Nationalteatern - "Livet är en fest" (1974)

The Swedish political 70s band Nationalteatern's (The National Theater) second album and their big breakthrough. Already in my youth / early adulthood, when the band's music was played in various party contexts, it was music from the past. Today even more so. The political and / or socially realistic music tends to age a faster than the standard rock n'roll about love and lust. At the same time, the songs become quite fun and interesting time documents, and today's young listeners can get a little insight into the political engagement of the 1970s in Sweden (which leaned heavily to the left).

On the album several of the band's classics are found, of course the title song Livet är en fest (Life's a party), but also others such as Hanna from Arlöv (Hanna from Arlöv), Bängen trålar (slang for the police are searching/watching), Speedy Gonzales and several other more or less known songs for the public. When I listened to this in my younger years, the political message was secondary. Instead, me and my friends heard songs about alcohol and drugs that in our ears were more like tributes to these substances. Somewhere in my mind, I knew there was probably some kind of societal criticism in the texts, but I chose to ignore that. Just like most others who listened to Nationalteatern a few decades after the creation of songs, in a new and different society with other issues and political ideologies.

A good example of selective listening was Bängen trålar. In the first verses it is sung about where to find weed in Gothenburg, and how you chill in the September sun smoking this. Cool. When later on they begin to sing about the societal system and how those who have money are protected and never convicted of crimes, well, then it became less interesting. Skip to the next song. Every time I visited Gothenburg in my younger years, I was very curious about Näckrosdammen, Vasaparken and Femman's square, where you would find weed, according to the song. Speedy Gonzales was another song, where every form of criticism of someone or something was completely missed, and the song's message instead was about turning on and smoking weed.

In the Swedish 70s political music scene I have always thought Nationalteatern were one of the better bands. They wrote good songs, and could play on their instruments. So I think this album is fairly good. A lot of groovy songs, where Plast's sång is one of the favorites today, although the lyrics in general are quite outdated. It's somewhat difficult to identify with much of what the songs explore. In the 1970s, the class struggle, the communist ideology and the anger against the bourgeoisie were a larger part of the debate than today, it seems. At the same time, it makes the music quite fun to listen to, a time capsule. It is with different ears I hear this today than when I was 20 years old. Both perspectives have their charm. The album is part of Swedish music history, and has its place in the collection.


Tracklist

Side A
1. "Jack the Ripper" 4:48
2. "Plast's sång" 3:44
3. "Stena Olssons Compagnie" 3:07
4. "Mr. John Carlos" 6:43
5. "Innerst Inne" 3:16

Side B
1. "Livet är en fest" 4:16
2. "Speedy Gonzales" 4: 9
3. "Paradisets berg" 2:01
4. "Lägg av!" 2:28
5. "Hanna från Arlöv" 3:41
6. "Bängen trålar" 4:15

Paul McCartney & Wings - "Band On The Run" (1973)

This was McCartney's fifth record after The Beatles, and the third with the Wings. The public hadn't been very impressed with the first albums where Wings participated, so Paul really had to prove himself this time. He had gotten the idea that it would be interesting to do the recording in an exotic place, and therefore chose the EMI studio in Lagos, Nigeria. It might have been a good idea in theory, but it turned out that the studio was substandard, the political situation unstable and Paul and his wife Linda was robbed at knife point of the demo tapes (among other things). And to add salt in the wound, two of the Wings members left the band just before leaving for Nigeria, so it was just a trio involved in the recording - Paul, Linda and Denny Laine. This meant that Paul had to play various instruments on the album, including guitar and drums, which probably wasn't a huge problem for the multi instrumentalist Paul.

Many consider this to be Paul's best solo record, although it was initially received a bit hesitantly by the public, and one of the top creations any of the ex-Beatles did after the band was abandoned. And I can't deny it's a qualitative album, although expectations are (possibly too) high on an ex-Beatle. But personally, I hold his album Ram higher, as it contains more interesting songs. I've always thought Lennon made better and more interesting songs in the Beatles, and while Lennon's solo albums are of mixed quality, they're not always so kind, gentle and easy going. Sometimes McCartney feels a little too nice, happy and playful. His music, including Band On The Run, is somehow music's version of a feel good movie. There are nice harmonies, positive, good songs with catchy hooks, and often a sing along mood. You never get provoked, upset or thoughtful when listening to Band On The Run. It's not really a criticism, but is it something I miss on the album, it's that. Something that challenges a bit more.

Crazy man Ginger Baker lived in Nigeria at this time and offered Paul to record the entire album in his studio. Paul was somewhat doubtful concerning this offer, but ultimately recorded the song Picasso's Last Words (Drink To Me) there. After watching the Netflix documentary on Ginger Baker, I suspect it was a wise decision to have a bit of a distance to him. The photo on the cover is the trio that played on the record, together with a bunch of other famous people. Apparently, the photo was taken in low light so the camera needed to have the lens open for about two seconds. This meant that the gang had to stay absolutely still during this time. As they had just come from a party Paul had arranged, everyone was on various drugs, which made the staying still a challenge.

In conclusion, Band On The Run is a good album, and if you like McCartney, it's probably a must have. There's really no bad song on the record, every title has their own unique character, even though I personally sometimes think it's too gentle and cute. Personal favorites are the title track and the closing number Nineteen Hundred and Eighty-Five, which I think sounds like Gnarls Barkley's Crazy.


Tracklist (Helen Wheels was not included on the original release in England, only on the American)

Side A
1. "Band on the Run" - 5:12
2. "Jet" - 4:09
3. "Bluebird" - 3:23
4. "Mrs. Vandebilt" - 4:40
5. "Let Me Roll It" - 4:51

Side B
1. "Mamunia" - 4:51
2. "No Words" - 2:35
3. "Helen Wheels" - 3:44
4. "Picasso's Last Words (Drink to Me)" - 5:49
5. "Ninety Hundred and Eighty-Five" - ​​5:28

Kuuntele Ääntä (1977)

Year 2012 I stopped working at a place where I had been employed for 11 years. I visited the home of one of my colleagues, and since her vinyl collection only collected dust, she offered me to check it out and take all the albums I wanted, as a goodbye gift. I was so overwhelmed by the offer that I barely managed to say yes, but after some prompting I indulged. One of the albums that followed me home was this one. My colleague had lived a number of years in Finland a long time ago, and therefore there were some Finnish records in her shelf. However, this one had been bought in Uppsala (Sweden), at the mythical record shop Musikörat. According to the price tags that are still there, she paid 2 Skr. (around a quarter) for it, it had been reduced from the previous price 5 Skr (around a dollar). Probably not a record that sold in heaps.

Discogs classifies the album genre as Folk, World & Country, and its style as Political. Since it's only sung in Finnish, and all the text on the sleeve is in Finnish, I don't know what the songs are about, and on internet I find no information. So this is a record I can only listen to for the melodies, the message is completely lost on me. But it does remind me of some Swedish political music from the 70's, and the cover sure gives you a vibe of a leftist engagement. According to Google Translate, the album title means Listening to sound.

A variety of artists contribute on the album and it's better than I thought. The initial songs are
really nice, beautiful melodies and harmonies in the singing. I agree with Discogs' folk definition, some songs sound like Fairport Convention. However, I don't hear any country. A few songs into the album there's an new artist, he has almost an opera voice that I'm not too fond of, but the arrangement with piano and flute is nice. Since I usually focus more on melodies in music, rather than text, initially I don't have a problem that I don't understand what they're singing, but after a while, somewhere on side B, it becomes a thing as I think the music stops being interesting, a bit repetitive. An understanding of the texts would probably help to keep up the interest.

If I compare, for example with Röda Bönor, a Swedish political group from the 70's, Kuuntele Ääntä is much better. The arrangements are nicely done with a lot of air, acoustic guitars, piano, flute, a saxophone in some places. And the melodies are (often) beautiful. The language is probably the main negative thing. Finnish has a special sound, that puts a clear mark on the songs. Compared for example with Spanish or French, where I also don't understand so much of what they're singing, Finnish feels rougher and more strange in its sounds. The record is released on Love Records, a Finnish legendary label created in the 60s, that ceased to exist 1979. One can't say their logo is very subtle.

On Discogs, one copy of the record has been sold, for the price of 22 Canadian dollars. So my colleague's investment of a quarter has yielded a few thousand percent in return (if she had kept the record).


Tracklist

Side A
1 Herran Pää On Paljaana 3:25
2 Heilani On Kuin Helluntai 4:00
3 Soi Lauluni 3:45
4 Kuuntele Ääntä 3:21
5 Ay 2:05
6 Atlantin Valleilla 2:31

Side B
1 Vallankumous 1:35
2 Lakkopäivänä 3:19
3 Käy Tehtaan Portilla Miettimään 3:18
4 Laulu Turhautumisesta 2:25
5 Kuolema 3:35
6 Kaverit Yes Toverit 2:55

Tom Waits - "Rain Dogs" (1985)

This is another album I felt the need to save from my parents lets-get-rid-of-all-records project, it belonged to my mother. I remember that she sometimes played it at home, and how she expressed she liked it, and that I never understood what she meant. For the teenage version of me, this album was way too weird. Tom Waits' voice was strange, and I thought my mother was as strange to like it. Did she really know anything about music?

Today I think differently. It's a good and interesting album with a different sound. It's usually considered to be the second album in a trilogy, where Swordfishtrombones and Franks Wild Years are the start and end. The music could be described as some kind of Vaudeville. Kurt Weill mixed up with Dr. John's voodoo blues and a spoon of Les Claypool, maybe. Instruments used in the songs include Farfisa organ, trombone, marimba and accordion. Together with Waits' peculiar voice, a distinctive mood is created, it's like a snake in the gutter that tells you in his wheezing voice about the night's shadow creatures.

This mood is broken a few times by the more easily accessible and beautiful creations Time and Downtown Train (which later became a big hit with Rod Stewart). Hang Down Your Head is also one of the more "normal" songs that might be needed to balance the more weird creations. In three songs you hear Keith Richards on guitar, as he puts his typical licks over the music. On one song, Tony Levin is heard on bass. The album has a Swedish connection as the album cover photo is taken by Anders Petersen, it's a picture from Hamburg from the 60's, although many have thought it's Tom Waits himself who is portrayed.

A good and challenging album, that might not suit everyone, though, as it has a very peculiar and special sound. 19 songs in just under 54 minutes. A lot of music to be one record. Many think it's Tom Waits' best, personally, I can't say as I haven't heard so many of his other albums.


Tracklist

Side A
1. "Singapore" 2:46
2. "Clap Hands" 3:47
3. "Cemetery Polka" 1:51
4. "Jockey Full of Bourbon" 2:45
5. "Tango Till They're Sore" 2:49
6. "Big Black Mariah" 2:44
7. "Diamonds & Gold" 2:31
8. "Hang Down Your Head" 2:32
9. "Time" 3:55

Side B
1. "Rain Dogs" 2:56
2. "Midtown" 1:00
3. "9th & Hennepin" 1:58
4. "Gun Street Girl" 4:37
5. "Union Square" 2:24
6. "Blind Love" 4:18
7. "Walking Spanish" 3:05
8. "Downtown Train" 3:53
9. "Bride of Rain Dog" 1:07
10. "Anywhere I Lay My Head" 2:48

Bruce Springsteen & The E Street Band "Live 1975-85" (1986)

This box contains 5 LPs, and me and my brother bought it together for our mom at Christmas, the year of the release. It was a serious and expensive Christmas gift, I was only 14 years old, my brother five years older, and neither of us had a lot of money. But we knew our mom liked Springsteen, so together we managed to cough up enough money. It felt good to be able to give something so colossal as a gift. I had just passed the age when the presents one gave were 10-minute drawings, or "beautiful" handicraft done in schools's art class.

The box contains more than 3.5 hours of music, and although our mom liked Springsteen, I realize now that the passion might not have been so strong that she would listen for 3.5 hours of him very often (she only had Born In The USA, so she was no fanatic). But this means that the albums today are in top condition, NM (Near Mint), as it's usually called in vinyl circles, as they probably only have been played a few times. Like some other albums in the collection, this was saved when my parents were to get rid of their entire collection. I couldn't let such an item be lost.

For a Springsteen fan this box is a must in the record collection, I suppose. Many fans had long been waiting for a live album from the Boss, and when it finally came, it delivered, both in quality and quantity. There are songs from all of his career, up to 1986 of course, the sound quality is great, and there's a clear live feel. Three songs were previously unreleased - Seeds, Because Of The Night and Fire. It beat the record of pre-orders in terms of worth of dollars, and it went straight to Billboard's number one.

Personally, I'm not a big Springsteen fan, although many songs are qualitative, and his lyrics are often well written, his straight rock n'roll - bar rock, as it's often called - is not my thing. Lots of guitar, saxophone and powerful singing, it's often loud and uptempo. However, I like his calmer and darker side that sometimes appears, such as songs from the Nebraska album, or I'm On Fire, another old favorite just like The River. In songs like these, the sadness, melancholy or nostalgia that is found in the lyrics, really moves me. Sometimes I'm almost brought to tears when I read the words as I recognize the feelings.

As it often was at this time, there is a pamphlet in the box informing the buyer of other records that one could also purchase. I think these were adapted a little bit to the album, to maximize the outcome (a rock n'roll album's accompanying sheet should primarily display other rock n'roll albums). The pamphlet in this box featured names like Steve Tibbetts, Keith Jarrett, Jan Garbarek, Pat Metheny and other similar artists. Almost as far from the Boss you as you can come. A little odd.

In summary, a good overview of Springsteen's career, up to 1986, and although I'm not really in the target group, I'm still glad I've got it. First of all, it's fun to have a box of five LPs, but also for the calmer parts on the albums that I think are beautiful.


Tracklist

Side A
1 Thunder Road 5:41
2 Adam Raised A Cain 5:25
3 Spirit In The Night 6:22
4 4th of July, Asbury Park (Sandy) 6:29

Side B
1 Paradise By The "C" 3:34
2 Fire 3:12
3 Growin' Up 7:57
4 It's Hard To Be A Saint In The City 4:37

Side C
1 Backstreet 7:27
2 Rosalita (Come Out Tonight) 9:59
3 Raise Your Hand 5:10

Side D
1 Hungry Heart 4:28
2 Two Hearts 3:05
3 Cadillac Ranch 4:50
4 You Can Look (But You Better Not Touch) 3:51
5 Independence Day 5:09

Side E
1 Badlands 5:15
2 Because The Night 5:18
3 Candy's Room 3:09
4 Darkness On The Edge Of Town 4:28
5 Racing In The Street 8:13

Side F
1 This Land Is Your Land 4:17
2 Nebraska 4:16
3 Johnny 99 4:21
4 Reason To Believe 5:15

Side G
1 Born In The U.S.A. 6:07
2 Seeds 5:13
3 The River 11:37

Side H
1 War 4:51
2 Darlington County 5:12
3 Working On The Highway 3:59
4 The Promised Land 5:32

Side I
1 Cover Me 6:58
2 I'm On Fire 4:23
3 Bobby Jean 4:27
4 My Hometown 5:08

Side J
1 Born To Run 5:02
2 No Surrender 4:42
3 Tenth Avenue Freeze-Out 4:18
4 Jersey Girl 6:31

Tangerine Dream - "Stratosfear" (1976)

I can't say I have many German albums in the collection, and I can't say I know a lot of German artists or bands. Kraftwerk, Nina Hagen, Nena, Scorpions, Rammstein and a few bands from the Krautrock scene. And Tangerine Dream. Germany is a big country, but the number of famous artists doesn't correlate with the population size. I suppose a language barrier is to blame.

Like Kraftwerk, Tangerine Dream uses mostly synthesizers of different kinds, but there the similarities end, musically in any case. Kraftwerk is colder, harder, more precise in their arrangements, almost robot like, while the creations of Tangerine Dreams radiate warmth, softness and humanity. Although Tangerine Dream sometimes creates dark and gloomy soundscapes, there is still a pleasant feeling surrounding it. Another difference is that Kraftwerk more made verse-verse-chorus songs, often with singing, at times with a pop ingredient as a number of mainstream hits show, while Tangerine Dream's creations more lean towards sound sculptures without the same clear structure, always instrumental. Tangerine Dream's music is simply much more druggier, and it's not surprising that it was a popular band among the hippies who visited Goa in the 70's. How many acid trips have had this album as a soundtrack, I wonder. At least for 35 minutes.

Stratosfear was the eighth album by the band. It was first mixed by Nick Mason from Pink Floyd, but this mix was abandoned because of arguments between Tangerine Dream and Virgin. It's a good album, a musical journey in the inner regions of consciousness. It was the last album where the classic setting Edgar Froese, Peter Baumann and Christopher Franke collaborated. The sound is typically electronic 70's, positively meant, often quite dark, some parts could be soundtrack to A Clockwork Orange. But as mentioned, there's always a warmth there, it's as if the music sweeps the listener into a dark, warm, mental blanket. What was new with Stratosfear was that some analog instruments sneaked in here and there, guitars are heard, some kind of flute, a grand piano. They often stay in the background, the synthesizer still dominates, but they contribute to the mood. The entire album actually ends with a few minutes of piano chords with a flute soaring above it.

Four songs of different lengths, they are quite varied, although it may be one synthesizer loop as a base that hypnotizes. But on top of this different things are going on, so it never feels boring. Probably not a record for everyone, but I like it.


Tracklist

Side A
1 Stratosfear 10:04
2 The Big Sleep In Search Of Hades 4:45

Side B
1 3AM At The Border Of The Marsh From Okefenokee 8:10
2 Invisible Limits 11:40

Made In Sweden - "Where Do We Begin" (1976)

I wanted to give Georg Wadenius another chance, so let's take a look at his band Made In Sweden's last record. In the late 60's and early 70's, the band recorded a number of albums, then Wadenius left for the US and played with Blood, Sweat And Tears. When he returned to Sweden, he recreated Made In Sweden, where only himself was left of the original members (I think). In other words, a totally new band. The other members were Tommy Körberg, Pekka Pohjola, Vesa Aaltonen, and Wlodek Gulgowski. Sweden, Finland and Poland represented. Most fun for me is to find Tommy Körberg here, I've only known the older version of him and the kind of music he's done at this period of his life (very different kind of music), and I have no relation whatsoever to the younger version of him. To a non-Swede, this guy is probably a totally unknown.

I found this album in Sweden, I didn't know much about Made In Sweden, but had understood that many think they have a given place in Sweden's progressive music history. Since I was just about to move to Montreal, I thought the album might be harder to find here and therefore ask a somewhat higher price. Perhaps something of a rarity. I could sell it, or change it to two other albums. It was an idea that didn't really match reality.

Even though I find the record a bit more fun than Wadenius' solo album Cleo, I can't say it's particularly interesting. It's usually defined as progressive, but compared to bands like King Crimson, Gentle Giant, Genesis and other authorities in the genre, it's not a lot of prog. Rather easy-going jazz fusion. Both songs with singing and instrumentals are found, and the musicians most likely belong to the elite, but it rarely takes off. I like the instrumentals best, Körberg's singing kind of turns me off. A song like Manhattan Vibes is probably a totally OK song within its genre, but since me and jazz fusion have never been tight, it's still nothing for me. The closing song, 43 Sec. Of Arc Per Century, I feel is the most "difficult" song, but at the same time the most interesting. I haven't heard any of Made In Sweden's earlier records, maybe they would suit me better.


Tracklist

Side A
1 Where Do We Begin 4:27
2 Manhattan Vibes 7:05
3 Pop-Poem 3:38
4 Our Man 5:02

Side B
1 We Must Be Crucified 4:02
2 Lady G 4:13
3 Sometimes 1:49
4 43 Sec. Or Arc Per Century 10:02

Georg Wadenius - "Cleo" (1987)

Georg "Jojje" Wadenius is one of Sweden's most successful musicians internationally. He's primarily a guitar player, but also plays a number of other instruments as well as writing and producing music. He was among other things member of Made In Sweden a number of years, later a member of Blood, Sweat and Tears 1972-1975. Between 1979-1985 he was a member of the Saturday Night Live house band, and during these years he was also used a lot as a studio musician in New York. In addition to this he has recorded a lot of his own albums and participated on others, and diligently toured. He has a crazy long cv. For people of my generation, he's probably most famous for the music of the children's TV-shows Kalles Klätterträd (Kalle's Climbing Tree) and Farbrorn som inte vill va stor (The man who doesn't want to be a grownup), especially the opening song of the former is a classic everyone in Sweden in my generation can sing along to. As I understand, he lives in Oslo (Norway) today and continues with his music rather intensely.

Side A of Cleo was recorded 1987 in Sweden with Swedish musicians, while side B was recorded in New York in 1984 with American musicians. Wadenius has written all the music. I haven't been able to find facts concerning the background of the album, whether this layout was planned from the beginning or if the record company simply took a number of leftovers and created a record. Personally, I found the album in any online store where it was sold out cheaply, and I had such a respect for the name of Wadenius that I thought it was worth a chance.

However, the album is nothing for me. The music can be described as lightweight fusion - instrumental songs, with airy arrangements where the guitar is mostly in focus. But the music tends to almost cross the street into the elevator music genre. It's a gentle, soft sound, and the songs just slip off me like baby oil. Nothing takes hold of me. The fact that it was recorded in the 80's is unfortunately heard, since the decade puts a clear mark on the music, especially the typical synthesizers, and in some song electronic drums. I have never liked the 80's production.

I'm sure the musicians on the album are among the best to be found, but that doesn't help. Perhaps it may work as background music at home, when I want to have some kind of easily digested music that doesn't require any emotional commitment. If you like a semi-jazzy fusion of the soft and nice kind, it might be something for you. Personally, I'd rather listen to the music Wadenius wrote for the kids TV-shows.


Tracklist

Side A
1 Cleo 4:57
2 Caribbean Stride 6:11
3 Atlantis 4:20
4 A Gilly Soose 3:45

Side B
1 Gravity Boots 7:48
2 The Lady Laughs 5:25
3 Delusions Of Adequacy 3:47

United Sons of America - "Greetings From The U.S. of A." (1970)

The story has been told before, an album found for a cheap price in a second-hand store, a cover that looks pretty cool, the recording year was 1970. And of course, the cliché on the back that This album was made to be played loud. Well, it was worth a shot.

United Sons of America recorded only this album, which, at least here in Montreal, you regularly find in the second-hand stores. It usually costs around 2-3 dollars. The members were Gerry Blake, Jerry Ritchey, Steve Woods, Mike Hulstis and Richard Freeman. Their possibly continued musical careers are hidden in the dark, as well as more information about the band, despite the infinite resources of the internet. A bit of a mystery.

It's an alright album, nothing out of the ordinary, but no worse than anything else put on a vinyl. Blues based rock, with some splashes of psychedelia, funk and maybe soul. At times I get some Steppenwolf vibes, although United Sons of America is more gentle. Half of the songs are covers, while the band is responsible for one half, Blake is the main songwriter. He has among other things written the record's opening song, Tomorrow Is Today, which is one of the album's better songs, at least the first half of it (the second half is kind of boring). Then there are a lot of blues rock songs, sung with a raspy voice, which is not really my thing. None of these songs are in any way above others in the same genre. Somewhere, a cheesy ballad is thrown in with strings, which is also not a favorite, even though the flute partially rescues the song.

But towards the end it becomes more interesting, and the two final numbers. Children Of Mist is a beautiful ballad, or at least a calmer song, which is really groovy. Church organ and saxophone in the same song can't go wrong. The final Friends is also fun, written by the entire band and clocks in at almost nine minutes, which takes the listener towards the progressive landscape that was under construction these years. A song that winds a little here and there, where the instrumental parts are the best.

Overall not a must in the collection, but nothing to be ashamed of.


Tracklist

Side A
1 Tomorrow Is Today 5:20
2 Tumble On You / Waitin' On You 5:00
3 We've Only Just Begun 2:15
4 Cultivation 5:24

Side B
1 Forget It, I Got It 2:20
2 Dear World 2:26
3 Children Of Mist 4:08
4 Friends 8:40

Traffic - "John Barleycorn Must Die" (1970)

When the album was recorded, Traffic had been disbanded for two years, and initially this would be Steve Winwood's first solo record. But during the first stage of the recording, he felt that he wanted some help from other musicians and invited his two old bandmates Chris Wood and Jim Capaldi, and suddenly Traffic was in existence again and the album became a joint commitment.

I found the album in a local secondhand store for 2-3 dollars, which felt like a bargain. It's a groovy album. Pretty good tempo in the songs, some sort of rock-jazz fusion, some add progressive as well, and I do get some Genesis vibes at times. The guys spread out a bit more than on previous records, and most songs clock in at 6-7 minutes, the total playing time is no more than 35 minutes, though. One of the best tracks of the album is the opening song Glad, which is also the only instrumental on the record. A song that makes you quite glad. I have no major issues with the length of the songs, it's such a good tempo that they rarely get boring. And the band avoids long jams without clear structure or goals, that sometimes is the case in long songs with talented musicians who play fusion rock.

The title track is the one that stands out a bit, as Traffic here enters the folk landscape. The song John Barleycorn Must Die is an old English traditional song, the tempo is calmer, and the soundscape more scaled down. Acoustic guitar and flute complement the singing. A beautiful song, which of course gives some Fairport Convention vibes. But nothing wrong with that. And as a new, striving flutist, I have to like all the songs that give the flute a prominent role. It should be more like that in modern music, a tip for all producers. Just listen to the song Freedom Rider, a song I could have found a bit boring, if it wasn't for that crazy flute, lifting the whole song a number of levels.

Steve Winwood, who is the main creator of the music, was only 22 years old when it was recorded. Then he had already played with Spence Davis Group, Blind Faith and Ginger Baker's Air Force in addition to Traffic. Impressive resume and impressive to create an album like today's in that age. The only song I'm not really friends with is the closing number Every Mother's Son, which I think is a bit boring. But overall a groovy, uptempo album with qualitative songs. A good album to listen to when you clean the house, as it creates joy to balance the boredom of cleaning.

Traffic continued to exist as a band until 1974, and had a short comeback in 1994.


Tracklist

Side A
1. Happy 6:59
2. Freedom Rider 6:20
3. Empty Pages 4:47

Side B
1. Stranger to Himself 4:02
2. John Barleycorn (Must Die) 6:20
3. Every Mother's Son 7:05

David Gilmour (1978)

This was Gilmour's first solo album, and released the same year as Pink Floyd's Animals. Gilmour's album is much more relaxed and less bitter, probably somewhat easier for the public to like spontaneously. Not to say that it's a better album, though.

Of course there's a lot of guitar on the record, and some long jams with the guitar in the limelight. Sometimes maybe a bit too long. No less than three of the songs are instrumental. I'll admit that I was initially pleasantly surprised by the album. In general, I've always liked Roger Waters solo albums better, and always thought his music is a bit more challenging and interesting. Gilmour has a tendency, I think, to stay more in the standard blues rock area, and has had more anonymous songs, which dissolve into some sort of nothing. So I had no real expectations on the album. But when I listened to it, it was better than I thought.

On the album you'll find a few calmer songs, some rocky blues songs, vocals and instrumentals, so the record is relatively varied. Some echoes from Pink Floyd are heard, and I think some chord progressions are actually heard on The Wall, released the following year. Gilmour's singing follows his typical characteristics, beautiful harmonies, dreamy, floating and airy. But after listening to the album a while, I note that what often happens when I listen to David Gilmour, happens here too. The songs are pleasant and nice to listen to in the moment, but when a song is finished, it's as if I don't really know what I've been listening to. It is as if the music doesn't leave any imprint. And when the album is over, there is no lasting memory. The music passes right through me.

Overall, a slightly better album than I thought, but Gilmour's music has always had a softer approach towards the listener, and been more streamlined than Waters', and sometimes it may be a little too streamlined, and not enough wickedness.


Tracklist

Side A
1 Mihalis 5:47
2 There's No Way Out Of Here 5:10
3 Cry From The Street 5:13
4 So Far Away 5:50

Side B
1 Short And Sweet 5:27
2 Raise My Rent 5:31
3 No Way 5:29
4 It's Definitely 4:26
5 I Can not Breathe Anymore 3:08

Dan Fogelberg - "The Innocent Age" (1981)

One of many albums in the collection I've found in a used record store or thrift shop, which had an interesting aura, the reviews on the web seem generally positive, so I've bought it. Of course, the price of most of these records is usually 2-3 dollars, so it's always worth a try. In this case, the risk didn't pay off, it's not an album in my taste.

Dan Fogelberg, hearing the name you might think he's Swedish, and the fact is that his father had a Swedish background  (his mother Scottish). He was an American, died in 2007 only 56 years old, in cancer. The Innocent Age, a double album, was his seventh studio album, and one of his most successful, it generated a number of hits in the US. The music is usually defined as soft rock and I would like to add country rock. It often sounds Eagles, lots of harmonies in the singing, and same kind of sound and songs. Emmylou Harris guest sings on one song, on another Joni Mitchell is in the background, Al Perkins often shows up on steel guitar, as well as a lot of other musicians on different instruments. In addition, the album has a cohesive theme in the form of life's different stages, from birth to death. Could be interesting, but no. Had I not read on Allmusic that the record had a theme, I probably wouldn't have understood it. Doesn't seem so clear in the texts.

Often, you'll find at least one song on records like these you fall for, which makes the purchase feel justified. Unfortunately, I don't do that on The Innocent Age, and it's simply because soft rock / country rock is not my thing. It sounds too cheezy and boring in my ears. If you like Eagles, or other bands dedicated to such music, surely this is a good album. It has an airy and clear sound. The songs, in their context, are of high quality. A double album, so you get many minutes of music. But nothing for me.


Tracklist

Side A
1. "Nexus" - 6:04
2. "The Innocent Age" - 4:15
3. "The Sand and the Foam" - 4:19
4. "In the Passage" - 6:28

Side B
1. "Lost in the Sun" - 3:53
2. "Run for the Roses" - 4:18
3. "Leader of the Band" - 4:48
4. "Same Old Long Syne" - 5:21

Side C
1. "Stolen Moments" - 3:12
2. "The Lion's Share" - 5:10
3. "Only the Heart May Know" - 4:09
4. "The Reach" - 6:30

Side D
1. "Aireshire Lament" - 0:52
2. "Times Like These" - 3:02
3. "Hard to Say" - 4:00
4. "Empty Cages" - 6:24
5. "Ghosts" - 7:16

Dyani Temiz Feza - "Music For Xaba" (1973)

This is a somewhat odd bird in the collection. I don't have many jazz albums, and even fewer with free jazz, avant-garde jazz, fusion or whatever you want to call this. It's not music that's easily accessible initially. I got the album as a birthday gift from one of my wife's relatives, I thank her for the opportunity to broaden my horizons.

Johnny Dyani and Mongezi Feza come from South Africa but left the country in 1964, Okay Temiz comes from Turkey. They played all around the world with different artists in the 1960s, where the trumpeter Don Cherry (father of Eagle-Eye Cherry and stepfather of Neneh Cherry and Tityo) was a common denominator, as Temiz and Feza were members of The Don Cherry Trio for a number of years. In 1972, the three musicians formed the group Music For Xaba, they rehearsed for a few days and went out on a short tour in Sweden. They had gigs in Uppsala, Örebro and Stockholm. The record is a live recording from one of the concerts in Stockholm, at Teater 9, the 2nd of November 1972.

Dyani plays bass, piano and sings, while Temiz is the drummer and Feza plays trumpet and percussion. Different musical traditions meet in some kind of melting pot within the genre of jazz. There are four songs on the album. The opening song Idyongwana revolves around a drum rhythm in which song in form of  Za la ba la ba is heard on a regular basis. More and more rhythms are added during the course of the song. Here and there Feza plays on a conch, an instrument made of a large sea shell. An unexpected opening of the album. The second track Feelings is more pure free jazz / avant-garde jazz. The trumpet is played at a furious speed accompanied by drums and bass. Sometimes I can't figure out how they relate to each other, but I'm a rather inexperienced jazz listener. It feels like a song that demands a lot of the listener.

Side B opens with the slightly more accessible Traditional South African Songs, which one can say is a medley of different South African songs, with a clear jazz spice. Probably the record's most easily accessible song, which doesn't mean it's top of the pops. The last song Görans Söder brings the listener back to the land of free jazz.

An album that challenges, but also extends the width of the collection. Probably not for everyone, but if you like the free jazz and its creative explosions, it may be something worth checking out. An interesting mix of different musical traditions that meet in the land of jazz. Xaba means God, which Dyani explains in the text on the cover, is love. The trio released a second album in 1980, which I haven't heard.


Tracklist

Side A
1. Idyongwana 8.30
2. Feelings 12.50

Side B
1. Traditional South African Songs 9.33
2. Görans Söder 11.33

World of Dogs - "Real & Legendary Dogs" (2017)

Swedish music today, from my hometown of Uppsala, a record that was a gift from my brother on my birthday. The label that released the album is Excellent Spaces and was founded in Uppsala in 2015 by Sandro Colombo and Nils Hollmer, and they are also the artists behind the music on the record. On their website, you can order the music they have released from various musical projects they've participated in.

The album has been mixed by Gabriel Hollmer, and he is the son of the legendary Uppsala musician Lars Hollmer, among many things a member of the 70s progressive act Samla Mammas Manna, and who passed away a number of years ago. If Nils is a brother to Gabriel, or if they are relatives in some other way, I don't know, but both seem to have Lars' musical knowledge in their blood. Lars Hollmer played a lot of accordion, World of Dogs offers something else, maybe jazzy electronica, if one tries to summarize in a few words. On the net jazz is mentioned, as well as electronica, rock, drum n 'bass and personally I get some vibes of the 90's cool trip hop I listened to then. However, there is no rock n' roll, I don't know where Discogs got that from.

It's actually a great record, and I'm not saying that because I'm from Uppsala, or because it was a gift. It's instrumental straight through, and has an airy and light sound, a sound that makes it a very pleasant experience to listen to the album. No heavy vibes. Even the darker sounds that (rarely) visit the songs feel light, like a white, kind summer cloud. It's an electronic soundscape, in which a saxophone, played by Petter Nordblom, is visiting as the only analogue instrument. Some fine guitar playing is also heard along with the electronic beats. Sometimes I've thought it's a bit like an upbeat and happy Brian Eno.

The album has been released in 500 copies, so I'm guessing my copy is the only one that exists in Canada, maybe even throughout the whole American continent? If you happen to stumble upon the album, I can highly recommend it. A nice soundtrack for a day in the life.


Tracklist

Side A
1 Strength
2 Dexterity
3 Willpower
4 Charisma

Side B
1 Wisdom
2 Intelligence
3 Constitution
4 Luck

Eric's Trip - "Purple Blue" (1996)

Local music today, Eric's Trip originates from Moncton, New Brunswick, which is only 1000 km (620 miles) to drive from my home in Montreal. This was their third album, a record that I received on the latest Father's day from my family. Had never heard of the band, neither had my family, my wife and kids liked the cover, they thought it was a piece of art. Personally, I expected it would be quite druggy and experimental music, an idea based on the band name. I was wrong, Eric's Trip was the first Canadian band signed on the Seattle grunge label Sub Pop in the early 90's, which gives a hint of what it's all about. One of the few vinyl records from the 90's in the collection, although it's a reissue from 2018, on purple vinyl, indeed.

The first four songs are a kind of introduction, which gives definitive psych vibes, such as Mooseheart Faith Stellar Groove Band (a band name I like to drop, since almost nobody knows them). Lofi, murry sound, a kinda neurotic mood. But then the album starts for real. Not that the sound changes a lot. There's a lot of guitar and bass distortion, numerous songs wander between quiet, calm parts and thundering, noisy guitars. The singing is shared between Rick White and Julie Doiron, and personally I appreciate Julie's song more. You can hear some grunge in the music, which is not surprising, and bands like Nirvana and also Smashing Pumpkins flicker past in my head. Somewhat depressive and neurotic album, but here and there, especially Julie's singing brighten things up a bit.

Short songs makes the variation great. It's not an album that you instantly fall in love with, it requires a number of listenings to open up. But then you begin to understand why Eric's Trip was a relatively popular band within its genre, usually defined as alternative rock, I've noted online. If you like the Lofi sound with lots of guitar distortion, you can give Eric's Trip a chance. The band split up the same year this album was released, but apparently played some gigs thereafter as well.


Tracklist

Side A
1. "Introduction Into The ..., Pt. 1-4" - 8:13
2. "Hourly" - 2:47
3. "Sixteen Hours" - 3:05
4. "Universe" - 3:08
5. "Eyes Shut" - 1:37
6. "Alone and Annoyed" - 2:12
7. "Lighthouse" - 2:09

Side B
1. "Spaceship Opening" - 2:18
2. "Universal Dawn" - 3:32
3. "One Floor Below" - 1:40
4. "Now a Friend" - 1:54
5. "Soon, Coming Closer" - 3:37
6. "Not Yours" - 2:26
7. "Sun Coming Up" - 2:20
8. "Beach" - 4:14

Tommy James - "Christian of the World" (1971)

After his years with The Shondells, Tommy James had a relatively successful solo career. His Christian faith was hinted in some previous songs, but on this record the message was clear. The Christian theme doesn't in any way affect the quality of the songs negatively, it's beautiful melodies, groovy choruses and soulful gospel choirs mixed with catchy pop music. Tommy James had a gift of writing music many appreciated. The quality of the cover may be discussed, though.

The inside of the cover

Since I'm quite fond of bombastic choruses that sweep you away, I dig many of the songs. The gospel choirs make it swing. In general, Tommy James made quite positive music, which is also the case here. There are no depressing pieces that take the listener to a dark place, instead it's friendly, happy and easily accessible. And good. The songs are of high quality, even though they are so radio-friendly. Of course there are some more boring songs, which may be too cheesy, but overall a good record. And the older I've got, the less patience I have with songs that are too long. Therefore, I appreciate the 2-3-minute length of the songs. I never get bored, and the variation gets greater. So if you stumble upon the record in a thrift store, I think you should buy it. One does not have to fear the Christian message a number of songs display, it only makes them groove more.


Tracklist

Side A
1. "Christian of the World" - 2:45
2. "Rings and Things" - 1:55
3. "I'm Comin' Home"- 2:03
4. "Sing, Sing, Sing" - 3:05
5. "Draggin 'the Line" - 2:45
6. "Sail a Happy Ship" - 3:15
7. "Light of the Day" - 3:46

Side B
1. "Bits and Pieces" - 2:30
2. "I Believe in People" - 2:26
3. "Church Street Soul Revival" - 3:15
4. "Another hill to climb" - 3:10
5. "Adrienne" - 2:40
6. "Silk, Satin, Carriage Waiting" - 2:49

Jon Hassell - "Power Spot" (1986)

I found this album a few months ago in a local record store, for an affordable sum. I was attracted to it as I noticed that Brian Eno and Daniel Lanois had been sitting at the recording table, and these two in combination with Hassell's mysterious trumpet seemed interesting. In addition, it's released on ECM, which has released some interesting records throughout the years. The album is recorded nearby, more specifically in Hamilton, Ontario. In Canada, a distance of 600 km is considered "nearby". Perhaps it's Lanois' Canadian blood that determined the recording location.

It's a pretty dark creation, a relatively murky sound and not easily accessible music. If you don't know it's a trumpet Hassell is playing, it's probably not the first instrument you'd be guessing. My son thought it was "some African instrument". Apparently, he sings in the trumpet instead of blowing in it as usual, creating a special sound. Then he used tape loops for creating harmonies in the studio, which he used live, so the effects were created in real time, and not as an addition.

The music often has a bass of rhythms - percussion and bass (usually created with keyboards), and on top of this, Hassell plays. As mentioned, it's a pretty dark album, and rather difficult. The sound is quite peculiar, and since it's not so varied, it can go both ways. If you like the sound, you get a lot of it, but if you're a bit hard-fledged like me, it will be too much, and the variation not enough. So I'm not in love, and can't with a clear conscience recommend the album. But by all means, don't trust my words, try yourself. I still appreciate artists who do their thing, without too much worrying about how commercially viable the result is. It provides a width and variation within the musical world, and can inspire others to venture into new areas. Hassell is probably an inspiration for many, and therefore an important artist.


Tracklist

Side A
1 Power Spot 7:04
2 Passage D. E. 5:25
3 Solary 6:48
4 Miracle Steps 4:18

Side B
1 Wing Melodies 7:42
2 The Elephant And The Orchid 11:00
3 Air 5:18

Mike Oldfield - "Crises" (1983)

Crises was Oldfield's eighth album. Like many others, I'm a little skeptical of the records he created after the 3-4 first ones. I found Crises some time ago in a local record store, rather cheap and have always thought Moonlight Shadow was one of the best pop hits of the 80's, so why not? But the skepticism remains.

I have a North American press where side A consists of six, in the context, quite available pop songs, of which Moonlight Shadow finishes the side. Except the short Taurus 3, all songs have song, in normal verse-chorus structure. On In High Places, Jon Anderson sings, otherwise it's Maggie Reilly who does most of the singing, and Roger Chapman on one song. To be 80's pop, it's okay, though it's never been a favorite niche of mine. Moonlight Shadow is undoubtedly the best track of the side, and generally I like the songs where Maggie Reilly sings best. She has a nice voice. But overall, a rather uninteresting musical experience, but still preferable to Wham! or Samantha Fox if you must listen to  80's pop.

For me, Oldfield has always been more of an instrumentalist who creats music outside the usual frames, often works that occupy a whole side of the albums. That's Crises' side B (on the North American press), which consists of the title song. Could have been interesting, but is not on the same level as eg Ommadawn in quality. It's more synthesizers, for which maybe the 80's is to blame. I miss Oldfield's more organic sound from the earlier albums, it gets a bit washed out here. In addition, he sings on some parts, with a not too successful result. Had been better to adhere to an only instrumental sound. One recognizes the harmonies, the guitars, etc., and it sounds undoubtedly Oldfield. But it is quite boring.

If you like Oldfield's instrumental works, I think it's better to stick to his first 3-4 classic albums. If one prefers 80's pop, maybe side A can be appreciated.


Tracklist

Side A
1. "Mistake"
2. "In High Places"
3. "Foreign Affair"
4. "Taurus 3"
5. "Shadow on the Wall"
6. "Moonlight Shadow"

Side B
1. "Crises"

Supertramp - "Crime of the Century" (1974)

Until 7-8 years ago, I was quite negative towards Supertramp. I had not really heard anything with them, and thought they were a cheesy, super commercial, disco band, who performed songs for the 70's dance floor. Maybe a little like Boney M. It was probably the name that gave me the idea, I thought it sounded like a disco name.

Oh, so wrong I was, and so much good music I missed. Crime of the Century was the third album by the band and their breakthrough, the music is often defined as prog and / or artrock, and i.e. got the 28th spot on Rolling Stone's list of best prog albums of the time. Definitions is a difficult science, and personally I wouldn't put the label 'prog' on this album. Qualitative pop / rock, I think describes it well enough.

The album has consistently good songs, Rick Davies and Roger Hodgson officially share the composing, even though they worked quite individually in reality. The songs often consist of parts that differ quite clearly from each other, but therefore you get a nice variation. They wander a bit like a creek, a little to the left, a little to the right, but undoubtedly the same creek all the time. It is by no means messy, every song has a clear wholeness. The album offers lots of sweeping choruses, and the songs are generally quite epic, what that ever means. I'm a sucker for these things, so I fall for the album.

It has a clear 70s sound, but it still feels fresh. Lots of piano and nice singing gives me Elton John vibes, did he sound like this in the 70s? It is said that he did some groovy stuff then, I haven't heard it, am quite negative against Elton John's music. Have apparently not learned the lesson.


Tracklist

Side A
1. School 5:35
2. Bloody Well Right 4:32
3. Hide In Your Shell 6:49
4. Asylum 6:45

Side B
1. Dreamer 3:31
2. Rudy 7:17
3. If Everyone Was Listening 4:04
4. Crime of the Century 5:30

Marillion - "Clutching At Straws" (1987)

One of my military service buddies sometimes played Marillion in the barracks, and often claimed it was the world's most underrated band. It became one of few lessons I brought home with me from my year in the military. Marillion was a pretty unknown band for me, but I liked what I heard and in the collection there are now a bunch of Marillion albums, almost all on CD (purchased in the 90's, vinyl was out in the cold).

Marillion was one of prog's fan bearers in the 80's, and only that fact deserve them respect. Compared with eg Rush, another prog metal band also active then, Marillion is more in the same niche as Genesis, while Rush is harder, more metal. Before I got to know Marillion a bit better, I thought they were a heavy metal band in the same spirit as Iron Maiden. Mostly because I saw the band name sprayed on walls, and only metal heads did that.

Clutching At Straws was their fourth album, and the last the singer Fish participated in. It's like several of their records, a conceptual album. It's about Torch, who sings in a band and has serious alcohol problems. It's a good album. I'm childishly fond of bombastic choruses, and epic, winding songs. Marillion offers all that without being ashamed. Only the chorus in Slàinte Mhath is worth a purchase of the record, and Marillion's albums are found cheaply, sadly underestimated as they are.

Rocky, progressive music, more accessible than much of 70's prog, that's Clutching At Straws. The music has a more modern touch than prog's earlier incarnations, and Marillion generated regular hits, so it's not difficult music.


Tracklist

Side A
1. "Hotel Hobbies" - 3:35
2. "Warm Wet Circles" - 4:25
3. "That Time of the Night" - 6:00
4. "Just for the Record" - 3:09
5. "White Russian" - 6: 27

Side B
1. "Incommunicado" - 5:16
2. "Torch Song" - 4:05
3. "Slàinte Mhath" - 4:44 "
4. "Sugar Mice" - 5:46
5. "The Last Straw" - 5:58