendary Decibel studio in Stockholm where myriads of albums have been recorded. If these recordings were made as demos or if they were in fact intended for release I don't know, but they remained locked away for decades before getting a digital-only release.

Klara Express was a very different-sounding band than when turning into Wasa Express, and this incarnation featured EGBA trumpeter Ulf Adåker and trombone player Nils Landgren who both left early on. They were obviously a balancing force in the band, as those Klara Express tapes top everything made after their departure. Instead of the daredevil gymnastics that make Wasa Express such an overbearing band, Klara Express focused on the groove. Åke Eriksson is a drummer well-known for his skills, and here he pulls out every funky trick in the book to great success. The syncopes blare away with precision but also all of the feel it takes to make it swing, groove and funk. It's fusion music alright, but it's in the higher legion of jazz funk, much better than most albums in the same mould. It's a pity these recordings weren't released back in the day, and even greater pity what the loss of Adåker and Landgren did to the band.

”Live at Jarlateatern 1976” is an early document of Wasa Express, and while it still has remnants from their early Klara characteristics, they were already heading for their typical style where it was more important to dazzle and baffle the audience with instrumental acrobatics than to present something with emotional substance. And even in those moments where they emphasize the funk bits left over from the Klara Express days, it sounds dull and calculated. ”Jarlateatern” isn't quite as terrible as their later properly released albums, but it's still dead boring and clinical.

None of these albums have been released physically. Both of them were originally available for free download from Åke Eriksson's website, but are now available for streaming on the regular platforms.

Klara Express full album playlist (Spotify)
Live At Jarlateatern full album playlist (Spotify)

JAN HAMMARLUND & KJERSTIN NORÉN – Några här, några där... (Amalthea, 1981)

Swedish vocals
International relevance: *

I've already written about Jan Hammarlund's entire 1970's catalogue here, but he continued making records long after that, with a discography reaching well into the 2010's. Never foreign to working and performing with other (predominantly female) artists, there are several releases co-credited to others. This is one of them, made together with Kjerstin Norén. She was one of the original members of Röda Bönor, and subsequently had another band called Kjerstin Norén & Damorkestern with members from Husmoderns Bröst.

”Några här, några där” – with the unweildy subtitle ”Jan Hammarlund Och Kjerstin Norén Sjunger Sånger Av Il Nuovo Canzoniere Italiano: Ivan Della Mea - Giovanna Marini - Paolo Pietrangeli” – consists of songs by contemporary Italian songwriters (as the subtitle says) translated to Swedish. The vocals are split rather evenly beteween the two singers, and although Norén might not be the greatest voice ever heard, her songs are still a welcome break from Hammarlund's always annoying warbles.

The album as a whole has a somewhat different feel than many other Hammarlund albums which has a lot to do not only with Norén's involvement but also the arrangements. The most different-sounding track is ”Balladen om Ardizzone” with its renaissance-styled framework. A well seasoned line-up surely helps too; how about Kjell Westling, Fred Lane, Lena Ekman, Ale Möller and his mate from various constellations Dan ”Gisen” Malmquist to name but a few? Recorded in Copenhagen, a couple of Danish musicians get on the payroll too.

But all in all, this remains too much of a Jan Hammarlund album, and unless you're a fan of his, you may just as well pass on it.

Full album playlist

UNOS KANONER - …Barm (Knäpp, 1982)

Swedish vocals
International relevance: **

Hardcore fans of this blog know that I have a strong fascination with bands with one foot in progg and the other in punk. Something interesting just happens when the twain meet. It's particularly interesting as those bands – such as Kräldjursanstalten, Fiendens Musik, Elegi and even Dom Smutsiga Hundarna – contradict the widespread notion that progg and punk were incompatible and at odds with each other. I don't subscribe to that idea at all. As I've said before, I think that punk was progg's unbehaved child running wild in the streets, and much closer to its parents than what was admitted back in the day. What differs is the expression and method, not so much the ethos vis-à-vis society versus the freedom of the individual.

Unos Kanoner are just about emblematic of the merging of the genres. Founded in 1979 in Borås a few miles east of Gothenburg, they may not be a household name today, but they gained nationwide exposure when radio show Ny våg (dedicated to punk and skewed music in general) played their track ”Sätt benen i halsen på dom borgarjävlarna”. The title roughly means ”ram your leg down the throat of the bourgeoisie scum” which surely was enough to have sensitive listeners cough up their dinner. Not the most subtle piece of poetry, the message was indeed clear, but if someone still missed the point, the rest of the blood spattered lyrics would surely erase any doubts what Unos Kanoner were on about.

The track was so exaggerated it's hard to miss the satire and the humour. Some night not like the phrasings, but they're so overwrought it's hard not to laugh at the point blank directness. ”Sätt benen i halsen på dom borgarjävlarna” is the most blatant example of lyricist, guitarist and singer Pentti Salmenranta's sentiments, but not the only one. The whole album is like an absurdist play of cruel and unrefined jokes clad in a variety of musical styles ranging from cabaret, marches, vaudeville and jazz, even psychedelia and prog (with one 'g'). The effect is like a gang fight between Blå Tåget, Samla Mammas Manna and Frank Zappa. However, the most terrifying thing about ”Barm” isn't the lyrical frankness, but how some of the songs are alarmingly current. ”Stövlar som putsas på nytt” (”boots polished anew”) touches with an unnerving accuracy on the renewed rise of fascist politics in so many countries today including Sweden.

”Barm” isn't necessarily a good album but it's original, twisted and, yes, bizarrely funny. Its relevance may not lie with its musicial qualities (although it's not without such) as much as with its ability to confound the listener. It's hard not to relate to it with awkwardness but it's equally impossible to shrug it off. My emotions towards it are as conflictive as the album itself: I don't like it, but I like it.

Unos Kanoner released two more casette-only albums later in the 80's, and appear with one track on the 1987 various artists comp "Samma båt".

Full album playlist

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