SOLO

Kaipa is a Swedish progressive rock band that was formed in 1973 by Hans Lundin, Tomas Eriksson and Thomas Sjoberg. The original moniker was Ura Kaipa, after a Swedish stone age chieftain. They went through the usual line up changes and recorded five studio albums before finally splitting up in the end of 1982. In 1974 they recruited Roine Stolt, who would later became the mastermind of The Flower Kings. With him they recorded three studio albums, "Kaipa" in 1975, "Inget Nytt Under Solen" in 1976 and "Solo" in 1978. After a long break the band was reformed in 2000.

So, "Solo" is the third studio album of Kaipa and that was released in 1978. The line up on "Solo" is Mats Lofgren (lead vocals and percussion), Roine Stolt (vocals, electric, acoustic 6 and 12-string acoustic guitars, guitar synthesizer and percussion), Hans Lundin (vocals, Hammond organ, Mellotron, grand piano, Fender Rhodes electric piano, Korh and Moog synthesizers and Hohner clavinet), Mats Lindberg (bass guitar, Taurus bass pedals and percussion) and Ingemar Bergman (backing vocals, voice, drums and percussion).

Kaipa's third studio album is their last great work from the 70's. It's a solid effort, instrumentally strong like the previous two, although seeming to encompass a bit more variety and accessibility due to the addition of the lead vocalist Lofgren. Their sound is a strong melodic rock built on guitars, bass, drums and keys, with roots in traditional Swedish folk to some extent. Some passages rely heavily on the keys to produce a dreamy symphonic atmosphere, while guitarist Stolt displays an amazing versatility. A full half of the tracks here are completely instrumental. It's probably a more confident work than its predecessors. This is melodic progressive rock at its most tuneful with Focus, Genesis and Camel being conspicuous role models, along with traces of Italian bands like Premiata Forneria Marconi.

"Solo" has eleven tracks. The first track "Den Skrattande Grevinnan" kicks off the album in a great style. It's a fine instrumental track with some tasty Lundin's keyboards and Stolt's ever present nimble guitar lines, a formula that's also present on "Flytet". The second track "Sen Repris" has a very psychedelic vibe from the beginning of the 70's. It reminds me The Beatles in their most psychedelic phase and it has also some elements of the early Queen. The third track "Flytet" is very haunting and demonstrates Stolt's mastery of the weeping guitar sound, as pioneered by Jan Akkerman. This is a very melodic track featuring lots of fine moments. "Flytet" Is one of the best tracks. The fourth track "Anar Dig" begins as a calm and soft piece played in a very emotive way and that has also some nice vocal work. I particularly like the guitar work very much. I think this is a very nice track. The fifth track "Frog Funk" is surprisingly an instrumental piece that represents perhaps a tongue-in-cheek moment on the album. Despite it has, somehow, a disco beat, it sounds really nice to my ears. I really don't dislike it. However, maybe we can say that it's somewhat a bit restrained for Kaipa. The sixth track "Visan I Sommaren" is a romantic piece, one of the most vibrant tracks on the album that also features an excellent vocal work. This isn't really in line with the rest of the album but I sincerely like it. The seventh track "Tajgan" is an atmospheric piece of music almost composed by piano and Mellotron. It concludes a brief but tasteful blues solo evocative of David Gilmour. Anyway and as happened with "Frog Funk", it also can be a bit restrained piece for Kaipa. The eighth track "Respektera Min Varld" is a very lively organ driven piece. It's a more song based offer featuring the dual lead vocals of Lofgren and Lundin. This is quirky and melodic prog littered with Lundin's great keyboard textures. It's one more track that sounds great to me. The ninth track "En Igelkotts Dod" is a majestic march with Stolt perfectly capturing the Steve Hackett's stately guitar tone. This is an excellent instrumental piece very poignant and strongly influenced by Genesis. It also really sounds great to me. The tenth track "Total Forvirring" is an energetic piece with its synthesized guitar tracks. It also has a very Genesis' flavour, a real workout for Stolt's legato guitar solos. The eleventh track "Sist Pa Plan" closes out the album in a grand fashion, with a slew of fiery guitar and synth trade-offs between Stolt and Lundin driven by Lindberg's articulate bass line and Bergman's busy drumming.

Conclusion: "Solo" turned out to be Kaipa's last prog album in the 70's. Having recruited a singer, the band wrote a bunch of shorter, though still progressive material. In a way the band followed on this album the same musical path as on their two predecessors meaning making progressive rock music that was very much related to the music bands such as Genesis, Camel and Focus had made in the mid of the 70's. Despite the considerable contributions from the rest of the band, especially Lundin and his arsenal of analogue keyboards, it's the young Stolt who is the high achiever on "Solo", with some of his most memorable playing. It's a real pity then that a full twenty four years would pass before his next appearance on a Kaipa's work. It was a pity too that Kaipa only reappeared twenty years later of its dissolution.

Prog is my Ferrari. Jem Godfrey (Frost*)

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