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Paulieg View Drop Down
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Direct Link To This Post Posted: October 13 2006 at 00:22
I love Scandinavian prog.  It was a very big and important part of prog coming back to life, so to say, in the early 90's.  I particularly like the dark tone to a lot of these bands along with the prominent use of the mellotron.  Some of my favorites are;  Anekdoten, Anglagard, Sinkadus, Pain of Salvation, Opeth, Wobbler, Evergrey.  
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Direct Link To This Post Posted: October 13 2006 at 07:09
A few more Norwegian bands:

Tangle Edge is definitely worth mentioning. I only have "Eulogy" from 1993. Recommended. Psychedelic/space with quite a lot of improvisation.
http://www.tangleedge.com

NOW WE'VE GOT MEMBERS seem to play a sort of psychedelic progpop. I have only heard the mp3 on their site, "The secrets of the city", a beautiful song (Almost like a mix between Gong and Belle and Sebastian). A band I need to check out more.
http://www.metronomiconaudio.net

LUMSK play a sort of progressive folk metal ("Skogsmetall"). Two videos to download on their site:
http://www.lumsk.no

GÅTE is a prog folk band, with references to Folque and the new Swedish folk bands like Den Fule and Hoven Droven, with a gothic post-grunge element too. Now disbanded, they had quite a lot of commercial success in Norway. Very good vocals IMO, and the music is usually very enjoyable, mostly with clear references to prog. Two videos available on youtube ("Sjå attende" and "Bendik & Årolilja"):
http://www.youtube.com/watch?v=C3IISdM9IQs
http://www.youtube.com/watch?v=GekKPIcoBlQ



Edited by Harkmark - October 13 2006 at 07:11
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Direct Link To This Post Posted: October 13 2006 at 13:29
Excellent thread.
 
The original poster must be right as my six favourite bands are all old English and new Swedish:
 
Van der Graaf Generator, Genesis, Jethro Tull
Anglagard, Anekdoten, Par Lindh Project
 
The English dropped the prog baton in 1975 and the Swedes picked it up again 20 years later!
 
 
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Direct Link To This Post Posted: October 13 2006 at 13:47


Hansson & Karlsson - Hansson & Karlsson. CD, £13.00 (Polydor - 557279-2)

An excellent compilation of the three albums recorded by Bo Hansson and Janne Karlsson prior to Bo's solo material. Probably Scandinavia's most famous '60s/70s rock musician, Keyboard player Bo jammed with Hendrix and wrote "Tax Free". The original version of that is here, together with a whole host of jazzy psychy rock material, utilising Hammond organ and percussion. A highly original sound that inspired many musicians in the future.…

Hansson & Karlsson imponerade på Hendrix

hanssonk.jpg %2829204 bytes%29 HANSSON & KARLSSON
Hansson & Karlsson
(Polydor) © 1998 1 tim 7 min 8(4)

Bo Hansson och "Loffe" Karlsson hade en gång i tiden ett band ihop.Det var i slutet av 60-talet. Då sättningen med bara Hammond-orgel och trummor bara hade använts inom jazzen tidigare.
Men flower power-sommaren 1967 när jag gick på Filips i Stockholm för första gången mötte mig en vacker flicka i entrén med en röd ros, Ray Manzarek höll på med sitt långa orgelsolo i Light My Fire på discot och en våning upp spelade Hansson & Karlsson och Baby Grand Mothers.
Det blev en överdos psykedelia redan från början! För vad var Herman's Hermit's jämfört med Jimi Hendrix?
Den sistnämnde blev så imponerad av den svenska duon vid en gemensam konsert i Sverige att han senare spelade in deras komposition Tax Free.
Den finns förstås med här tillsammans med annat förvånansvärt fräscht med både jazz och folkton i.



Edited by erik neuteboom - October 13 2006 at 13:49
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Direct Link To This Post Posted: October 13 2006 at 15:14
Yes, I have to say that I thought this might be a nice thread - but I never expected the amazing response - and amount of valuable information - that this has generated. I've been turned on to some good bands, and, for music lovers like us, that is one of the greatest feelings in the world Smile

Thanks again PA!

 
"Life is fleeting, man" - Slick Willie

"Eat, drink and be merry, for tomorrow we die" - Another famous Willie

"Don't fear the reaper" -BOC
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Direct Link To This Post Posted: October 13 2006 at 20:04
Norwegian band Gargamel are very nice. They released their debut album this year,and it´s one of my favorites of the year. They have the typical dark and retro scandinavian sound.
http://www.gargamel.no

Edited by PassTheTree - October 13 2006 at 20:07
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Direct Link To This Post Posted: October 15 2006 at 17:33
ah, i'm a fan of scandinavian prog. somewhat on topic, is anyone else going to the mellotronen 20th anniversary party in january?

http://www.mellotronen.com/silja.html


Edited by mina - October 15 2006 at 17:34
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Direct Link To This Post Posted: October 16 2006 at 10:02
Originally posted by mina mina wrote:

ah, i'm a fan of scandinavian prog. somewhat on topic, is anyone else going to the mellotronen 20th anniversary party in january?

http://www.mellotronen.com/silja.html
 
Haha, sounds cool!
Du Skojar om att jag Skojar men jag skojar inte alls
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Direct Link To This Post Posted: December 14 2006 at 10:22
    Samla Mammas Manna, aka Zamla Mammaz Manna, aka Von Zamla - Familesprickor / Family Cracks (1980)
        Klossa Knapitatet (1974)
        Maltid (1973)
        Samla Mammas Manna (1971)
        Snorungarnas Symfoni (1976)

Also Dice - Four Riders of the Apocalypse and their eponymous album
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Direct Link To This Post Posted: December 14 2006 at 14:37
Philemon Arthur and the DungLOL
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Direct Link To This Post Posted: December 14 2006 at 15:50
any fan of norwegian/scandinavian prog metal MUST have a taste of these two brilliant pieces:

Ark - Burn The Sun
Circus Maximus - The First Chapter
The scattered jigsaw of my redemption laid out before my eyes
Each piece as amorphous as the other - Each piece in its lack of shape a lie
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Direct Link To This Post Posted: December 15 2006 at 08:43
Worth mentioning: Etcetera.
The band ceased to exist last year, but Frank Carvalho is still writing new music. Let me tell you that there are some symphonic prog masterpieces to look forward to. Don't expect a new album next year, but more likely 2008.
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Direct Link To This Post Posted: December 15 2006 at 09:00
Originally posted by earlyprog earlyprog wrote:

Worth mentioning: Etcetera.
The band ceased to exist last year, but Frank Carvalho is still writing new music. Let me tell you that there are some symphonic prog masterpieces to look forward to. Don't expect a new album next year, but more likely 2008.
 
Very good band indeed. I have two albums by them and really enjoy both, although recording quality is not among the best. They are quite modern band but remastering would do good for they releases, do you know if there are plans to do it? 
 
 
 
carefulwiththataxe
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Direct Link To This Post Posted: December 15 2006 at 10:11
Originally posted by eugene eugene wrote:

Originally posted by earlyprog earlyprog wrote:

Worth mentioning: Etcetera.
The band ceased to exist last year, but Frank Carvalho is still writing new music. Let me tell you that there are some symphonic prog masterpieces to look forward to. Don't expect a new album next year, but more likely 2008.
 
Very good band indeed. I have two albums by them and really enjoy both, although recording quality is not among the best. They are quite modern band but remastering would do good for they releases, do you know if there are plans to do it? 
 
 
 
 
Frank hasn't mentioned remastering but I'll ask him next time I speak with him. In case of remastering I'm sure it won't occur until after finalising the new album.
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Direct Link To This Post Posted: January 10 2007 at 05:12
Hello nordic proggers.
 
How about norwegian band Madrugada their album Industrial Silence?
 
Industrial Silence
 
I've seen this band isn't included in this site, so I ask you: are they a prog band? Are they worthy of investigation?
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Direct Link To This Post Posted: January 10 2007 at 05:18
Panzerpappa is my recent favourite prog from the region.

Also, is Iceland in teh scandinavitron? If so then EIK are fabulous too. EIK EIK EIK.
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Direct Link To This Post Posted: January 10 2007 at 05:32
THIS IS A GREAT TWO ALBUM IN ONE FROM 70's:


L'immagine “http://www.progarchives.com/progressive_rock_discography_covers/2388/cover_3243422006.jpg” non può essere visualizzata poiché contiene degli errori.

BURNIN' RED IVANHOE — Burnin' Red Ivanhoe + W.W.W.

Review by MANDRAKEROOT (Andrea Salvador)

5 stars FUSION FROM DENMARK

The Burnin' Red Ivanhoe is the Danish band of greater abroad success in the 70's. Their music is a fusion that prefers the Rock to the Jazz and for this is enough easy to listen to. Nevertheless it is very interesting.

This released of "Burnin' Red Ivanhoe" and "W.W.W." is very attractive, In "Burnin'" the better things are "Across The Windowsill" a radio success, "Canaltrip", onest Bossa Nova and "Near The Sea", excelent but not conventional ballad. In "W.W.W." hit "2nd Floor, Croydon", very POP, "All About All", the final song "Cucumber- Porcupine", very cheerful, "Avez-vous Kaskelainen?" and "Kaske-vous Kaskemose" good and complicated Fusion pieces.

Rather that to spend money to have two separate album advice this released. You save and fairies yours a group to love all of the costs.

For always yours, Mandrakeroot.

Posted Tuesday, May 16, 2006, 11:01 EST | Permanent link




Edited by MANDRAKEROOT - January 10 2007 at 05:33
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Direct Link To This Post Posted: January 10 2007 at 10:33
Originally posted by Andrea Cortese Andrea Cortese wrote:

Hello nordic proggers.
 
How about norwegian band Madrugada their album Industrial Silence?
 
Industrial Silence
 
I've seen this band isn't included in this site, so I ask you: are they a prog band? Are they worthy of investigation?


Definitely NOT prog! More like roots rock (Like Thin White Rope and other 80s country-like rock bands) , a bit of Nick Cave etc. Good vocals, but that's about it imo.
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Direct Link To This Post Posted: January 10 2007 at 11:46

Cover

Release

Style

SECRET OYSTER: Vidunderlige Kælling 2005 Progressive jazz rock
Label
The Laser’s Edge
Website
www.alexgitlin.com/npp/so.htm
Contact
-

Playing Time

Cat. N°

48:58

LE1043

Review by

Rating

Christoph 7,5/10
nederlands Review

In the seventies progressive rock was hailed as the future of classical music. Of course it hasn’t come this far. Yet in those days prog was at least taken seriously as an art form. Remember Pink Floyd’s collaboration with film (“More”, “Zabriskie Point”, “Obscured By Clouds”) and ballet (“Atom Heart Mother”). As did Danish Secret Oyster, who wrote the music for a 1975 ballet based upon erotic poetry: “Astarte/Vidunderlige Kælling”, a record released under these two names, the latter meaning “Wonderful Bitch”. Naturally Secret Oyster had a difficult task in coming up with a score that responded to the choreography’s demands. If they succeeded, is difficult to conclude from its first cd edition on American label The Laser’s Edge. But the chances of success are very plausible, considering the propelling and sometimes hypnotic jazz rock that is displayed here. And indeed, the ballet performances were a huge success in Denmark (probably because of the dancers performing naked!), although in this re-edition’s liner notes saxophonist Karsten Vogel gives the impression that the ballet itself was pretty bad.     Secret Oyster’s general sound is primarily determined by the moog, soprano and alt sax and electric jazz guitar. Sometimes the formal display of the music seems to be at the expense of its depth, like when guitar and sitar start to freak out. Or when the whole ensemble lays down a real Argentine tango; a bit over the top if you ask me. An impression of shallowness appears, but perhaps this can be explained because of the lack of visuals. If imagery of the ballet’s performance does exist, I don’t know. Besides, it seems that more music has been written for the ballet, since among the three bonus tracks there’s an intro to a second act!

Despite these remarks, there is some excellent playing here. Especially amateurs of top-notch fusion (Mahavishnu Orchestra, Weather Report) will find some enjoyment. Meanwhile The Laser’s Edge announced that there are plans to release Secret Oyster’s three other albums on CD as well.   

Musicians

Claus Bøling : acoustic & electric guitars, sitar
Kenneth Knudsen : keyboards, string synthesizer, Moog
Jess Stæhr : electric bass
Ole Streenberg : drums, percussion, harmonica
Karsten Vogel : alto & soprano saxes, string synthesizer
 
Tracklist
  1. 1. Intro (2:10)
    2. Stjernerne pa gaden (5:41)
    3. Sirenerne (5:03)
    4. Astarte (6:28)
    5. Solitude (4:07)
    6. Tango-bourgeoise (2:47)
    7. Bellevue (3:20)
    8. Valse du soir (1:55)
    9. Outro (5:06)
    Bonus Tracks:
    10. Sleep Music (6:12)
    11. Circus Sax (4:42)
    12. Intro to Act II (0:50)
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Direct Link To This Post Posted: January 10 2007 at 11:52

Danish Progressive Rock At Its Best - Part 1

by Piotr Tucholski for Tarkus no. 21, June 2002
Eik Skaløe

In 1967 Eik Skaløe and Stig Møller formed the group Steppeulvene (Steppenwolf). They recorded only one record - Hip. Next year Eik went out to India and presumably died. When you listen to Hip album you find it Bob Dylan-influenced beat music, however be aware that it is one of the most important records in Danish rock history as it became a catalizator for other musicians.
The main reason is the fact that it was sung in Danish, for the first time. Hip seems to be written into Danish rock fans memory. Even now, after over 30 years, it is a cult band in Denmark. During my short visit in Copenhagen, I entered the record shop and had a conversation with a young man working there. He asked me:
- Are you interested in Danish rock?
- Oh yes, I like it a lot.
- You must listen to Steppeulvene. It's ggreat!

My adventure with Danish rock began a few years ago when I read an article in local music magazine. I was very impressed with... names like: Alrune Rod, Thors Hammer, Culpeper's Orchard and many others. Soon, I found that rock from Denmark and other Scandinavian countries, being under influence of music from America and England where the counterculture began, has its own, very special feeling. Moreover, in late sixties when progressive rock was created and new music styles were appearing day after day, one of them was rock with jazz influence. It is very characteristic for Danish music of late sixties, as many jazz players started to play beat and rock with great success e.g.: Burnin' Red Ivanhoe, Rainbow Band, Blue Sun, Dr. Dopo Jam and others. If you have a chance, give them a try and listen. Scandinavian element and professionalism of the musicians make the music unrepeatable and very worth listening.

Steppeulvene:
Discography: *
1. HiP 1967 Metronome

Reissues:
[1] CD - Elap

* The default media type is LP, otherwise noted. Types of reissued records are specified. Singles, EPs are not listed.

Ache

Ache started in 1968 heaving their roots in the hippie subculture of Copenhagen. They played a mixture of beat, symphonic-rock and classical-rock with strong organ and guitar interplays. Ache was said to be Danish equivalent of Procol Harum but its music was also under influence of Van der Graaf Generator and The Nice (great combination anyway!). The first album The Homine Urbano includes only two compositions. On side A there is a title track composed for ballet (performed in e.g. Copenhagen and Moscow). On Little Things (that covers the whole side B) the musicians started working in 1968 and since then they developed it piece by piece. According to them the composition is about little things that exist around us. It is slightly better developed than The Homine Urbano and must-have not only for symphonic-rock proggers.

Ache were planning to create Ache Rock Theatre an artistic event. This idea, unfortunately, failed due to lack of money, but music on their second album Green Man(except track Acheron) comes from that show. Compositions on this record are shorter (none exceeds 9 minutes) which enabled musicians to present more diverse material. Some tracks remind of the previous album (Equatorial Rain, The Invasion, Acheron), some are more like hits e.g. beautiful Shadow Of A Gipsy or titled Green Man. The last composition is Ache-ish cover of The Beatles' We Can Work It Out.

Torsten Olafsson said in 1971 about their music: When listening to music you may sometime imagine sceneries on situations appearing from far away, from sub consciousness, and when experiencing sceneries or happenings you may as well put sounds or music to them; and in both ways picture and sound will be linked together, and you will always believe them to belong to each other".
Ache soon disbanded but in 1976 reformed in different line-up and recorded two albums. The first rock opera Pictures From Cyclus 7 is said to be a better one.

Discography:
1. De Homine Urbano 1970 Philips
2. Green Man 1971 Philips
3. Pictures From Cyclus 7 1976 CBS
4. Bla Som Altid 1977 KMF

Reissues:
[1]+[2] 2LP - Philips 1976
[1]+[2] CD - Universal Music 2000
[1]+[2] CD - Free Records 2000


Alrune Rod

Alrune Rod [The Mandrake Root] was another important group for Danish rock, like Steppeulvene singing in native language. They were classic representatives of counterculture in terms of colorful clothes, long hair and that music... They are said to play the concerts with "neverending" compositions. First self-titled album is a very good psychedelic rock with echoes of early Pink Floyd and Grateful Dead. They second one Hej Du presents the same high level with great 21-minute suite Perlesøen [The Pearl Sea]. Unfortunately, the following albums were not as excellent, presenting more mainstream rock style. According to Ref. 2 the only interesting among their later works is the final album Tatuba Tapes, recorded live.

Discography:
1. Alrune Rod 1969 Sonet
2. Hej Du 1971 Sonet
3. Alrune Rock 1972 Sonet
4. Spredt For Vinden 1973 Mandragora
5. 4-Vejs - 1974 Mandragora
6. Tatuba Tapes 1975 Mandragora

Reissues:
[1] LP - Little Wing 1993
[2]+[3] 2LP - Sonet 1979
[1]+[2]+[3] 2CD titled: Sonet Arene 1969-72 Sonet/Polygram 1998
[3] LP - Sonet 1974



Alrune Rod in concert
Blue Sun

Blue Sun 1970

Formed in 1969 in Copenhagen, Blue Sun was hippie band having their roots in avant-garde jazz-rock. Most of their works come from live recordings - mostly improvisations dominated by sax, organ and guitar. The music is mainly instrumental, with some South African inspiration. The band was very popular at that time among youngsters, having strong spiritual power when they performed live. Their album from 1973 presents similar style but a bit more peaceful with leading sax and vocal, alternately.

Discography:
1. Peace Be Unto You 1970 Spectator Records
2. Blue Sun 1971 EMI
3. It's All Money Johnny 1976 Genlyd
4. Blue Sun 73 1992 Danish Music Archives, archive live recordings
5. Live 1970 2001 Karma, CD archive live recordings

Burnin' Red Ivanhoe

One of the biggest names of Scandinavian progressive groups that became well-known worldwide. Their music can be described as progressive jazz-rock under influences of beat, R&B, psychedelia... The compositions present often improvisational long passages with Karsten Vogel's (soprano sax, alto sax) musical visions. The other members are: Kim Menzer (flute, violin, trombone, harmonica), Ole Fick (guitars, vocals), Jess Stæhr (bass), Bo Thrige Andersen (drums).

Burnin’ Red Ivanhoe 1970: Fick, Andersen (obscured), Menzer, Stæhr, Vogel

They started in 1967 but the first album appeared two years later. It was double LP M144. By many considered their best. The comparison to The Who is especially clear in this early period. Most of the compositions have lyrics in native language but this changed with the following records where dominating language was English. The second, self-titled album presents the same style and similar record structure: after dynamic opening Across The Windowsill (on M144 it is famous Ivanhoe I Brøndbyerne) compositions of various style and atmosphere come: R&B Rotating Irons, dynamic blues-rock Gong-Gong, The Elephant Song, the ballad Near The Sea, etc. The last track is titled Secret Oyster Service - does it remind you of something? The third album WWW is probably their most progressive work. The music is more placid without crazy sax solos and R&B tracks; also over 8-minutes excellent 2nd Floor, Croydon has more progressive character. In the same year the band recorded LP with Danish folk singer Povl Dissing. Although the compositions are more folk oriented and all lyrics are in Danish there are some moments, especially over 10-minutes Tingel-Tangelmanden that could be interesting for progressive rock fans.

The group split in 1972 but before it happened they recorded one more album - it was "live in studio" Miley Smile/Stage Recall. Surprisingly, it contains only three old compositions: Ivanhoe I Brøndbyerne, Rotating Irons and Indre Landskab (however in different versions). The rest presents fresh material like rousing The Monster Song, funny cover version of the old standard Red River Rock or the longest and the most typical for the group, jazzy Bareback Rider. The album ends with R&B Goodbye, which is the musicians' farewell. All in all, Miley Smile/Stage Recall is another excellent position in group discography.

In fact, two years later one more album appeared signed as Burnin' Red Ivanhoe. Its story is pretty interesting. Vogel was a member of Secret Oyster at that time. He found (Ref. 2) that he collected some compositions that were not appropriate for experimental style of this group and decided to release the new album under old band name. Right On appeared in 1974 and is another "mandatory" item for BRI fans (unfortunately, this album is extremely difficult to find and very expensive). As for the members, there were former musicians of BRI: Vogel, Andersen, Fick, Secret Oyster: Knudsen and Day Of Phoenix: Karsten Lyng (vocal), so the band name on the album was used rather for formality. This record has rare moments when you hear the echoes of Burnin' Red Ivanhoe (mainly instrumental parts with sax solos) but more often of Day Of Phoenix' first album. The opening track reminds of Uriah Heep very much! In 1980 the group in old good line-up released Shorts, containing pop-rock compositions, quite enjoyable but it is a different story. Burning Red Ivanhoe was one of the most important and typical Danish rock representatives of that time. Fortunately, its rich discography is the evidence of wonderful musicians' output.

Discography:
1. M144 (2LP) - 1969 Sonet
2. Burnin' Red Ivanhoe - 1970 Sonet
3. W.W.W. - 1971 Sonet
4. Miley Smile/Stage Recall - 1972 Sonet
5. Right On - 1974 Sonet
6. Burnin' Live (MC) - 1974 Instant Sound
7. Shorts - 1980 Pick Up Pulp
8. Spotlight Burnin' Red Ivanhoe 1969-74 (CD) - 1990 Sonet Spotlight, compilation
9. Lack Of Light - 1998 Polygram
10.Povl Dissing with Burnin' Red Ivanhoe: 6 Elefantskovcikadeviser - 1971 Sonet

Reissues:
[1] LP - Sonet 1979
[1] CD - Sonet/Polygram 1997
[2] CD - Germanofon
[2]+[3] 2LP - Sonet 1980
[2] LP - Warner
[2] LP - Telefunken
[2] LP - Stateside
[3] CD - Repertoire 1992
[3] LP - Dandelion
[3] LP - Telefunken
[4] LP - Telefunken
[6] LP - Danish Music Archives 1991
[7] CD - Elap 1995
[10] CD - Universal Music 2000


Culpeper's Orchard

Beautiful cover of Culpeper’s Orchard first album

This band recorded one of the most beautiful records in Danish rock history. This self-titled album presents excellent electric guitar rock with some folk influences. There are heavier compositions like Mountain Music Part 1 and 2 along with beautiful songs Blue Day's Morning or Gideon's Trap with nice calm piano working. Very good English vocal comes from Englishman Cy Nicklin. The music is often compared to many well known groups which results from unique style and quality. I prefer comparison to Crosby, Stills & Nash but it gives you only hazy idea. This album was re-released on CD in Germany and is one of the most difficult to get on CD (LP is also rare and expensive). However, last year it was unofficially reissued.

Next album Second Sight was recorded with Ken Gudman (from Young Flowers) on drums that replaced Rodger Baker. It didn't reach the high standard of its predecessor, however some tracks are still very good like Julia or Keyboard Waltz. Third record was recorded with Cy Nicklin, Michael Friis from the old line-up plus three members of other Danish progressive group Blast Furnace but it didn't reach big interest. The last album is more into pop-rock direction.


Discography:
1. Culpeper's Orchard - 1971 Polydor
2. Second Sight - 1972 Polydor
3. Going For A Song - 1972 Polydor
As Culpeper:
4. All Dressed Up And Nowhere To Go - 1977 Sonet

Reissues:
[1] CD - Polydor/Forgotten Jewels 1991
[1] CD - Progressive Line 2001
[2] LP - Melody 1979 (released as 2LP with album of Moirana)
[2] CD - Polydor 1995
[2] CD - private
[2] CD - Progressive Line 2001


Day of Phoenix

The group was founded in 1968 by Cy Nicklin (later in Culpeper's Orchard) with Karsten Lyng Nielsen, Jess Staehr Nielsen, Ole Prehn and Henrik Friis Nielsen. They released the first single (1969) and participated in different events but in 1969 Cy Nicklin left the group and was replaced by Hans Lauridsen (and Stæhr by Erik Stedt Rasmussen).

In 1970 the band released the LP Wide Open N-Way. The music is psychedelic rock with clear feeling flowing from American bands. The lyrics are all sung in English. I met very different opinions about this album but it is definitely interesting and original work. Its producer (and of the following one) was Tony Reeves, ex-Colosseum bassist. Wide Open N-Way was warmly received and got some interest worldwide. Two years later the group reformed (besides Karsten Lyng and Ole Prehn there were three BRI members: Ole Fick, Jess Stæhr, Bo Thrige Andersen) and recorded the second album. Unfortunately, it presents mediocre rock compositions far behind its predecessor.

Discography:
1. Wide Open N-Way - 1970 Sonet
2. The Neighbour's Son - 1972 Sonet

Reissues:
[1]+[2] 2LP - Sonet 1979
[1] CD - Repertoire 1994
[1]+[2] CD - Universal Music 2000



The cover of Wide Open N-Way
Dr. Dopo Jam

And here is one of my favourites - Dr. Dopo Jam. Formed by Kristian Pommer in 1968 has its own unrepeatable style - rock with jazzy influences and a big doze of humour. It consisted of eight members (!) with strong brass section (trumpet, tenorsax, sopransax, flute).

The music is full of unpredicted twists and turns and musical jokes. That may give the impression that eight musicians don't control their playing and then you realize that everything is rather well planned and the particular pieces lays themselves out into a colorful pattern. First two albums are equally great. In 1981 Pommer with two members from old line-up and three new ones formed the group again and recorded third and last record: Cruisin' At Midnite. Although the musicians play many instruments and brass section is strong again the album lacks of power and freshness. However, due to many interesting ideas, it is recommended for Dr. Dopo Jam fans. The note from album cover is a good comment: "... It would be a pity to say that the band sounds like in the old days, but the main thing, the challenge to the listeners, is still there".

Discography:
1. Entrée - 1973 Zebra
2. Fat Dogs and Danishmen - 1974 Zebra
3. Cruisin' At Midnite - 1981 Dopo Di-Doo Platts

Reissues:
[1] CD - Germanofon
[2] CD - Germanofon


Dr. Dopo Jam

Danish Progressive Rock At Its Best - Part 2

by Piotr Tucholski for Tarkus no. 22, September 2002

Fleur De Lis

This was a quintet from Northern Jutland (started in 1969-70 in Skilve). It has in musical output one album that isn’t considered as one of Scandinavian masterpieces but is famous for collectors as original pressing is one of the hardest records to find. Although not of very good sound quality, it is pretty interesting underground rock dominated by Leif Nielsen’s vocal (singing with a little annoying manner – modulating vocal) and fuzz guitar. In some compositions and especially organ parts you can hear inspirations from Pink Floyd, Saucerfull Of Secrets era (Sympathetic Attitude, Home Of Minds).

Discography:
1. Facing Morning – 1972 Qualisound

Reissues:
[1] CD – Danish Music Archives, 1995
[1] CD – FID
[1] LP – Thorns Backtrack, 2001


Cover of Facing Morning CD reissue
Hair

Hair

Like most of Danish groups Hair was from Copenhagen, playing ambitious rock with West Coast feeling, inspired with e.g. The Doors. They recorded only one album Piece in 1970. The material on the record is energetic with fuzz guitar, strong organ and good English singing (often in chorus). The most progressive are two tracks, each clicks a little more than 10 minutes: Dream Song and Piece (Of My Heart), that is a longer version of Take Another Piece Of My Heart. Very recommended album.

Discography:
1. Piece – 1970 Parlophone/EMI

Reissues:
[1] LP – Pip And Pop, 1990
[1] CD - Flashback

Hurdy Gurdy

Power rock trio (guitar, bass, percussion), that was known as one of the acid rock bands, featuring Claus Bøhling - one of the best guitarists from Scandinavia. He is here also a singer and plays the sitar on Hindu song The Peaceful Open Space. Claus played in Secret Oyster (1972-1977). Later he had his bands Masala Dosa, Claus Bøhling Band and Elektrum.

Discography:
1. Hurdy Gurdy – 1972 CBS

Reissues:
[1] CD – Background Records 1992
[1] CD – Walhalla 1996


Maxwells

Maxwells could be described as a mix of Rainbow Band and Dr. Dopo Jam (it’s interesting that Lars Bisgaard was a singer in all these three groups but this comparison is not make here because of his vocal) – excellent Danish jazz-rock with strong brass section (and instruments like citar, saw), humoresque moments and silly voices a’ la Samla Mammas Manna (Beni Riamba or title-track). This excellent album haven’t been reissued but could be caught on quite reasonable price. For more info check Rainbow Band and Dr. Dopo Jam.

Discography:
1. Maxwell Street – 1969 MPS


Maxwells 1967 - their early period

Moirana (Mo-I-Rana)

Started in 1972. Nils Henriksen, Ken Gudman from Culpeper’s Orchard, Hans Lauridsen, Ole Prehn from Day of Phoenix – so we have one more super group here. The name was taken from a small Norwegian village where the musicians played. It was folk-rock band under strong influence of American groups like Crosby, Stills, Nash & Young - similar comparison like in case of Culpeper’s Orchard. In fact, styles of both predecessors are clearly heard in Moirana’s music. Electric guitar dominated compositions of rock with bluesy, folky and rock’n’roll elements appear along with ballads like A Theme For Loners And Lovers or Alone. Besides the LP, they released 4 singles in 1973-74.

Discography:
1. Loners And Lovers – 1974 Polydor

Reissues:
[1] Melody 1979 (released as 2LP with second album of Culpeper’s Orchard)


The Old Man And The Sea

This group hailed from Jutland. They started in the end of 60-ties as Den Gamle Mand og Havet (Danish name of “The Old Man And The Sea”) playing cover versions of songs of The Nice, Procol Harum, The Cream etc. Later they changed the name for its English equivalent. In 1972 recorded one of the best albums in Denmark – symphonic progressive rock with strong organ and heavy rock tendencies. This album became soon a cult record. Unfortunately, the band, as many others, couldn’t get the breakthrough and disbanded.

In 1999 a white label album appeared without any information about the issue except the tracks titles. According to Ref. 2, it contains unreleased studio tracks (probably they were to appear on the second album) and live radio recordings - pretty interesting for the collectors but with not so good sound quality. Three tracks come from the first album (Living Dead/Princess and Going Blind) but in other version. Some compositions present good music level like on previous record.

Discography:
1. The Old Man And The Sea – 1972 Sonet
2. The Old Man And The Sea – 1999, archive recordings

Reissues:
[1] CD – Walhalla 1996


Pan

Pan was founded by Frenchmen Robert Lelievre who was travelling around Europe to escape from military service and settled down in Denmark. Pan recorded only one but very good record. It contains 9 original, refined songs showing outstanding Robert’s talent. The album became soon a cult-record but unfortunately the group split - Robert struggling with inner demons made it difficult to cooperate with other members. He committed suicide in 1973.

Discography:
1. Pan – 1970 Sonet

Reissues:
[1] LP – Little Wing (embossed cover)
[1] CD – Northern Lights


Pan 1970. Robert Lelievre in the middle

Rainbow Band/Midnight Sun

If I have to choose just one record as a example of Danish 70-ies rock I would have no doubts that it must be the first album of Rainbow Band. The band was called a super group - Peer Frost (one of best Scandinavian guitar players) was a former member of Young Flowers, Bent Hasselmann (sax, flute) and Lars Bisgaard (vocal) played in Maxwells, Bo Stief (bass) and Niels Brønsted (piano) were skillful jazz musicians, Carsten Smedegaard was a drummer in the lesser known group The Beathovens.

 
Midnight Sun cover designed by Roger Dean
They released the album in 1970 – it is excellent refined changing tempo progressive jazz-rock with complex rhythms and expanded jazzy chords. The music was composed mainly by Brønsted and Hasselmann and the zen-buddhist lyrics were written by Andy Levin and Bisgaard. This album has an interesting history. In 1970, when record was about to appear in shops, Lars Bisgaard left the group. He was replaced by Allan Mortensen (ex-Tears). Musicians made decision to re-record the album. Some tracks were re-mastered with new vocal, some were re-recorded, two tracks Nobody and B.M. (that were recorded on the original album as one composition) were split. The only new composition is Sippin’ Wine, written by Mortensen. The vinyl appeared with the same cover design – beautiful painting by Anne Marie Brauges. Soon after, the Canadian group Rainbow Band registered their name and the Danish band had to change it. Under a new name Midnight Sun, they released the same album again in different sleeve design by Roger Dean. Let’s try to compare both records. Certainly, they seem to be very similar, but the first one is more refined and tasteful. Bisgaard’s vocal is calm comparing to Mortensen’s more aggressive and jazzy. The whole Midnight Sun’s album has feeling more like fusion jazz-rock.

On the next album Mortensen was replaced by Frank Lauridsen (playing also harmonica). This work is less refined than previous ones. First track Can You Hear the Music Play flows into pop-rock but later is much better. Hesselmann plays sax more like Karsten Vogel. It interplays well with sharp sound of Frost’s guitar (A La Turca). There are also more subtle moments like Winds Gonna Blow. It is surely difficult to find comparison to first self-titled album but Walikng Circles is worth listening. The group recorded one more record Midnight Dream that is one step towards easier rock with pop tendencies. For me the best track is Batum that bases on traditional song.


Discography:
As Rainbow Band:
1. Rainbow Band – 1970 Sonet
As Midnight Sun:
2. Midnight Sun – 1971 Sonet
3. Walking Circles – 1972 Sonet
4. Midnight Dream – 1974 Sonet

Reissues:
[1]+[2] 2LP - Sonet 1979
[2]+[3] 2LP - Sonet 1980
[2] CD - Black Rose Records 1999
[3]+[4] CD - Free Records 2000


Secret Oyster

Another super group – Karsten Vogel (sax) from Burnin’ Red Ivanhoe, Kennneth Knudsen (keyboards) ex-jazzy band Coronarians Dans, Claus Bøhling (of course guitar) from Hurdy Gurdy. The band was a musical polygon for Vogel and Knudsen where they could experiment and develop their musical ideas. This instrumental music is under strong influence of American jazz-rock into fusion direction.

The first record contains very interesting material showing musicians’ virtuosity. It is an experimental blend of styles that often surprises and is not easy for listeners. The following album Sea Son presents similar style but, unfortunately, not the same good level. Some compositions are tedious, like 9-minute Mind Movie with constant and undeveloped rhythm. The last track Paella is an example of experimental researches – it almost sounds like early recordings of Tangerine Dream. The third work, a bit less experimental was written for Flemming Flindt’s ballet which premiere took place in December 1975. Straight To The Krankenhaus was their last album. Like Sea Son it presents uneven material – as if the musicians focus more on their individual playing. However, beside less developed tracks like High Luminant Silver Patters or Leda & The Dog there are very good compositions e.g. dynamic Traffic & Elephants with excellent sax parts, placid and almost mournful Delveaux (this one sounds not unlike Miles Davis’ compositions from Siesta). My Second Hand Rose is very in style of old good Burnin’ Red Ivanhoe. This album has more spacey feeling mainly due to Knudsen’s keyboards that remind of Patrick Moraz’s play.

As I mentioned, the music of Secret Oyster is not easy. It is for those who like jazz-rock fusion and who want to listen to something more experimental, break the barriers set very widely in progressive rock. Unfortunately, none of the albums was reissued on CD.

Discography:
1. Secret Oyster – 1973 CBS a)
2. Sea Son – 1974 CBS
3. Vidunderlige Kælling – 1975 CBS b)
4. Straight To The Krankenhaus – 1976 CBS

a) released in USA as Furtive Pearl in 1973 on CBS
b) released in USA as Astarte in 1976 on CBS


Thors Hammer

Band playing energetic progressive rock with jazzy influences (not unlike Burning Red Ivanhoe), dominated by Michael Bruun’s guitar and saxophones of Jesper Neehammer. English vocal of Peter Nielsen reminds me of Frank Robson from Tasavallan Presidentti. Unfortunately, they disbanded soon after recording their only album.

Discography:
1. Thors Hammer – 1971 Metronome

Reissues:
[1] CD – Walhalla 1998
[1] CD – Crystal Emporium 1999


Young Flowers

Another important group that was musical pioneer of late 60’s when Danish rock became more and more ambitious. This power rock trio (Peer Frost: guitar, Peter Ingemann: bass, Ken Gudman: drums) presents blues-based psychedelic rock coloured with hippie atmosphere of that time.

Young Flowers: Peter Ingemann, Peer Frost, Ken Gudman

Their first album Blomsterpistolen [The Flower Pistol] begins with crazy sound Overture that evolves into Take Warning where the musicians (and especially Frost) show their superior talent. Most of the compositions were used for a series of three TV programs for teenagers presenting the story of aliens that landed on the Earth and whose weapon were guns shooting flowers. Two compositions are sung in Danish. There is a cover version of Bob Dylan’s Down Along The Cove and B.B. King’s You Upset Me Baby. The musicians often reach out for poetry of Walt Whitman – on Blomsterpistolen there are 3 compositions with lyrics of this American poet.

Second album was recorded with Niels Skousen (guitar) who later cooperated with Ingemann on several albums. It presents similar excellent music, a bit heavier, mainly due to frequent guitar jamming. The last track Kragerne Vender is a freeform jam session with Maxwells and Steen Claësson from Burnin’ Red Ivanhoe. In 1969 the group composed three compositions for Jens Jørgen Thorsens movie “Quiet Days In Clichy” - Behind The Golden Sun, Menilmontant and Party Beat. The last one you can find on Sonet/Polygram CD reissue.

The musicians remained very active, Frost played in Rainbow Band/Midnight Sun and Savage Rose; Gudman in e.g. Culpeper’s Orchard, Mo-I-Rana, Savage Rose. Ingemann played with Skousen in Musikpatruljen also as a duo and guest musician. He played in No Name (album Fødelandssange - 1972), Dream City, as a session musician with folk-rock singer Sebastian.

Discography:
1. Blomsterpistolen – 1968 Sonet
2. No.2 – 1969 Sonet

Reissues:
[1]+[2] CD – Sonet/Polygram 1997
[1]+[2] CD - private


A WORD FROM GREENLAND

 
Juaaka in the middle, Karsten Sommer as a policeman
People play music all over the world. The only problem is to find a record company that would save it from falling into oblivion. Greenland is a lucky land in that matter as in 1976 the record label – ULO was founded. It is located in Sisimiut north of the Arctic Circle! Rock music from Greenland isn’t really progressive. I have a few records that I chose carefully with Karsten Sommer from ULO. The music is very folk-influenced and rock is more towards mainstream direction, however I think there are items I can recommend to you. In 1973 the new group Sume [Where?] recorded the first album in Greenland Sumut [Where To?]. After the great success they recorded two more albums. They are out of stock now but I recommend the compilation CD Sume 1973-76. It is rock with western feeling and traditional Greenlandic elements. They sing in native language (like on almost every record from that area). The other album I can recommend is: Ulo Sinnattoraangama Takusarpagit [I See You In My Dreams] from 1980 (the band name Ulo means the knife used by women to flay the seals; it is the same as the label name by chance). It is beautiful melodic guitar rock with occasional flute and sax, nice to listen in the night. And for the completists I can recommend: two albums on double CD by artist Juaaka with Assivik Band Kalaaleqatikka/Oqaluttuat ([To All My Friends/Tales] - 1978/1982) – the first one is more folk and acoustic oriented album, the second is a kind of rock opera telling about the growing up of a small Greenlandic boy. The other item is music from Aasivik summer camp ‘79. This album contains various material from rock to traditional songs.

Danish Progressive Rock At Its Best - Part 3

by Piotr Tucholski for Tarkus no. 23, December 2002

When I was writing the article "Danish Progressive Rock At Its Best" I was in a constant process of trading what resulted in more and more interesting records I had and wanted to write about. But as the next issue of Tarkus magazine deadline was near I decided to send the text I had and then to write the last part (you will find it split as part 3 and 4).
The process of collecting records relying on "discovering" rare music by yourself is a great adventure but also time and money consuming. I write about them with hope that some titles will be interesting for you and will help you to make decisions if they are worthy to possess. Be aware that there are many other Danish performers that I didn't write about in this series of article. Some, still wait for your "discovery"...

Anaconda

It is difficult to say a lot about this 5-piece group as it has in output only one single from 1973 (Baby, Turn Me Loose/Daytime). It presents melodic rock with strong West Coast feeling.

Barbarella

Barbarella recorded one album but in two versions: self-titled in native language and First Love in English. I know the English one; it is melodic rock with the progressive edge of the style presented by Supertramp, Kaipa and, especially Barclay James Harvest. My favourite compositions are opening Barbarella and The Old-Fashioned Way but the whole album is played on good equal level. The only track diverse from the others is rock'n'roll You're Gonna Get It. The record ends with beautiful ballad To Walk Winter Streets. I recommend this album for those who like lighter side of progressive rock.

Barbarella: Gerner Bresson (voc., flute), Henning Pold (voc., bass), Terje Barnholdt (drums, perc.), Kaare Barkou (keyboards, voc.), Kenneth Carter (guitars, voc.)

Discography:
1. Barbarella - 1975 Artist
2. First Love - 1975 Artist


Blast Furnace

People who know the only record of Blast Furnace are surprised how tasteful music contains and excellent songwriting. For me, it is one of the top albums with progressive songs. Only two compositions are longer than 5 minutes (the longest clicks a bit more than 7) but you should listen to them attentively as a lot of interesting things happen there. The term 'songs' is not only due to "not-progressive" time of compositions but also to vocal of Englishman Tom McEwan, strong and distinctive. On This Time Of Year and the bonus CD track Lister Du Omkring Hjorner the singer is Arne Würgler (bass, cello). The vocalist often gives space to instrumental passages where guitar and organ dominate, so compositions are well balanced between vocal and instrumental parts. Musicians vary the compositions by putting delicate sounds into more aggressive fragments. And so, beside the dynamic organ and rough electric guitar you may find flute (Ginger Cake, Long Distance) or delicate piano (This Time Of Year, Toytown). The result is really awesome. Fortunately, this difficult to get masterpiece was reissued by Long Hair in April 2002.

Discography:
1. Blast Furnace - 1971 Polydor

Reissues:
[1] CD - Long Hair 2002

Blast Furnace record cover


Days

 
Days: Peter Lindhe (drums), Jørn Anker (keyboards, voc.), Ole Fester (bass), Lars Reinau (guitars, voc.)
The only album of Days is a real gem! From one hand, it is the style presented by The Beatles in their later, more mature period, from the other, proto-progressive rock with lots of guitar and organ (sometimes even harpsichord appears adding medieval/renaissance touch). I think fans of Ache will like this album a lot as atmosphere is here often similar to The Homine Urbano. Other comparison can be make to Deep Purple from their second album The Book of Taliesyn and early Procol Harum. The most progressive are Discovery In Blue (with classical-baroque feeling), Feel The Joy or closing Globe Without A Soul. However, the rest is not behind like semi-ballad Lonely Shepherd Boy. All lyrics are sung in English.

There is a problem to get this album as all items released by Spectator are extremely rare and expensive. However, there is a bootleg much the same as original one (even the record number) and the price is reasonable (c.a. 20 €). Don't hesitate if you have a chance to get it. After a few years Days released two more albums of plain rock, far behind their first work.

Discography:
1. Days - 1971 Spectator
2. Bacchus Is Back - 1975 Sonet
3. Days '77 - 1977 Sonet

Reissues: [1] LP - bootleg


Fujara

The band from Køge founded in 1970 playing mostly rock affected by hippie subculture with social and political lyrics. This 6-member group was said to have humorous live performances. It had brass section as strong as Dr. Dopo Jam but didn't use it in so efficient and dynamic way. Anyway, Fujara does not sound like one more political group where lyrics dominated the music.

Most compositions remain under influence of West Coast rock but especially two of them are in Dr. Dopo Jam vein, and those are IMO the best ones on the whole album: Styvtoget and excellent Majara. All lyrics are in Danish.

Fujara in concert: Ole Knudsen (voc., guitar), Poul Chr. Nielsen (sax, trumpet, flute), Jørn Nørredal (trumpet, harmonica, trombone), John Olsen (drums), Jesper Christiansen (bass, voc.), Jan Andersen (guitar, voc.)

Discography:
1. Fujara - 1973 CBS


Heavy Joker

What a nice surprise! I had no recommendations when I was buying this album but I don't regret it at all. It presents fusion jazz-rock with progressive touches. One side 1 every band member composed one track: Michael Bruun (guitars, moog, solina strings) - Ace of Spades that reminds of Pat Metheny, Kasper Winding (guest musician playing keyboards) - That's It!, Jan Sivertsen (drums, percussion) - Heavy Joke, again you feel Pat Metheny's atmosphere, Henrik Bødtcher (bass) - dynamic Canasta Funk where another guest musician, Anders Gardmand plays sax not unlike Karsten Vogel. The last one Ambrosia is composed by Max Leth jun. (keyboards, vibraphone, marimba). If I mentioned of progressive elements I mainly thought of Leth's compositions. Ambrosia is the most beautiful track on this album mainly due to delicate and tasteful play of keyboards and vibraphone. The whole side 2 covers Symphonia composed also by Leth and consists of 4 compositions - interesting and drawing into, especially the longest Highway Habits. Michael Bruun and Henrik Bødtcher played earlier in excellent Thor's Hammer! The group released another album but, unfortunately Max Leth left the Heavy Joker before that.

Discography:
1. Heavy Joker - 1976 Polydor
2. Caesar's Palace - 1978 Mercury



Heavy Joker: Jan Sivertsen, Henrik Bødtcher, Michael Bruun, Max Leth Jun.
Iron Duke

Iron Duke during recording session: Hans Resen (bass, flute), Claus Sarup (drums), Kai Schaarup (engineer), Jens Olesen (keyboards), Tommy Hansen (guitars, back. voc.)  
The group is a representative of classical progressive rock and is often compared to Emerson Lake and Palmer - the most famous band of this genre. However, the music of Iron Duke on First Salvo is much 'softer' and, unfortunately, sometimes tedious. It would sound better if were a bit heavier. The musicians adopted compositions of G. F. Händel (See The Conqu'ring Hero Comes) and Edward Grieg. Undoubtedly, the best one is 15-minutes Rockin' Edward based on Per Gynt Suite. Iron Duke recorded another album Gammel Dansk that is harder to find nowadays.

Discography:
1. First Salvo - 1974 Polydor
2. Gammel Dansk - 1977 Sonet


No Name

The group with Peter Ingeman from Young Flowers. Their only album Fødelandssange [Songs For Our Country] features another Danish rock pioneer - guest musician Stig Møller (from Steppeulvene). It presents quite diverse compositions with lyrics in Danish. The side 1 starts with beautiful and peaceful title-track. Then come: En Almindelig Mand reminding jazzy Burnin' Red Ivanhoe, De Sorte Bagmæd - plain rock with country-like violin, Skæbne - acoustic guitar ballad and again BRI-like Kom Ned På Jorden. Side 2 adds e.g. Synge Dig En Sang - that is in vein of Blue Sun from 1973, blues track Snyd Blues etc. The variety of styles make this album a bit difficult to listen with big interest from the beginning till the end but, on the other hand, everyone can find something for himself. Not essential but interesting for Scandinavian rock collectors.

Discography:
1. Fødelandssange - 1972 Polydor


TømrerClaus

TømrerClaus (Claus Pedersen) started his guitar carrier in the late 60's, playing with several Danish bands. In the mid-70's he moved to Christiania where began to play also cello and violin. Being much independent performer experimented a lot, so his music from that period is often surprising. All three TømrerClaus' albums from 70's were recorded and released by himself. That was the beginning of his record label Karma Music. Snydt [Cheated] appeared on tape and was sold in 400 copies. You can find 7 out of 12 tracks on CD reissue. These is very psychedelic instrumental music with Claus' rough fuzz guitar play and experiments with cello. Next self-titled album was released on LP. Hippie atmosphere of Christiania had big influence on artists living there. It could be somehow comparable to atmosphere on Woodstock festival. And when you listen to track Cellokarma where Claus abuses the cello Jimmi Hendrix playing the American hymn comes to your mind! In fact TømrerClaus' play seems to be under big influence of Hendrix and other guitar virtuosos of that time.

The third work Hepar [Liver] was released again on cassette. Next album Savania appeared after a long break in 1993 featuring Claus on acoustic guitar. On his last work En Spade Er En Spade [A Spade Is A Spade] TømrerClaus came back to electric guitar. However, his music is more diverse - you may find his solos in style of Gary Moore, Ritchie Blackmore or Hank Marvin from The Shadows.

Discography:
1. Snydt (MC) - 1977 Karma
2. TømrerClaus - 1978 Karma
3. Hepar (MC) - 1978 Karma
4. Savania (CD) 1993 Karma
5. En Spade Er En Spade (CD) - 2002 Karma

Reissues:
[2] CD - APM 1997 (bonus: 7 tracks from Snydt and one from Hepar)
[2] CD - Karma - same as above

TømrerClaus with his cello

Danish Progressive Rock At Its Best - Part 4

by Piotr Tucholski for Tarkus no. 24, March 2003
appeared as A Genuine Danish Eccentric

The last part presents the interview with TømrerClaus not only about his career but also about musical, political and social background in Denmark.

Piotr: Claus, why do you play under pseudonym TømrerClaus? As far as I know tømrer means “carpenter”.

TømrerClaus: I got the name Tømrer/CarpenterClaus in the summer 1970. I was a member of the  planning staff at The New Society's summer camp in Thy, Jutland. In this camp thousands of hippies came together to enjoy each other and the music. It was a Danish version of the famous Woodstock festival. I'm an educated carpenter so I was there months before the opening, doing practical things together with a small team of comrades. I also brought my electrical guitar and my other instruments, and I used to play a little every day after hours. My name at this time was just Claus. When the big rush came, it appeared that a great many persons were named Claus. Therefore, many of the Claus’s got nicknames. I was named TømrerClaus, another was HesteClaus (HorsesClaus) and so on.

This was a great time. I opened a small store that sold bread with liver-paste, first class custom made by a local butcher. Great success, when hungry micro-macro freaks came sneaking after dark to satisfy their hunger. At times when the mood was right, I played guitar, and this was my first contact to my friends in Copenhagen, and a start of my professional career as musician.

There were Danish bands like Steppeulvene, Alrune Rod, Young Flowers, having strong influence for other performers; what groups influenced your music?

As many other musicians, I started copying other's music. It was blues of Muddy Water, B.B. King and so on, but also "white music" as Vanilla Fudge, Spirit and more. But it gave me a kick when Cream and Jimi Hendrix appeared on the scene. I think that the sound of the psychedelic guitar music was born with these groups more or less. These groups were also the natural consequence of the youth movement in 1965-1972. So, this is one big part of my inspiration. The other part is my general fascination of music. This fascination has brought remnants of Stravinsky as well as Balkan music into my music, which obviously can be heard on my new CD "En Spade Er En Spade".

In the last 10 years the Balkan fascination has played a big role in my music. Not only the music itself, but also the attitude of many of the Balkan musicians. Or maybe I should say lack of attitude. I think one specific thing that made a great impression on me, is for example that  a great clarinet player is playing his music with great emotions and technically very good. But he put all his energy into the playing itself, and not into fancy dress and dancing steps and hero look-at-me-I'm-fantastic attitudes, that is the watermark of all western music. This makes a difference. Focus is the key word.

Quite many Danish bands sing in English. Why it is so? Maybe they expect to be more popular abroad? Their English is usually very good but they loose the originality...

In the early beat and rock years, it was a common understanding that beat and rock could not be sung in Danish because of the way the edges in the language were put together. Very few tried to sing in Danish, and those who did in the start, had no immediate success. Later in the 70'ties, Danish was introduced more successfully, carried by the back-to-the-roots movement and the political rock groups. Still most bands sung in English, but the reason now was that it was believed that rock in English was The only chance to get into markets outside Denmark. The fact that very few groups became known outside Denmark, had little effect on the English rock in Denmark. It must also be taken into account that many Danish bands, e.g. Young Flowers had very strong influence from groups like Cream, and they did in fact copy many of their songs.

How would you compare your guitar playing with other guitarists like: Peer Frost, Claus Bøhling...?

As we all come from the same background and time, we have much in common. Besides, that we know each other, and have excellent relations. We all have the blues background, and we also share the better part of technical excellence. So far we are of same breed. The biggest difference may be my fascination and music other than rock. I also think that I have got the biggest part of anarchism than the other 2 guitarists in comparison. Bøhling is now playing in his "Electrum" - Celtic inspired rock, Per Frost used to play dance music for past few years, but recently Young Flowers has reunited for a few gigs.

Rock music was influenced by many worldwide social, political, even technical events like: Vietnam War, arise of hippie subculture, invention of Hammond organ etc. Were there any events specific for Danish rock?

Denmark was part of the worldwide youth movement, and the music was part of the movement, that's why it could grow so fast. The music was rebellion music,  made from suppression and the instrument was cheap instruments, easy to play and ways of playing was invented and reinvented many times in the hippie-years.
Things that people stood together against was the Vietnam war, and a positive lifestyle that respected minorities, animals and no over harvest of threatened species and much more.

There was also an ongoing campaign against nuclear power. It happened that while Denmark was concerned abut eventually use or not use nuclear power, Sweden built a very big nuclear power station at Barsebeck, just a stone-throw away from Copenhagen. Many people were in upror because of that, and it had significant influence on alternative theatre and music because of a lot demonstrations and happenings was a direct result and the Barsebeck provocation. In Denmark there was a strong sub-movement of "anarchists" most of which came from students. Anarchists at that specific time were not so radical as the word indicates, and they were absolutely non-violent. But this movement was very good to arrange parties, and they always used the popular hippie bands from that time: Blue Sun, Hurdy Gurdy, Young Flowers etc.. Those were the days...

And how about Christiania? I know you moved there in the middle of 70’s). Why did you decide to do that and what influence Christiania had for Danish rock groups?

Rock, and especially Danish rock had stiffened during the late 70'ies: all was more or less the same tame sh*t. It had become commercialized and the sharp provocative teeth was replaced by a tail waging dog waiting to get lumps from the master-record companies. Much was achieved during 1967-1972, but now all seems to be lost again! For myself: I could do nothing but leave the scene, so I decided to take at least one sabbath year. I would use this year to dig in myself: What was the direction for me to go? I was also not too satisfied with my own playing technically and artistically, so I had to find new ways to make music.

Entrance to Christiania

I moved to Christiania, to a place where there were no modern things like running water or electricity. I bought a cello, and practiced a lot on this and my violin. Together with 2 other comrades from Christiania, we formed a street-group that played a lot in the inner-Copenhagen with a splendid tour to Paris as well. At the high point of the group’s career we played acoustic for 1000 people in the "GrAA Hall" in Christiania. In between I was bartender at "Maanefiskeren" in Christiania.
During this year I gradually got a new approach to play electric guitar, and in the horizon punk groups appeared, so things turned to the better and I felt lust to do something electric again.

Christiania gave birth to many things. Most known is Solvognens magnificent large political shows. In every aspect this was what theater should be, and it was over time one of the most featured events in the media. Musically Christiania was not near the forefront position as the theater had achieved. First when Solvognen more or less was over, some of the new punk anarchistic music began to arrive. First in a place named "RockMaskinen", later at "Loppen" and at last overall: punk had conquered and the groovy times was back again! Punk had never been so big and great if Christiania was not there to accommodate all the groups, and for myself, it was great time. I got many friends and great inspiration in spite of the gab of at least one generation between me and punk.

I very much enjoyed the new artistical freedom that punk represented, close to the roots of rock, I mean. I was happy to open the doors of my studio to these groups, so my studio more or less became a meeting point of the new generation music in DK. Great as it was, however this flourishing did not last very long.

If you mention of your Karma studio let’s focus on it now. You released many titles. Where there any special ones for you that come to your mind?

One thing I never forget was the band Mercifull Fate. One day I got this call from the band, that they wanted to do a demo. Big demo, small money; my studio was the place. Months before I had a crush on the Eventide Harmonizer - what a fantastic tool. Everybody talked about it, the wonders it could do to almost anything. The problem was that it was far beyond my economical capacity. So I kept swetting about the harmonizer, until one day I saw that Canadian company Deltalab had made one. To a sensible price too! Great stuff! I immediately ordered one of these marvelous tools, but how would anyone ever know that I had one? It happened that there was an almost one-to-one picture in the ad for the harmonizer. So I took my scissors, chopped it out, folded it and put it on an fine spot in my studio. And took a picture. Look at this picture: Karma Studio with a very smart harmonizer. The first of its kind in Denmark! This picture went on Karma's new brochure, and next thing was Mercifull Fate booked in the calendar. This harmonizer arrived just before the band knocked at my studio door, and we started to work. The singer (now known as King Diamond) was great, and so was the band. We did some very high pitched voices that really was a kick, and the band went straight to Holland and got a contract, and was in business (big business).

As things come, I happen to play a lot with King Diamond bass player Hasse Pachino today: He does some great bass stuff on my new CD “En Spade Er En Spade”. I did so many great things in the early 80'ties that I could write a book about it. Most interesting were the punk bands, but almost every project had its own spirit. It was in the late 80'ties when this spirit faded, economy tightened and too many on-the-shelf demo bands arrived,that I decided to call it a day.

Recently, several new titles has appeared in your Internet shop: Alrune
Rod "Spredt For Vinden"and "4-Vejs", Røde Mor box set, Flowers "Live 1969", remixed Hurdy Gurdy etc. What other Danish reissues you expect to come and what titles Karma is going to re-release in the near future?


My aim is to re-release much of the lost treasures from the hippie time. Next to come is Blues Addicts. Later Before (Great 80'ties band inspired of the 60'ties - very much Doors and the like), then - if enough old material appears: Steppeulvene live, some Bifrost tracks, Terje Jesper and Joachim, Hasse & William, more Blue Sun stuff, Jan Vangberg, Moses (thoug it appears that some piracy is present on that..), Furekåben, Franz Beckerlee, and also some new recordings of reunited bands that I recorded from festivals last year and this year: Alrune Rod, Hurdy Gurdy, Blue Sun, Steppeulvene, Røde Mor and other groovy new stuff from the old bands.
I have bought a "real store" in the inner Copenhagen. It will be open the 15-th of February 2003, so I will be busy setting it up. Consequently it will slow down the before mentioned projects, but after things have settled down, I'll resume the re-releases with even bigger pace.

Thank you Claus for this very interesting interview. I wish you to realize your plans and always to keep your passion and business together.


THE END
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