Most of my favorite modern prog is scandinavian. Aside from what's already listed, I like:

Every Scandinavian band I've tried has amazed me: The Flower Kings, Opeth, Pain Of Salvation, Anglagard, Anekdoten... I think I'll try Par Lindh Project next.

An interesting thing about swedish prog is that it, except for maybe Opeth and Evergrey never gets any attention by anyone, the only ones that listen to this music in sweden are those funny-dressed old men that hang around libraries and communist students in their twenties. and then of course there is me

Hansson & Karlsson - http://www.freakemporium.com/site/release/HACD039/releasepage.html - Hansson & Karlsson . CD, £13.00 ( http://www.freakemporium.com/site/list_label.cgi?label=Polydor - 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

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.

Danish Progressive Rock At Its Best - Part 1

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.

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

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.

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 http://www.geocities.com/piotrt.geo/Tarkus/Denmark/denmark4.htm#gardens - 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 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

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 http://www.geocities.com/piotrt.geo/Tarkus/Denmark/denmark4.htm#gardens - (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.

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.

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

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

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

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.

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

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.

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 http://www.geocities.com/piotrt.geo/Tarkus/Denmark/denmark4.htm#gardens - 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.

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

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.

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.

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.

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.