Lee Hazlewood - "20th Century Lee" (1976)

Lee, the friend of Sweden, with another solo album, who knows what number it would be on this one (maybe the 21st). During this time he lived in Sweden and worked with, besides his music, quite a lot of TV programs, often with the director Torbjörn Axelsson. The record was released only in Sweden and Germany, and is therefore somewhat of a rarity from an international perspective. Because of his move to Sweden, Lee largely disappeared from the international music scene for a number of years, but in Sweden, I think he was given quite a lot of attention. Personally, however, I was too young in 1976 to have my own own experience and memories of this.

The album is not one of his better, but is neither one of his more boring ones. An average in his catalog. All songs except one, The Fool (first performed in 1955 by Sanford Clark), are covers. The selection leans quite a lot towards country & western, which isn't always to my taste. Unlike Lee's earlier, more psychedelic country & western, here often the dark, odd touch is missing which gave many of those songs a special quality. At the same time you'll find a few really good songs on the album. On the first side, That's How I Got To Memphis and In A Young Girl's Mind, create the highlights of this side, and in themselves worth a purchase. What raises these songs above the others is the beautiful female choir, a trick Lee has used quite often during his career, almost always with a fantastic result.

When you turn the record over, you start off with the classic Indian Summer (L'été Indien) in Lee's version. His dark voice, together with Björn J:son Lindh's flute, create a song dripping of the 70's. But all the way he goes in Whole Lotta Shakin' Goin' On, as he makes it sound like we're in a 70's porn movie. Lee's voice is often deep, but it's rarely I've heard it this deep. It's hard to really take a song like this seriously, I couldn't help laughing a few times. The album's perhaps most bizarre song is the closing number, Brev Från Lillan, where Lee sings in Swedish. Again, it's hard to really take it seriously, although it might be an honest attempt to charm the Swedes. His Swedish is not easy to understand, though. It can be mentioned that on the A-side Lee also sings in Spanish, on the song An Old Lullaby, so the record is filled with language experiments. Another good song from side B is Crazy Mama, with some nice guitar soloing using the wahwah. Probably it's Janne Schaffer, a famous Swedish guitarist, who does it, although some others are also credited as guitarists on the album, so I'm not sure.

With its limited release, and a bunch of Swedish musicians participating, which is fun for me as a Swede, it's a pretty cool album to have in the shelf. Musically it's mixed, some highs, but also some lows.


Tracklist
Side A
1. Long Haired Country Boy 2:41
2. That's How I Got To Memphis 3:02
3. In A Young Girl's Mind 3:47
4. The Ballad Of Lucy Jordan 4:40
5. An Old Lullaby 3:39
6. The Fool 2:48

Side B
1. Indian Summer (L'eté Indien) 5:11
2. My Girl Bill 3:03
3. Crazy Mama 2:29
4. Whole Lotta Shakin' Goin' On 4:46
5. To Ramona 2:46
6. Brev Från Lillan 2:19

Tommy James And The Shondells - "I Think We're Alone Now" (1967)

I have some later albums with Tommy James, which are much more fun than today's theme. The title track opens the album, and it's a good song, a classic. But the rest of the record is not to my taste. Lightweight, well behaved, cheesy bubbelgum pop, which in my ears is very outdated. I like Tommy James later when he / they had ventured further into the psychedelia, Crimson & Clover is probably the most well known song from that era, but they weren't there yet. Here you'll find quite plain songs that don't challenge in any way, it's created for mass airing via the commercial US radio. The variation is not great, the sound is exactly the same and many of the songs sound like versions of each other. The songs are short, which is good.

The album was produced by Bo Gentry and Ritchie Cordell, and the latter has written the vast majority of the songs. Among the songs he hasn't written, is the cover California Sun, which is actually quite fun. Maybe the most interesting thing about the record is the cover. I didn't think much about it, but read online that it was considered too controversial, and was changed after the first release to a picture of the band instead. The controversy being the two pairs of footsteps first go next to each other, but at the end are standing opposite each other! Naughty, naughty. Apparently, this was too much for the public in the US at the time, although it was a rather subtle hint in my eyes.

Another interesting thing about the record is that it is released on Roulette, a company which, according to Tommy James and many others, was run by the Italian mafia. The company was notorious for not paying the artists' royalties, and Tommy James claims that the company owed him and the band 30-40 million dollars. In 1989, the company was sold to Rhino and EMI, who subsequently paid royalties to various artists, including Tommy James, although it wasn't the sums he had previously mentioned.

In other words, a record that is fun to have in the collection for reasons other than the music.


Tracklist

Side A
1. I Think We're Alone Now 2:08
2. Trust Each Other In Love 2:08
3. What I Would Give To See Your Face Again 3: 15
4. Baby Let Me Down 1: 43
5. Let's Be Lovers 2:18
6. Run, Run, Baby, Run 2:18

Side B
1. Mirage 2:30
2. I Like The Way 2:42
3. California Sun 2:59
4. (Baby, Baby) I Can not Take It No More 2:17
5. Gone, Gone, Gone 2:13
6. Shout 1:50

Olympic Souvenir (1980)
Олимпийский Сувенир

I was very interested in sports as a child, and the Olympic Games were always a highlight, just like World Cup competitions. Four years between each Olympics felt like an eternity, which made them even more special. As a child, four years is a long time, and for each Olympic Games I was in many ways a totally new person. My clearest memory of the summer Olympics in Moscow 1980, was the closing ceremony when Misja, as the mascot was called, shed a tear. I found it incredibly sad and almost shed a tear myself. The Olympics was over and the next one was so far away, Misja's grief tripled my own. But quite fast, life was as usual. The US boycotted the Moscow Olympics, which made it a little different.

The record is a double album with a mix of classical music, primarily on the first record, and folk music from the Soviet Union, which is mostly found on the second record. I think the second record is the most interesting. I have always been interested in folk music from different parts of the world and find it much more appealing than the classical music, which is a mix of orchestras, choirs and operas. Often loud and bombastic. For some reason, Bach has also found his way into the album. No, the folk music is more fun, one of the favorites is a song from Georgia, which is a dull and gloomy song, in the same spirit as Kate Bush's Hello Earth's choir parts (which actually is a song borrowed from Georgia, with a made up text, you should listen to it!). Since all songs are sung in Russian (I think), both the classical songs and the folk music, everything feels like Russian communist propaganda. This is probably reinforced by the absurdly suspicious relationship I, and probably most Swedes, had to the Soviet Union in the 80s. Even though I today realize that it is unlikely that the greatness of communism and the glory of the Soviet Union are the themes of the songs, the feeling remains.

The reason I have the record is that it's another one saved from my parents' collection, when it was on its way to the bin or the local flea market. Not because I'm so interested in Russian music, but the album itself seemed so odd that I'd like to see it in my possession. I guess my dad got the record when he visited the Soviet Union on behalf of the job at the time of the Olympics. I have seen it sold online relatively expensive, which is always pleasing. And since I will never play it again, after the survey for this blog post, it will be pristine condition also in 100 years. My great grandchildren will be delighted.

Bo Hansson - "Magician's Hat" (1973)

This was Bo Hansson's second solo album, and in Sweden it was released in 1972 as Ur Trollkarlens Hatt. But as I found it here in Montreal, I've got the North American version in the collection, and in the rest of the world it was released one year later. Hansson's solo debut is more famous, Lord of the Rings, but this one is also good.

Magician's Hat is somewhat more accessible than its predecessor, as Hansson has moved a little closer to the musical midfield, although it's still very far from the top of the pops. I appreciate that the gloomy, neurotic mood that rules the Lord of the Rings is not found here. You will not feel uncomfortable and uneasy by listening to Magician's Hat. On the other hand, his first album is more unique, it's hard to find something similar, while the music of his second release is to some extent similar to some other contemporary music, mainly from the progressive and jazz fusion genre.

On a few songs, some choir is heard, otherwise it's instrumental. Of course, there's a lot of organ and synthesizer, as that's Hansson's main instruments, but also flute, guitar and saxophone are given a lot of space. Perhaps a bit more unfocused than its forerunner, but it never floats out in long jams without goal or meaning. Part of this more unfocused atmosphere might be explained by a lots of songs are rather short, which makes the music jump more from point to point. To me it's a fun record to jam along with, with my flute, as the music gives a lot of space for freedom and your own creativity.

So, if you like instrumental, progressive music with some jazz influences, Magician's Hat might be something to look into. It's a somewhat druggy atmosphere and I guess many bongs have been smoked while the record has been spinning on the turntable. Not a simple and instantly accessible album, but I still choose it before Lord of the Rings, since it is a bit less challenging in its form.


Tracklist

Side A
1. "The City" - 7:20
2. "Divided Reality" - 6:17
3. "Elidor" - 1:34
4. "Before the Rain" - 1:31
5. "County" - 1:50
6. "Playing Downhill into the Downs" - 1:39

Side B
1. "Findhorn's Song" - 1:43
2. "Awakening" - 2:43
3. "Wandering Song" - 3:13
4. "The Sun (Parallel or 90 °)" - 7:07
5. "Excursion with Complications" - 3:23

Jayson Lindh - "Cous Cous" (1972)

In Sweden, he is known as Björn J:son Lindh, which is his real name. But internationally, he used the more Anglo-Saxon name Jayson, and since I live in Montreal, it's often the North American releases I find. It's a relatively new purchase. I play flute since a year, and the other week I told my teacher about Jayson Lindh, sure he would know who he was. But of course he didn't, so I sent him a link with some info, and he responded with a youtube link with the song Abdo. Really groovy song, so I was happy when I found Cous Cous a few days later in the local record store, where Abdo is the closing number. A good price too, they actually had two copies of the album, so Jayson Lindh isn't completely obscure here.

This is yet another confirmation that the early 70's was a cool place to be at, as this record spent a number of weeks on the top list in Sweden. Instrumental flute dominated music has a hard time making it to the lists today, People were more open-minded in the 70s. The album is an eclectic mix, some songs bordering to easy listening, almost cheezy songs, that would fit well into a soft porn movie from this decade (according to a friend who has watched such a movie once), but this is swiftly replaced by noisy fusion jazz, and in addition offers a few songs that today would be defined as world music. Middle East influenced tunes, where tablas, lute and congas are heard. It's a clear 70s sound, which we thank the flute for. I think it had its heyday in those years. I would like to see more of it in today's music. Take any song, Oops, I did it again with Britney Spears, and add a flute that grooves with the music and is given a one-minute solo. Voilà, you've got a song that's a killer.

This was Jayson Lindh's third solo album, and on the album, among others. you'll hear Janne Schaffer, a renowned Swedish guitarist. It was released outside Sweden in 1973. A good album that I think you could get, if you happen to stumble upon it. Thanks to its slightly wild mixture it becomes a quite varied experience. The before-mentioned song, Abdo, offers some singing, otherwise it's instrumental. Abdo is probably my favorite song from the album, in which the table creates a nice groove and the "normal" drum set more sets a frame around the music. Here, other musicians are given quite a lot of space, a 10-minute musical around-the-world trip. After having played the flute for a year, I think I'm soon on Jayson Lindh's level, just a little more practice. Then I'll make sure the flute returns to the arenas and into the top lists.


Tracklist

Side A
1 My Machine 4:02
2 Good Time Charlie's Got The Blues 2:56
3 Bobo 5:15
4 El Henna 2:49
5 Kiki 3:45

Side B
1 Elastic Springtime 3:28
2 The Booster Pump 3:19
3 Abdo 10:10

Genesis - "Nursery Cryme" (1971)

This was Genesis' third album and the album where they more clearly took a step into the progressive world, from the more folk oriented music on the previous album. New members were the drummer Phil Collins and guitarist Steve Hackett, the other members were Peter Gabriel, Tony Banks and Mike Rutherford. In other words, a musical star formation where each member also has enjoyed a very successful career of himself

The opening song, The Musical Box, is a ten-minute epic classic that in itself is worth a purchase of the record. Of course, Nursery Cryme is easy to find quite cheap, at least here in Montreal, so that doesn't necessarily say a lot. But it's considered to be one of Genesis' best songs, even though I personally don't know all of their catalog. It's far from I can't dance, anyway, and that's positive. At this time, Genesis, along with bands like Yes, King Crimson, Gentle Giant, was at the forefront of the progressive genre, far from the more commercial incarnation of the band in later years.

Another well known and popular song from the album is The Return Of The Giant Hogweed, also a long song from side A, but none of my favorites. Track 2 from the first side is For Absent Friends, a quieter song, where Phil Collins is singing in Genesis for the first time. Collins would later become the main singer when Peter Gabriel left the band. Personally, I think Collins and Gabriel sound very much alike on the record, and it wasn't until I read that it was Collins who sang on the song, that I understood it. My personal favorite, along with The Musical Box, is the opening track on the B-side, Seven Stones. Just like The Musical Box, it winds its way through quieter to full out bombastic parts.

The band had bought a mellotron from King Crimson some time before the recording, and it's heard on a regular basis on the record, maybe it puts its biggest mark on the closing number The Fountain Of Salmacis. The mellotron and some songs certainly give me the impression that Moody Blues might be have been part of the band's inspiration.

A good album, maybe not an album you embrace at first listening, repeated listening may be required. A mix of really good songs, with some more boring. To be progressive music, it's relatively accessible, there's much more difficult music to be found within the genre.


Tracklist

Side A
1. "The Musical Box" 10:28
2. "For Absent Friends" 1:46
3. "The Return of the Giant Hogweed" 8:12

Side B
1. "Seven Stones" 5:10
2.. "Harold the Barrel" 2:59
3. "Harlequin" 2:56
4. "The Fountain of Salmacis" 7:55

Peter Hammill - "Sitting Targets" (1981)

I think it was in 2009, I saw Van Der Graaf Generator in concert in Quebec. A good concert, probably the concert I've attended that was the most spiced with marijuana clouds from the crowd's puffing. It was a fog. At that time, the band was a fairly new acquaintance to me, and I was delighted with the opportunity to see them live. According to Wikipedia, the group has existed 1967-1972, 1975-1978 and 2005-. The singer Peter Hammill has over the years made a large number of solo albums, Sitting Targets was his tenth.

It's a good album, even though the sound is a bit uncharted and primitive. Hammill sings in a rather dramatic way, which characterizes the songs, they all have a touch of darkness. Even a song like My Experience, which in another setting could be a dazzling pop hit on the top ten, gets an underlying dramatic current. Sometimes it sounds a little like Peter Gabriel, and of course as Van Der Graaf Generator, that can probably not be avoided. The music is described in most places as Art Rock, and it's a suitable label.

Sitting Targets is the only record I have with Hammill, so I can't compare with his other albums. But it contains a lot of quality, the vast majority of songs have something that makes them interesting and catchy. And what you usually describe as fillers, generally shines with its absence, although a few songs would get the 'Skip' treatment if it had been a CD. It's overall quite uptempo, but the beautiful ballad Ophelia and the B-side's Stranger Still balance the album with calmer atmospheres. Thanks to its dramatic and dark character, the album requires some attention, it's nothing I would usually play as subtle background music. Maybe a new mix or rerecording of the album would be a good thing, since I'm not a real friend of the sound. Nevertheless, a good album that can be recommended as a Christmas gift to someone close.


Tracklikt

Side A
1. Breakthrough - 3:55
2. My Experience - 3:14
3. Ophelia - 3:09
4. Empress's Clothes - 4:02
5. Glue - 3:40
6. Hesitation - 4:05

Side B
1. Sitting Targets - 5:21
2. Stranger Still - 4:55
3. Sign - 3:45
4. What I Did - 3:37
5. Central Hotel - 4:41