MÅLTID

4.5 stars really!!!

Second album from one of Sweden's craziest yet most enduring and most important band, Maltid is their most stunning album ever, no matter under which name the band will record. Some three years after their debut, SMM lost percussionist Oberg, but gained guitarist Coaste Apetrea, but this didn't alter much their direction, even if there were obvious sonic changes. Unlike its predecessor's and its chicken shack, Maltid was recorded in a real studio during the fall 73 and received a strange third-age picnic artwork (I think Maltid is meal time), which doesn't seem to be related to the tracks, at least not at first glance.

Starting out on some very obtuse bowels sounds (well, sorta anyway ;o), the quartet attacks their second opus on the almost 11-mins Dundrets Frojder, a constantly evolving track with some crazy percussions, weird vocals astounding overall musicianship and a Zappa-esque mastery and humour, but SMM has their own distinct sound. There is no way you could mistake it for Francesco, but it is damn well inspired, but never copied, as SMM is really giving priority to the instruments, as opposed to Frank's often too wordy musical scheme. SMM's vocals are often weird but actually closer to Focus than Zappa. Further down the album we have some really superb tracks like Oforutsed Folossning, some more experimental or dissonant Aterupplivate Laten, the burlesque and wordy Svackorpoangen and the slightly ethnic sounding Minaretten (with some incredible drumming) etc.. The mood always remain positive, humorous, joyous, even festive, that Maltid is actually fairly accessible despite its complexity, and I dare say that more than one prog-refractive should actually like this album, despite its left hand oddness.

This album comes with three bonus tracks, two of them from this same 73 session, and Circus Apparatha from the chicken shack sessions and the debut album. One of the tracks Minaretten 2 is absolutely vocally bonkers and it may introduce a certain reject reaction, but manages to blend in enough with the album's overall mass of work. Blending much better in (although you can hear the major production difference between the shack and the studio) is Circus Apparatha, while unlike the Minaretten 2 track, the final Probably should've made the original cut.

Knowing that SMM is one of the six original groups that will found the RIO movement in 77, they are the second oldest group (Stormy Six started recording in 69 but ahead of Henry Cow) and that by then, they'll have 4 albums, including this fantastic baby and its upcoming little sister Klossa Kuapitatet as pure Chef D'Oeuvre under their belt. This album can only be taken as a salutary musical slap in the face, no less, and assuredly the most important album out of Scandinavia. Well don't stand there, run for it.

Samla Mammas Manna play a unique style of music. It's bursting with energy, invention and playfulness. Those who like their music to be SERIOUS - well, stay away. You'll hate this. For those of us who can giggle as we listen, this is an album you won't want to miss out on. Jazzy textures and touches of folk mingling with quirky melodies and bursts of care-free avant-garde madness, not to mention those idiosyncratic vocals that sound like a bunch of drunken gnomes burst into the studio. Yes, it's silly at times, but that silliness is underpinned by superb musicianship and a real sense of purpose. It's obvious that SMM knew exactly what they were up to when they recorded this album, and after a few listens you will too. I can't really do a breakdown of the songs in this instance, as it's such a cohesive album. Just take mine, and several others' word for it and check out this strange, fun, and hugely rewarding music.

Highlights: "Dundrets fröjder", "Syster system", "Minareten".

I just found out this CD couple of days ago during ProgNite conducted by the Indonesian Progressive Society, Jakarta, Indonesia. As usual, there was a CD counter by Pram's CD that I always visit the counter before the gigs of Indonesian prog bands. And, this progarchives website has really helped broadening my knowledge of bands that I have never heard before including Samla. I remembered there was excellent review by colleague collaborator Trouserpress about this album. When I saw this album was displayed at that CD counter, I wanted to give it a try. My first question to some progmates who were there around me was: "what kind of music this band plays?". Most of them said that the music of Samla is excellent. So, I did purchase the CD. Eventhough, I hate the cover! It does not project any prog music at all if I'm judging the album by its cover.

You know what happened when I first spin the CD? Strange! Weird! It's not the kind of Banceuy coffee that I used to sip, I would say. What is this? Uugghhh ..!!!! But hey . hold on a second . the music is neatly arranged, the harmony is great, the musicianship is excellent as they can deliver this relatively complex music flawlessly. Yoohaaa . man . I started loving the music. I gave another spin and . it grew significantly from second spin onwards! This is truly progressive: the band offers different kind of prog music far away from what it was available at the time of release. Yes, there is mellotron - that would favor those who love classic prog rock - but that's not the soul of Smala music, I think. Samla's music (especially this album, of course, because this is the only one I have now) is a perfect blend of Canterbury, symphonic prog, and classic rock performed mostly in comedy style. Well, I guess . because I can sense the music sounds this way to my ears. The piano / keyboard sounds remind me sometimes like Dave Stewart (Khan) or Cuby's + Blizard (Dutch blues band) piano style. The guitar work is a marriage of classic rock style and Canterbury.

Overall, enjoying this music is truly rewarding. I have difficulty to find any comparison with the music of other bands as this kind of music is something new for me. And.. I do enjoy it. I consider this album as an excellent addition to any prog collection. Recommendation for you? I don't think I dare to do so as this one is different. Unless, you are open mind to prog music. This album may favor those who love Canterbury kind of music because there are elements of it blended in fusion style. Keep on proggin' ..!

Progressively yours,

GW - Review #340

I don't really want to put a rating to an album like this.... no rating can really be put to music, all ratings are just opinions.....

Personally I enjoy this music alot. It shows alot of originality and happiness to me, it displays influence from other bands which i relate to in a similar way, although it has gone off in completely it's own direction, which i believe is the most interesting, thought provoking and satisfying type of music.

Find your own music to help you through your way of life.

SAMLA MAMMAS MANNA's 1973 album "Måltid" is a mixture of amazing virtuoso avant-garde prog rock by a bunch of really talented artists and crazy humorous vocal arrangements which only Swedish people are capable of doing. The music is a bit jazzy, but not quite fusion, it's avant-garde, but it's not quite RIO, and for the love of god, it sure isn't symphonic prog.

The musicians are very talented indeed. Guitarist Coste Apetrea can pull an impressive solo from his sleeve anytime and keyboardist Lasse Hollmer is on fire as his piano is all over this album. Lasse Kranius and Hasse Bruniusson back them up solidly on bass and drums respectively.

The music is quite hard to describe and also quite hard to grasp at times, but the epic 10-minute album opener "Dundrets Fröjder" is one you immediately fall in love with; full of wacky instrumental and vocal hooks. But one word of warning for everyone; try singing some of this stuff in the shower and you bloody well might drown in there. 4/5

I was born a man, I died a boy. This sentence was chosen by the brazilian writter Fernando Sabino to be added to his tablet when he dies. It's so simple and common, but perfect. Already some artists had before said similars brilliant sentences, for examplo, Pablo Picasso, and in such a way they tried mixed the unimaginable quality of their masterpieces with the infantile nature, in order to get the maximum of quality.

In the universal kingdom of music those that can be considered as children playing games are few, if consider boys playing to make art, Samla Mammas Manna is the most infantile protagonists of the progressive rock, a band full of wonderful geniuses like few others dozens born in each century. Maltid has all the taste of childhood, a flavour like a homage to an old country aunt, considering if like she is preparing cakes and pies while boys run around the yard playing games. The album is like a dream, a fantastic youthful world.

Maltid is one of the greaters and more complete masterpieces of progressive rock, and if you still have a little child inside you to play, you must get this album and live as boy again around the beautiful songs that capture the free spirit of childhood, without those kind of massive issues and problems of the day.

For adults and boys, for all, to hear and have fun, an essential masterpiece of progressive music

Samla Mammas Manna's second release, "Måltid", is a very fine output and a major improvement over their debut. It's definitely a grower for some people but it's incredibly rewarding nevertheless. The production could have been better (it's a bit thin and raw) and steadier but the entertaining, creative and convincingly original songs makes up for it. Like all other Samla albums "Måltid" shows it's styles well, including Jazz-Rock, RIO and Folk among others, and they manage to mix and balance them out without problems at all together with a nice touch of the eclectic and nearly flawless instrumentation of these crazy Swedes. Keyboardist Lars Hollmer in particular is a standout here with his entertaining yet serious playing on the tangents. The rest of the band does an impressive performance throughout the rest of the album, notably guitarist Coste Apetrea's floating but sharp guitar playing and Hasse Bruniusson's hectic but controlled drumming. The album have lot's of diversity and humoristic playfulness and is very addictive when you first get "into" it. The vocal parts are high-pitched and downright silly throughout most of the album and adds a very joyful mood to the music, although it might not appeal to everyone. There's rarely any actual lyrics on the album. The best track here is obviously the opener, "Dundrets Fröjder", a 10 minute masterful track combining everything that makes this band so great; jazzy textures with a good dose of wacky humor and great variation within minutes. It's quite possibly the most representative track from the band and an amazing achievement overall.

There's very few weak moments on this album, the last track "Værelseds Tilbud" is the only one I don't enjoy as much as I did with the other songs. Overall, I would say that this is an important addition to your prog-collection if you like either Jazz-Rock/Fusion or RIO (or both for that matter). SMM's "Måltid" is a entertaining and adventurous release that every open-minded person should try. Me personally think it could have been slightly better, especially the production, but I would still highly recommend it. 4.5/5. Not as good as "Familjesprickor", but up to pair with "Klossa Knapitatet".

Samla Mammas Manna's second album, "Måltid" is to me, and many others, the best SMM album. Samla Mammas Manna makes original and interesting music. It's complex-avant garde-jazz-rock with plain silly (mostly wordless) singing. Best songs on this brilliant CD is "Dundrets fröjder", "Tärningen", "Syster System" and the hilarious "Circus Apparatha". I would highy recomend this album to fans of Frank Zappa's wierder works and Nordic 70's prog-rock. Brilliant!

4.5 stars. At the end of the liner notes they wrote "Remember-joy is contagious !" Lets just say that this band has made a lot of people smile over the years. I laughed right out loud a couple of times while listening to the insane vocals. I'm sure they are singing some funny lines too, but it's all sung in Swedish. I had a hard time finding this cd but thankfully I finally got it and it was well worth the search. As a side note the Zeuhl band UPPSALA (great band) named their band after the city that guitarist Coste Apetrea is from. They met him and another Swedish guitarist while on vacation and were so affected by this meeting that they thus named their band UPPSALA and even named a song after the two guitarists. Like they said "Joy is contagious", they caught something special from that meeting anyway. Another side note is that the drummer (Hasse) has been the percussionist for the FLOWER KINGS for a long, long time.

The first song "Dundrets Frojder" really embodies what this band is all about.This is also my favourite song off of the album. It features a catchy, uptempo melody with keys and drums leading the way. The guitar is fantastic ! The tempo picks up as these crazy vocals come in. It gets heavy before 7 minutes with some excellent drumming followed by mellotron. Nice. Scorching guitar late, on this the longest track. "Oforutsedd Forlossning" features funny vocals and light drums. The sound gets louder as the guitar comes in.

"Den Aterupplivade Laten" opens with odd sounds before we get a melody. The piano reminds me of GENESIS as the soundscape does have a symphonic flavour. Nice piano to end it. "Folkvisa I Morse" is a short and catchy folk song. "Syster System" has these hilarious vocals with piano and drums. "Tarningen" is a great uptempo track with outstanding piano, drumming and guitar. "Svackorpoangen" is led by piano and theatrical vocals. "Minareten" is bright and uplifting for 2 minutes before settling down as we get some more lunatic vocals.There is a fantastic sound the rest of the way until the mood changes after 7 minutes. The final song "Vaerelseds Tilbud" is made up of mostly piano melodies.

This is like the polar opposite of UNIVERS ZERO, it's bright, fast and catchy, but most of all it will make you smile.

I have to thank SAMLA MAMMAS MANNA, because they opened more my eyes, I had the preconception that all Avant bands where extremely weird, extremely technical and with a total lack of sense of humor. Well, this band has made me travel from the late 60's inspired debut to the incredibly strange "Dear Mamma" and now is the turn o review their second release "Måltid".

If SMM is almost Psyche and "Dear Mamma" is one of the most characteristic expressions of Avant Garde, "Måltid" is a beautiful fusion of different sounds and styles that go from Fusion top the most experimental forms of Electronic.

"Dundrets Fröjder" starts with a strange intro that leads immediately to a strong passage reminiscent of EMERSON LAKE & PALMER which without even noticing morphs into a guitar oriented Jazz section, without losing their sense of humor they continue exploring this trilogy of influences for the almost eleven minute's that the song lasts. Am incredible experience that broadens the horizons of melodic fans like me, but without scaring us with almost impossible to understand experimentations. The frantic ending when they go a step back towards some form of Acid Psychedelic Jazz is simply amazing.

In "Oförutsedd F¢rlossning" they start joking with their voices, but in contrast a very sober piano makes a fantastic melody, first in the background and then takes the lead, but the vocal jokes follow, this time with a powerful guitar supporting them, at the end all the band together play some sort of ultra elaborate fusion.

"Den Återupplivade Låten" starts weirder than ever but now a very dramatic and strong section irrupts out of nowhere, somehow Symphonic with Jazzy and Hard Rock leanings, this proves how versatile this guys are. The last section blows minds, is completely unexpected, but when you are used to this band, you should expect anything. When explained with poor words may sound confusing but when you listen it, everything is in it's place.

"Folkvisa I Morse" begins Medieval oriented with a troubadouresque tune that goes for a long period of time with soft humming in the background, by moments they enter into a delightful cacophony, but just for a few seconds before they return to the main tune.

"Syster System" is hilarious, I dare anybody to listen the vocals and not to laugh, but the take the music seriously, because the piano is fantastic, even when a bit repetitive, no radical changes until the end, just screams and the constant piano.

"Tärningen" is a mixture of Rock and ...anything, SMM seems to get more adventurous as the album advances, but this time reminds me a bit of the radical changes in some of the most elaborate FOCUS tracks. But the most interesting feature is how the song evolves through different sounds and moods with no effort, as if it was something easy and natural.

"Svackorpoängen" begins with a very Classical oriented piano intro that grows in intensity as it advances, again the voices join with their high pitched tones and conversations taking us a few centuries back to the late Medieval era, but radically change into some form of Modern classical, Lasse Hollmer does a brilliant work in the piano. Can't help feeling the strong FOCUS reminiscences in "Minareten" but of course much more complex, the melody is lead by the guitar in a perfect Jan Akkerman style. For the first time in the album, the song flows gently without surprises until almost the middle, when they start with a controlled experimentation and screams, you must listen this track, because words can't describe it.

The official release ends with "Værelseds Tilbud" which starts incredibly dramatic, with a mysterious Avant (the real Avant Garde) piano which takes the central role and makes all the changes and experiments almost alone, wonderful ending.

The album has three more bonus tracks, but as always I stay with the original song list, because that's the way the author released it and how IMO should be listened.

Even when more mature than the self titled debut, I feel they lost some of the beautiful naïve sound that was so pleasant, but instead we get a more solid musical expresion.

A fantastic album for people who are willing to take the risk with more adventurous musical forms, that I can't rate with less than 5 stars.

Måltid ( translates into Meal)is the second studio album from Swedish avant garde rock act Samla Mammas Manna. Their debut was a brilliant album and with this second album Samla Mammas Manna really shows that they have developed their unique sound even further. The biggest difference between Måltid and the debut is the addition of guitarist Coste Apetrea. As a consequence of his addition to Samla Mammas Manna Måltid sounds much more complete than the debut which had no guitars.

The music generally has a happy mood and besides the new addition of a guitar to the bands sound there are lots of enthusiastic piano parts and even more challenging drum and percussion parts from Hasse Bruniusson ( The Flower Kings). The music on Måltid is very rythmic. The music is generally instrumental but there are a few vocal parts which are mostly high pitched and hystarical. Just hilarious moments IMO. There are lots of jazz influences in the music, but thankfully it never evolves into ordinary jazz music.

The musicianship is one of the biggest assets on the album as every musician playing on the album are very accomplished.

The production is much better than the unpolished sound of the debut.

Måltid is a step forward for the band and a really excellent avant garde rock album. This is the kind of album you put on if you´re in a good mood or if you want to be in a good mood. That´s the impact it has on me anyway. A very deserved 4 star album IMO.

I just realized that it has been exactly a year since the death of Lars Hollmer who I consider to be the greatest progressive rock artist that has ever emerged from the Swedish music scene.

Måltid is probably the most accessible Samla Mammas Manna releases and my first experience of this bands unique sound. Although the band takes some elements from the Swedish Progg-movement (not to be confused with Progressive rock) this is far from the left-wing mambo jumbo that was played by bands like Blå Tåget, Hoola Bandoola Band and Nationalteatern. This is creative Avant-Prog at it's finest.

There are just so many real classics featured on this album that regardless of any personal opinions this release just has to be recommended to anyone interested in exploring this exciting band. Compositions like Dundrets Fröjder, Syster System and Tärningen are easily some of the most well recognized highlights that have become Samla Mammas Manna's definitely live classics for years to come.

My personal favorite instance here comes in the form of Den Återupplivade Låten. The composition does start slow but once it starts rolling there's just so much energy and excitement embedded into these six minutes that I always want to hit the replay button right after hearing it!

***** star songs: Dundrets Fröjder (10:43) Den Återupplivade Låten (5:53)

**** star songs: Oförutsedd Förlossning (3:10) Folkvisa I Morse (2:07) Syster System (2:27) Tärningen (3:33) Svackorpoängen (3:11) Værelseds Tilbud (2:26)

*** star songs: Minareten (8:21)

As my stockpile of music has kept expanding, it's been harder for music new to me to bowl me over. Pretty much that amounts to what it takes for me to hand out a masterpiece rating to some album now; it has to really blow me away or catch me off guard in a positive way, and that's exactly what MALTID did.

It's hard to really describe the overall sound on this album, but to call this ''serious music'' would be a big mistake. There's hardly a moment where SMM doesn't sound like they're having fun, even if pieces like ''Dundets Frojder'' and ''Tarningen'' sound like works of art. The vocals are the key component in their humour; very chirpy, high-pitched and annoying, they only add to the enjoyment, particularly on ''Sister System''.

The two longer songs are more likely to attract the typical proghead, and rightfully so as both are the best on the album. The two are loaded with precise lead guitar work, effective electric piano bits, crazy percussion and the occasional divergence into carnival music. The music is very likely to shift directions in both pieces, but themes are developed well enough to the point where any transition is natural. Hasse Bruniusson's percussion work is also of note because of the odd-sounding blocks used and his fluidity of using the kit as its own independent instrument.

However, there are plenty of joys in the shorter songs. ''Sister System'' and ''Svackorpoangen'' sound like they could be played in ballrooms to get the patrons to start dancing, but the vocals on top are pure hilarity. Songs like ''Folkvisa I Morse'' and the last one are nice quiet little things that don't demand too much from the listener. All of the songs are very melodic, so those that hate avant-garde stuff don't have to worry too much. MALTID has stuff that all sorts of progsters would like, so if you're looking to test out the RIO/Avant subgenre, try this one out. It's at least an interesting experience.

For bonus laughs, there's a bonus extension to ''Minareten'' called ''Minareten II'', and if you're not ready, the screams will scare the pants off you.

8/10

'Maltid' is one of those unique and obscure sounding prog gems that sticks for quite a while.

Samla Mammas Manna are probably the most popular (or less unknown?) Avant Garde band from Sweden, and 'Maltid' is their most famous album, released in 1973. The album has been a little left in the shadow, and still is today. But when talking about Avant Prog bands and albums, and it's development over the years, it's hard to omit this strange sounding band and this even stranger sounding album.

Samla Mammas Manna have quite a few influences under their sleeves, and they aren't hard to find. The most noticeable influence is probably Frank Zappa, it almost feels like 'Maltid' is the Scandinavian response to the crazy American guitarist's work. But there's also a lot of progressive, from the more Symphonic side to the kind of prog some call 'Eclectic Prog'. Despite this, Samla Mammas Manna have a totally peculiar sound, that can be recognized immediately when listened. What musically makes the bulk of their style is the magical chemistry and duets between the electric piano and the electric guitar, both paced by an extremely and almost constantly dynamic rhythm section, that has an obvious crush for cowbells. A more schizotype version of traditional progressive rock. Not to forget the vocals, that are used like an instrument, coming along every now and then, and when they are present, they completely dominate the music; these vocals are of an amazingly intense falsetto, like you'll never hear.

Listening to 'Maltid' is like being in front and meeting a utterly strange and extravagant person; at first, you're not sure what to think, but then you can't help loving him, or at least being very fascinated. What makes this album sort of human is also the alternation of different moods; some songs sound extremely cheerful, quirky and playful. In some other songs, the atmosphere is a little more serious sounding, even though the instrumentation and the style of the music remains pretty much the same, except for the fact that these songs are always instrumentals(or almost), while the first type always have them.

The more cheerful songs are probably the ones I prefer most of the time; the opener 'Dundrets Fojder' is ten minutes of crazy time changing, showing a lot of free music influences, even though the second part of the track is a little more tense and controlled thanks to the mellotron entry. But usually the more wild songs are around two, maybe three minutes long; 'Outf'rsedd F'rlossning' is cheerful as well, but the hook sounds a little more dramatic and less playful, while 'Folkvise I Morse' is a folked-out, two minute absurdity, and 'Svackopoangen' sounds like an SMM arrangement to a traditional Swedish song. But even in the serious tracks the quality is just as good; 'Den Aterupplivade Laten' and 'Tarningen' sound like more crazy sounding versions of Symphonic Prog pieces, and the other mini epic of the album, the eight minute 'Minareten', is a more chilled out tune, that features in the middle of the song vocals, and still maintains it's miraculous chillness.

'Maltid' is one of those unique and obscure sounding prog gems that really impresses you and sticks with you for quite a while. A great album, to listen to with an open mind, and with a little bit of absurdity inside.

Another enjoyable album from Samla Mammas Manna, Maltid generally attempts to refine the approach of their debut album - so expect circus music, Canterbury, and the first incarnation of the Mothers of Invention all tossed in a bowl and mixed together. This time around the band do a better job of melding these sounds into a seamless whole, the transitions between styles being handled with more finesse. Otherwise, if you enjoyed the first Samla album, there's more of the same here, and if you couldn't stand it you're not likely to be too enthused by this one. Four and a quarter stars, rounded down to four.

Henrik "Bebben" Öberg left Samla Mammas Manna shortly after the release of their self-titled debut and in a clevef move the remaining trio hired guitarist Coste Apetrea the following year in his place.The next move for the fresh line-up was to enter the Decibel Studios and record a new album, produced by Anders Lind.This was again released on Silence Records in 1973 under the title ''Måltid''.

The new musical direction of Samla Mammas Manna was simply intricate, powerful and extremely cohesive all the way, offering a quirky, mostly instrumental Progressive Rock with influences from Classical, Jazz and Swedish Folk Music in equal portions.This fact can be recognized already from the long opener ''Dundrets froejder''.Groovy and frenetic Progressive Rock with shining guitar hooks by Apetrea, bombastic breaks and an impressive, rich sound with dominant keyboard (including organ, Mellotron and electric piano), bass and drums, only interrupted by humurous, wordless vocals.The rest of the tracks are also pretty outstanding, created by a band that now has found its own style and tight receipt.Crazy short- and mid-length instrumentals with a superb balance between loose moments and extremely tight interplays, characterized by rhythmic heaviness, jazzy improvisations, Classical melodies and folky soundscapes.A new star seems to shine on Apetrea, while Hollmer offers a mature and infallible performance.The words about the rhythm section are needless.Strong, solid and highly technical playing all the way in full collaboration with guitars and keyboards.

Simply awesome release.Every fan of Progressive Rock, who doesn't mind a fair dose of complexity, should own this classic.Highly recommended.

Where people presumably uses to begin their Samla listening I almost end it. "Måltid" from 1973 is Samla mammas manna's second album featuring now a guitarist in Coste Apetrea. That what mostly what I missed on their first record, and with the guitar, also a hugher concentration on the melodies takes form. To give this four or five stars is totally a matter of personal taste. I directly hear we're talking about great music. What's progressive with Samla is especially its progression. Their music developed all the time and on this record it has become clever and brilliant melodical music with a feeling of controlled freedom, humour and youth. I prefer "Klossa knapitatet" before this because I think they on that record had polished away the worst sillyness and developed their symphonic approach, which even is noticeable here.

Måltid (Meal)'s brightest shining stars are three: "Dundrets fröjder", "Den återupplivade låten" and "Folkvisa i morse". "Dundrets fröjder" (The thunder's delight) is a solid compisition with some recurrent themes, flying on the glory wings of Apetrea's guitar, Hollmer's piano, Bruniusson's drums and Krants' bass. It's a perfect Samla song (of which you can here more of on their two next comming discs), proving masterwork instrumentation och crazy songwriting. "Den återupplivade låten" (The revived tune) begins slowly and explodes in cascades. A totally different Samla song. "Folkvisa i morse"(Folk song this morning) is a short "progg hit" I knew from my childhood, with an easy little joyful melody playing around a breakfast table.

The "Tärningen" (The Dice) is a very good composition and "Oförutsedd förlossning", "Svackorpoängen" and "Minareten" are also worth listening. I don't find "Syster System" or "Vaerelseds tillbud" as interesting as the others. The first of those is little annoying(deliberately) and in the other it doesn't happen som much.

A very interesting and good record but not as important as "Klossa knapitatet" which for me is their best. But please check out Samla mammas manna if you haven't done it(2nd, 3rd or 4th records). Four strong stars from me!

REMEMBER, JOY IS CONTAGIOUS!

Few artists have embraced such a excentric posture as the core of the group itself. Maybe only Frank Zappa, but he was one man, here we are talking about a band, working organically to be exactly what Samla Mammas Manna achieved to be. And what they achieved? A kinda of cirkus music, with child' touches. That vocals in the fisrt track and in the middle of the album was something my brother and I would do when very young to substitute true lyrcis. But, Samla managed to do that without ANY prejudice to the music itself. Its music of great quality and you can hear every joke as something well placed in the tracks.

Its explosive, its high skilled music, its everything you need for a tired day. Its a 5 star.

I'm surprised that this is so highly rated for the band. It loses stars for the annoying high-pitched goof singing that the band delves into. It's reminiscent of Monty Python, when they are in women's clothing and talking in a high voice. If they only occasionally did this, it wouldn't be too bad, but on this album they go way overboard. I've personally edited out the parts for my collection, and what's left is fairly good. Without the goof singing, it would get a 4-star rating.

Dundret's Frojder (Dundret's Delights) has some fun parts to it, and is tasty. Den Återupplivade Låten (The Revived Song), and Tarningen (Dice) are also good.

I recommend the much better and more completely satisfying "Klossa Knapitatet" and "Snorungarnus Symphoni" which are both 5-star masterpices.

Samla Mammas Manna were a prominent act in the Rock In Opposition collective founded by Chris Cutler in the late 70's. Cutler's intention was to unify five groups from five different countries and create festivals aimed against capitalism and music industry. The first festival took place in The New London Theatre in London and the advertisement of the concert read "FIVE ROCK GROUPS THE RECORD COMPANIES DON'T WANT YOU TO HEAR." However, it was 1973 and the term of Rock In Opposition wasn't yet fully established. Two years after their self-titled debut album, Samla Mammas Manna released Måltid .

The music on Måltid blends influences ranging from as far as Canterbury scene to Swedish folk music. The group seems to be highly inspired by Frank Zappa's Mothers of Invention. Their sound is comedic, circus-like, and quite eclectic. The influence of Gentle Giant is also visible in places. Despite that, Samla Mammas Manna have their own distinct sound and Måltid is generally considered one of its finest examples. The band's sound is definitely odd, but surprisingly pleasing, even at the first listen. The cover definitely looks peculiar, despite the fact that there is nothing really unusual or ambiguous about it.

Especially for this album, Samla Mammas Manna recruited a fusion guitarist Coste Apetrea, whose gentle touch plays an important role in the band's music. Despite Apertrea's outstanding solo parts, he does not seem to have an urge of being at the first plan with his guitar often playing a role of a rhythm instrument that lays down a simple groove and repeats it. Lars Hollmer, the band's keyboardist showcases his versatility, going from bebop-like and even classically-inspired piano touches to full-on fusion passages on Fender Rhodes. Hollmer also supplies the band with smooth Mellotron sounds, which bring Matching Mole to mind. As opposed to the band's previous work, he sadly does not play organ, which gave the band a rather interesting flavor. Some of the pieces include whacky high-pitched vocals, which sound a bit like the great late David Byron of Uriah Heep was fooling around. The rhythm section of Hasse Bruniusson on drums and Lasse Krants on bass guitar also does a fantastic job and perfectly keeping up with the dynamic aspect of the group's music.

Despite being classified as avant-prog, Samla Mammas Manna are rather careful with musical sophistication. Odd time signatures, a common element of Henry Cow's music, appear seldom while unusual harmonies, alterations, bitonality, and free form parts are quite uncommon. The group seems to put greater emphasis on the eccentric quality of their music, which indeed is quite entertaining. The songs are quite diverse, without giving an impression of musical inconsistency. "Minareten" puts the band put in the more rock-oriented scenario, which resolves into a jazzy jam, "Svackorpoangen" shows the group's traditional jazz sensibilities, while "Tarningen" has elements of Yes' music with a funky rhythm being put into a symphonic-inspired form.

All in all, Måltid is a very adventurous work characterized by musical intelligence, good sense of humor, and vigor. This will make a perfect addition to every progressive rock collection and is an essential Rock In Opposition album. Highly recommended, 4.5 stars!

Review #150!

'Maltid', Samla Mammas Manna's second studio album, is the ultimate culmination of the band's great sense of humor, avant-garde properties, and just overall musicianship. The best way I can describe this record is rock in opposition in opposition. Other bands in the RIO category tend to take themselves seriously: The Cardiac, The Residents, etc. But SMM maintains the technicality of those bands whilst still incorporating humor and fun into all of their songs. These tracks are all light-hearted, even goofy at times. Even the two mini-suites on this album find their way through wacky grooves, calling back to early Frank Zappa. And the first of these mini-suites is the first song on this album, 'Dundrets Frojder'. Fast-paced, groovy, and not afraid of the pure absurd, this song goes full-circle: a melody plays at the beginning, goes through a long improvisational section, then refrains to the original melody. This song makes a switch to the jarring vocals of 'Oforutsedd Forlossning'. Most likely a drunk man screeching in Swedish. Bound to make one laugh uncontrollably, as it did me. There's a long and insanely groovy piano section and the song ends. 'Den Aterupplivade Laten' is a jazzy mood, starting with an Ornette Coleman jam session deal, then entering a slowly-building guitar and bass-led groove that concludes the song. 'Folkvisa I Morse' is a classic jam-band style song, combining acoustic and electric instruments. In the background are noises of someone grunting whilst opening a package of some sort. 'Syster System' is a certifiably weirdo jam that ends with some chanting. As all of the songs on this album, fun and groovy. 'Tarningen' is electric guitar-led, and high-octane as it gets. Sounds like ELP at times. 'Svackorpoangen' is the most vocal-led song on the album, with pub chanting going almost throughout the song. To me, it's the only song on this album with at least okay vocals. But the music is so good, you forget all about it. 'Minareten', the second mini-suite, clocking in at around eight minutes, is arguably the most diverse track on the album. At the beginning, it sounds pretty normal: just like your average whimsical psych rock, like Kaleidoscope or something of the sort. Then, It gets into a Can-esque groove and it's all crazy from there. You got cowbell, Yoko Ono-like vocalizations, funky bass, and so much more all falling into place, it's enough to make you jitter. But it makes me want to dance. The track is too complex for me to describe anymore, but trust me: you'll like it. The ninth and final track, 'Vaerelseds Tilbud' wonderfully and very SMM-ly closes this record. Lilting electric guitar that joins hands with piano, and closes the album in a beautiful fashion. This is an extremely eclectic record. You can make out anything from Can to Magma to Beefheart, and all in record time! This studio effort by Samla Mammas Manna is not one to overlook, no matter how underground it is. Believe me when I say that it's worth the spin! Prog on!

One of the best known, most creative and technically proficient bands to emerge from Sweden's prog scene in the 1970s, SAMLA MAMMAS MANNA was bizarre and avant-garde enough to earn an invitation from Henry Cow to join the Rock In Opposition movement. Formed in 1969 in Uppsala by keyboardist Lars Hollmer, bassist Lars Krantz, drummer Hasse Bruniusson and percussionist Henrik Öberg, the band released its self-titled debut album in 1971 and offered the world of a prog a vastly deviant approach that featured a playful mix of instrumental improvisations based on Hollmer's unusual keyboard playing along with Bruniusson's unorthodox drumming style. The band's unique mix of progressive rock, jazz fusion, Swedish folk and circus music was an instant hit in its native Sweden.

While the band made a splash with its debut, it still lacked the explorative depth and technically advanced creativity of its future releases. After the debut percussionist Henrik Öberg stepped down and was replaced with the jazz fusion guitarist Coste Apetrea who added an entirely missing dimension to the band's sound. After touring and finding the proper chemistry between the new lineup, SAMLA MAMMAS MANNA followed up with its most famous album MÅLTID (Swedish for "Meal") which took the band into the top tier ranks of crafting cleverly designed progressive rock with a high level of technical proficiency. While considered a member of Sweden's politically charged PROGG movement, the SAMLAS were clever enough to dress up their political digs in clever Zappa inspired silliness woven into lengthy instrumental jamming sessions that effortlessly shifted from one genre to another.

Sounding as unconventionally avant-garde as it does imbued with catchy melodies, MÅLTID was unlike anything else from Sweden or otherwise even within the oft serious nature of the avant-prog world. With a seamless parade of stylistic shifts that one minute offered extremely adventurous progressive rock workouts followed by silly circus music and Swedish folk song segments that featured exaggerated falsetto vocals, the SAMLAS had a way of hitting you over the head with an extreme technical brutality while making you laugh your ass off as they delivered a sense of whimsy that was right out of the Canterbury jazz camp. The addition of Coste Apetrea's guitar steered MÅLTID more into the world of jazz rock fusion with blustery chops that offered as much nerdy knotty angularism as it did simple repetitive catchy grooves that the band skillfully alternated enough as to make the album flow perfectly from beginning to end.

The album starts off in fine form with the crazy avant-garde noise that opens "Dundrets Fröjder" and then quickly jumps into a hurried jazzy rock style somewhat similar to that of Area or Supersister with exquisitely complex twists and turns that showcase all of the musicians' virtuosity right from the beginning however the band quickly establishes itself as a shapeshifter offering varying motifs that break into blues rock, jazz fusion and more blustering avant-prog workouts before offering relief with the ridiculous helium falsetto vocal styles that accompany a circus music type of rock hybrid. The oddball effect may bring The Mothers of Invention to mind but SAMLA MAMMAS MANNA delivered a sound all its own and with a technical fortitude reserved only for the most demanding avant-proggers and fusionists of the day. As the album proceeds it continues the frantic mishmash of styles zigzagging around like a drunken sailor in the night as moments of technical workouts suddenly cede into folk, dreamy jazz fusion or more circus music inspired moments.

The album also benefited from being recorded at the Decidbel Studio which had a brand new 8-track recorder and the SAMLAS happened to be recording next to Bo Hansson who graciously lent the band his array of keyboards and mellotrons which gives the album an even richer tapestry of dynamics than the debut was capable of producing. Likewise Apetrea's use of a Marshall 100-watt amplifier offered the rock creds that the debut seemed to lack. The band's unique sound was topped off by Bruniusson's home-made percussive kit. The band wrote most of the songs while on their 1972 tour and nurtured them into prog perfection which were recorded in a week's time. The chemistry for the band at this point was perfectly aligned.

The most giddily gleeful of SAMLA MAMMA MANNA's canon, MÅLTID has become the band's most popular as well as the most recognized contribution to the entire Swedish prog scene. Cleverly crafted and insanely avant-garde, the SAMLAS never lost sight of keeping the music accessible both on a melodic level and by keeping connected to the human spirit with lavish prog workouts pacified by the zany use of falsetto vocals and moments that sound like the band is going to break into playing polka music! MÅLTID in effect showcased the liberating playful of extreme experimentation at a time when such things were embraced wholeheartedly with no expectations of outcome. While the Swedish prog scene might've have emerged well after the British scene got the prog party started, it didn't take long for it to catch up and MÅLTID delivered the highest caliber of progressive rock that the era had to offer. Brilliantly technical and wildly hilarious, even the three bonus tracks on the later reissues are as provocatively dynamic as the material presented on the original release. One of the best albums ever to emerge from Sweden as well as one of the best prog albums ever from anywhere!