HEP STARS/SONGS WE SANG 68 LPO 07 (-68) SWEDEN

The Hep Stars sixties albums are often considered important because they were breeding grounds for Benny Andersson's talents as songwriter and musician, which eventually would show in ABBA. But this also has another relation which at least I find very interesting. Philadelphia girl soul combo The Sherrys, founded 1961 and early on including Tammi Terrell as a member, may today be described as a US one hit wonder. Their 1962 single "Pop Pop Pop-Pie" reached #25 on the R&B list and #35 on Billboard, but the follow-ups didn't do well at all and the album "At The Hop With The Sherries" sank without a trace. In Europe however they went on to a more lasting success with excessive touring. When playing Sweden 1966 one of the members - Charlotte Butler - met Hep Stars vocalist Svenne Hedlund at a gig, they fell in love and she decided to leave The Sherrys and emigrate. After getting engaged and learning the language in record time she became vocalist in Hep Stars, which from then on would have two lead singers. A couple of singles followed, but this was the first LP with the new setting. It shows very clearly there were no Yoko syndrom or hard feelings among the others. On the contrary it seems most of the album is a homage to their love affair. It's divided in one live and one studio side. Among titles on the live one are "Svenne I Love You", "We Say Yeah", "Charlotte's Children Game", "Can't take My Eyes Off You" and Let It Be Me" - either sung together or from one to the other. The oddest one being "Svart-Vit Calypso" (Black-White Calypso) formed as a lovers quarrel which is best - being black or white. It has frequent use of the n-word, but as she is black PC after all. Studio side is ordinary rather mushy pop - five tracks sung in English, one in Swedish and one in German. As a whole not my favovorite Hep Stars album. It's the surrounding history that makes it worth having. Released in Sweden only. Seventies vinyl reissue on Efel (LPE 015). 1996 Dutch CD on EMI/Olga (7243 4751882 9). First had label as shown here and thin fully laminated cover. (HÄH*) (SCÄ*) (FÄV*) (CCÖ*)(ÄBBÖ*)

MICHAEL B. TRETOW/LET'S BOOGIE CBS 81143 (-76) HOLLAND

Michael B. Tretow is today most known as producer, studio engineer and designer of the ABBA sound. Even with all the talent in song-writing and performing the quartet possessed, the recordings wouldn't have been the same without him. But he also had a domestic solo carreer, creating experimental comic numbers of which a couple became Scandinavian hits. This however is nothing like any of those. The lyrics mostly humorous, but the production and arrangements are more ABBA-ish than anything else. And since he isn't a very good singer the whole thing comes out more or less mismatched to my ears. There are lovers out there, but I'm not one of those. It might be valuable for some ABBA collectors since they're all there as support, together or separately, presumably as a "thank you" for all he'd done for them so far. I don't think it's good enough to be called "the lost ABBA album" I've seen it presented as by some sellers, but the die-hard fan may be pleased to get the whole quartet on the same LP. No favorite tracks here, I'm just keeping it for the oddity and for the sake of it. To my knowledge this was the only vinyl release, pressed in Holland for the Scandinavian market. Also on Swedish cassette (CBS 40-81143) and Norwegian 1998 CD (Universal UMD 86525). First vinyl had label as shown here in a glossy stickered cover with lyric inner. (ÄBBÖ*) (HÖLX*) (SCÄ*)

HEP STARS/IT'S BEEN A LONG LONG TIME CLPNS 342 (-68) SWEDEN

In 1967, at the same time the band was enjoying Scandinavian success with big sales and a gang of list toppers, management decided it wasn't enough and that they also should aim for an international breakthrough. Not sure who was in charge of the project, but it moved on fast hiring the experienced US producer Steve Clark, a couple of American song-writers and a British studio including musicians and engineers. As the story goes it was also agreed that only singer Svenne Hedlund and keyboard player Benny Andersson were needed for the recordings so the rest of the group stayed at home. If so you could argue that though billed as a Hep Stars album it isn't, instead you get Svenne Hedlund with a backing slightly including Benny Andersson. Considering the circumstances the final result is no surprise. This is far from the mix of US inspired rock'n'roll and catchy melodic ballads you otherwise got from the band. Instead you're presented a blend of British 1968 psych-pop and orchestrated baroque pop. Nothing wrong with that though here it most of all sounds like a stressed-out bread job for all of the involved. Backing is sufficiant, but as played by an unadjacent studio crew for money rather uninspired. Arrangements as they should, still lacking emotional belonging. Songs well written, but nothing with a hit feeling. Add some clumsy mixing to all that and it could be called a small disaster. But to my ears it's not all bad. To say something positive - "Enter The Young" and "It's Time for A Change" are quite good pop-psych and the audio is superb. Visually the front sleeve is somewhat psychedelic and the arty label design uniqe for the issue. Back then everyone hated it - fans, reviewers, Cupol executives and even the band itself. It didn't sell at all and soon disappeared, mourned by non. However as the years went by and sixties revival came on, Hep Stars became hot stuff in Sweden again. Former and new fans started to complete their collections and as this was the one that got away initially it is now considered highly collectible and sold for big bucks. To my knowledge this was the only vinyl release. Japan 1996 CD (M&M Enterprises MMCD 1022) came with twelve bonus tracks. Swedish 2013 CD (RPM Records Retro 935) added two bonus tracks. Premiere release had label as shown here and fully laminated cover. (HÄH*) (SCÄ*) (CCÖ*) (ÄBBÖ*)

AGNETHA FÄLTSKOG/AGNETHA FÄLTSKOGS BÄSTA CLPL 1023 (-73) SWEDEN

  

 A compilation of 45 A:s and flips plus a couple of LP cuts, mostly from her debute https://monolover.blogspot.com/2017/04/agnetha-faltskog-clp-64-68-sweden.html . After ABBA:s victory with "Waterloo" in the Eurovision Song Contest the already planned "Elva Kvinnor I Ett Hus"  https://monolover.blogspot.com/2018/01/agnetha-faltskogelva-kvinnor-i-ett-hus.html  was postponed, so her then label Cupol hastily released this instead trying to cash in on the success. What I hear here is a collection of sentimental ballads in euro schlager style, performed from a young girl's point of view as common back then, handeling longing and lost loves. Most self-penned and all sung in Swedish. No rock'n'roll and far from the strong female images that often rule the music scene today. Nevertheless interesting, not only for fans of her or ABBA who want everything with the combo, but also as an historical fact since it takes you back to very different times as they were. The songs themselves doesn't tickle me that much, but the young unspoiled voice, the sweet arrangements and absolutely tophole audio makes it fine listening anyway. And as always on her early albums you get very nice sleeve pics. This was Swedish only, later reissues with framed Cupol logo on label. Also cassette (Cupol CK 1023) and 2008 17xFile, AAC, by Sony Music. First press had label as shown here in a fully laminated cover.  (ÄBBÖ*)  (FÄV*)  (CCÖ*)  (SCÄ*)  (ÄGFÅ*)

                                                                                 

                                                                                  

                                                                                 

 

ABBA/THE SINGLES - THE FIRST TEN YEARS ABBA 10 (-82) UK

ABBA wasn't my thing at first. Most of the Swedish music scene back then was garage, prog, pre-punk and singer/songwriter, 90% of the lyrics were left-wing and many artists posed as communists. I was totally into that and almost embarrassed ABBA's cute melodic pop represented Sweden throughout the world. It was first with a growing interest in producers and recording techniques and their studio engineer Michael B. Tretow I started to play the records. It's clear Tretow did a lot to create their special sound. Apart from developing old techniques like dubbing and layer-on-layer to the extreme he also made up new ones. So when I gave the songs a more close listen and appreciated the meeting between the catchy songs and complex formula, most of them grew on me. Although much comes through as sugar pop, the composing and developing of the tracks are very complicated. You can hear inspiration from four main sources - art music, US disco, classic British pop and Swedish folk music - non of them clearly distinguishable, but as a perfect blend. IMO that's the secret behind their huge success - simple and catchy on the surface to get sudden attention, but also an elaborated core making it stick and remain with the listener. This is my only ABBA record - all A-sides 1973-82 and to my ears their absolutely best songs. The tracking on this follows the time-line. I can skip the first and the last ones, but from "Fernando" to "The Winner Takes It All" I dig them all. They were issued on different labels all over the world and there are lots of various compilations. I'm not sure if this UK is the absolutely first press but guess it's early with label as shown here, glossy f/o stickered cover and picture inners. (SCÄ*)(FÄV*)(ÄBBÖ*)

ANNI-FRID LYNGSTAD/FRIDA ENSAM POLS 265 (-75) SWEDEN

Her second original studio LP (eng. "Frida Alone"). Recorded during and inbetween the sessions for the ABBA albums "Waterloo" and "ABBA", produced by Benny Andersson and backed by the same crew. So in a way it is an ABBA effort, only lacking participation of Agnetha Fältskog. Containing Swedish versions of recent international hits as "Wall Street Shuffle", Life On Mars", Wouldn't It Be Nice" and "Young Girl", but also classics as "Send In The Clowns" and "The Most Beautiful Girl". It has been said song choices and lyrics were specially chosen to show a strong independent woman who manage on her own. Don't know if that's true, but clearly she did. The most interesting track would be the original version of "Fernando", originally written just for her but later when "covered" by ABBA becoming a world wide hit. With Swedish lyrics you should think it must have attracted Scandinavians only, but it was also well received elsewhere. A quote from British music magazine Melody Maker - "The album portrays Frida as a very strong and emotive singer and shows the true value of the music, that if sung properly and with enough feeling it transcends all language barriers". To this old rebel's ears maybe not the most exciting listening, but very well done all the way and with enough vigor and personality to at least be called a good cover album. 1975 issue also on cassette (PMC 265). 2009 CD on Polar (986 876 4) came with two bonus tracks, as such also released on CD in Ukraine and Russia. Premiere vinyl had label as shown here and thin fully laminated cover with Polar ad inner. (FÄV*) (SCÄ*) (CCÖ*)(ÄBBÖ*) (PKÖL*)

BENNY ANDERSSON/KLINGA MINA KLOCKOR MML 01 (-87) SWEDEN

After ABBA dissolved Benny Andersson became even busier as producer, arranger, composer of film scores, participating in various group outfits and together with Björn Ulveaus writing for a number of musicals where of "Chess" probably the most internationally known. But checking early history I don't think it would be too off saying this first solo album (eng. "Chime My Bells"), where he interpret and in a way continue the Swedish folk music tradition, is the one closest to his heart. As growing up with father and grandfather both accordeon players into traditional folk and getting his first own accordeon at age six, he early must have learned to play the old tunes besides schlagers and rock'n'roll. All cuts here are self-penned. Title track a long symphonic piece with lyrics by Björn Ulveaus, mainly performed by The Swedish Radio Symphony Orchestra and a quire consisting of a large number famed Swedish female vocalists, including Anni-Frid Lyngstad (see list below). "Efter Regnet" (After The Rain) a wistful ballad with lyrics by Mats Nörklit, sung by Tommy Körberg and Karin Glenmark. The rest instrumental, either backed by Orsa Spelmanslag (Orsa Fiddler Squad) with Benny on accordeon, or orchestra. Never thought I'd call Swedish traditional type music catchy, but this is, carried by the same blend of archetypal and modern that shaped so many of his ABBA melodies though here with emphasis on the former. The orchestrated folk tunes in the same vein as the old masters Hugo Alfvén or August Söderman, the more traditional just that but with melodies seemingly adjusted to modern ears. Favorite tracks - the grandiose and beautiful title piece and "Födelsedagsvals Till Mona" (Birthday Waltz For Mona)- written to his wife Mona Nörklit - couldn't be more Swedish with its key somewhere between major and minor, making it melancholy and positive at the same time. As an album probably not for the rock fan, but folk lovers and/or die-hard ABBA fans should feel at home here. Also released as CD with same tracking (MMCD 001). Dutch LP and CD on Dureco (1150701/2). Premiere Swedish had label as shown here and thin glossy cover with lyric/credit/picture inner. (ÄBBÖ*) (SCÄ*) (CCÖ*)

HEP STARS ON STAGE LPO 02 (-65) MONO SWEDEN

It's hard to find a well sounding rock live album from the sixties. There wasn't equipment good enough to make it work for the band or the recording crew. Some are OK, but never near later masterpieces as "Colosseum Live" or "Roxy and Elsewhere". This however is a good one. Long considered a Swedish domestic affair, but since a few decades back hailed by garage fans world wide. (US Bomp magazine have called it "one of the best ever"). Made from two concerts, one on each side of the LP. There was an after-mix, but no later overdubs, so it's pretty much as it was. Audio's not perfect, but as good as it could get from the circumstances. Crowd noise is there, but only as a background. I like the side two concert best - both for the nerve and its slightly better sound quality. Cover picture below is from that tour, showing the gig gear and a very young Benny Andersson at the organ. I was at a concert on this tour back in -65 and can guarantee this recording is pretty close. Second photo below is one I took at the occation with the singer Svenne Hedlund on crouches after falling down from a speaker at an earlier gig. Bad quality as you'd expect from a twelve year old with an Instamatic. Premiere issue with label as shown here and laminated cover. (SCÄ*)(LYBÖ*) (HÄH*)(CCÖ*)(ÄBBÖ*)

THE HEP STARS LPO 04 (-66) SWEDEN

To my taste this was their best studio album. Two of the tracks are covers, the rest written by group members or associates. It's also an exemple of early co-work between Benny Andersson and Björn Ulveaus, a collaboration that later would emerge into ABBA. "Isn't It Easy To Say" was written by both and "No Time" originally by Björn for his group Hootenanny Singers album "International". Of the songs Benny wrote himself "Consolation" and "Wedding" are top numbers - melodic, catchy with nice organ. This is pure pop all through, no experimenting or rough stuff (although "Consolation" intro is a little on the psych side). It's a bunch of very good songs performed with a kind atmosphere. Singer Svenne Hedlund has an attractive baryton and Benny Andersson's hammond makes it cozy. The production is straight on without cover-ups or too many overdubs. When you're done for the day with protesting and drug abusing, this is good to come home to. First press on Olga with red/blue/white label, later on blue/yellow. Issued in compatible stereo only. (SCÄ*) (HÄH*)(CCÖ*)(ÄBBÖ*)

SVENNE & LOTTA/TILLSAMMANS RRLP 02 (-71) SWEDEN

In 1969 as The Hep Stars was on a downslope, the band's motor Benny Andersson quit to get more time for the collaboration with Björn Ulveaus and their spouses Agnetha and Anni-Frid. The then married vocalists Svenne Hedlund and Charlotte Jean Butler (1961-67 member of Philadelphia girl group The Sherrys) followed soon after, with mind set on a solo carreer for the duo. Still very much in love and not hesitating to make it public they got their own label - Romance Records - as a subsidiary of CBS-Cupol, where they could flaunt the feelings. But while the marriage lasted fortyfive years, the label only endured between 1970-72 with a total release of five 45:s and two LP:s - where of this (eng. "Together") was the second. A cover album with among other things Swedish versions of "In The Ghetto", Hollies "Stop Stop Stop", two Neil Sedaka songs and an early Andersson/Ulveaus composition - "Lycka" ("Happiness"). With very well arranged strings and brass by the experienced trio Sven-Olof Walldoff/Anders Henriksson/Lars Samuelsson most of it comes out smooth and very cute. The only track that stands out is an up-tempo funky version of "House Of The Rising Sun", sung in English with tophole vocals from Charlotte and excellent guitars by Janne Schaffer. Wish more of it'd been like that. As a whole though not very exciting still pretty good listening, saved by the arrangements and direct audio. To my knowledge this was the only release of these recordings. First (only?) had label as shown here and thin structured cover. (SCÄ*) (CCÖ*) (FÄV*) (ÄBBÖ) (HÄH*)