Sweden is best known for Abba that conquered the world in the late 70s with catchy disco influenced melodies. Even though the melodies are “eternal” in many respects Sweden got more to offer. In this introduction to Swedish soul and funk and jazz from 1979 to 1990, with a brief overview of the 90s as well, I will give you a short history and most of all my recommendations to you of the best rare Swedish soul and funk grooves!
Sweden got a rather limited amount of more prominent composers during the history. The most well known names during the period 1700-1800 are baroque composer Johan Helmich Roman and the troubadour Carl Michael Bellman. Between 1800 and 1900 Sweden had many names but no one reached higher levels of recognition outside Sweden. From 1900 until 1945 completely new genres got a foothold on Swedish soil and jazz became one of the most important ones. After the end of the second world war the jazz influences from USA got even stronger and during the following decades after 1945. Sweden have since the 50s produced outstanding jazz impressionists and vocalists that achieved much attention both in Sweden and on the American scene with names like vocalist Alice Babs, clarinetist Åke Hasselgård, that was one of the first to play bop, pianist Bengt Hallberg and altoist Arne Domnerus. Many of these played or sang with the greatest names in America. Most of the productions were traditional jazz but during the 60s and 70s more experimental productions with new musical constellations were made and such prominent producers as Quincy Jones was frequently in Stockholm recording. Jones later married a Swede and got several kids that was brought up in Sweden of which one participated in the famous Swedish soap “Rederiet”.
During the 70s Abba made disco something big in Sweden both also very much outside Sweden. They were Sweden’s first international hit band. They were also the pioneers in the very polished but also highly well produced Swedish pop that combined the elements of jazz, blues, soul and a bit of funk. The Swedish pop has been the most important player in the Swedish export of music since the 70s a trend that increased dramatically during the 90s.
The first years of Swedish soul and funk
Even though Swedish jazz and pop are prominent areas in Swedish music outside its borders the more refined soul, funk, disco and even jazzfunk productions weren’t that much represented in Sweden and literally unknown outside the country. Compared to the big European countries in soul and funk music like the UK, Italy, France and Holland Sweden is just a dwarf. The development of Swedish soul and funk to a broader audience came also many years after the hot peak in US during the 70s and early 80s. It was indeed a rare occasion to hear a Swedish track with fat grooves including a crazy synth, big bass guitars and steamy horns that we all love here o PSFS!
At the end of the 70s Abba still took almost all the attention and it was more or less underground bands that actually created more soul funk inspired tracks. Today literally all of them are totally forgotten and almost impossible to get. But a few are going to be described here.
SAD MOTION/FREESTYLE One major breakthrough for this kind of music came in 1979 when two community radio frequencies started in Stockholm on 88 MHz and 91.1 MHz on the FM dial. Soon popular radio stations like SBC, Disco 91 and MRS (still around today; www.mrs.se) were established even though the economical circumstances and the technical quality of the broadcasts were very limited. The revolutionary thing about it was that the Swedes for the first time got to know this music that as a result opened up small import shops in down town Stockholm but also gave more inspiration to them who wanted to create their own stuff. In 1979 the band Sad motion released their first single, the bouncy disco stomper “Jag vill ha dig ikväll” (I want you tonight) that was followed up by their probably one-and-only self-titled album in 1980 after a good deal with CBS. None of the two tracks on the 7″ released on the small CBS owned Dark records were available on the album though. Two other single releases on CBS in 1980, the classic boogie style tunes of “Windsurfing” and “Den där festen” (That party) made it to the album though and even reached a smaller amount of success. Except a few more boogie tracks of the same style and quality the album included the very touching ballad “Längtan” (Longing), one of the best ballad’s I ever heard with lyrics that are seldom heard, and well-crafted reggae track “Ragnar”. In 1981 at least one 7″ was released called Freestyle”Du är stark” (You are strong) on Moon records. Both tracks on the single were poor and didn’t reach the same level as before. Nothing more was ever heard from the band after that though and Sad motion most likely disappeared. Despite the name their music were anything else than sad. It featured a joyous and well balanced boogie entirely performed in Swedish with powerful and vivid vocals, catchy melodies, a strong and well-used horn section and snappy guitar riffs. In 1981 six curious people of this music formed the band Freestyle (right) that turned out to be the finest Swedish disco inspired creation besides Abba. The band was also commercially one of the most successful ones ever and was behind classic hits like “Vill ha dig” (I want you) and “Fantasi” (Fantasy), all very catchy and easy listening bubble gum tracks. The lyrics were not impressive though with superficial and teenage care-free fantasies. The big thing here is the music, nothing more. At the same time they also dropped an English version of the album called “Fantasy”. Freestyle was somewhat Sweden’s answer to Shalamar even though not close to the amazing hits they produced. Later on they changed the name to just Style something that ironically also changed their music to the worse. The most important member from a musical point of view was Christer Sandelin and Tommy Ekman. Sandelin launched after Style a quite successful solo career. But it is as producer and songwriter they reached their highest ground. Sandelin produce (in conjunction with Tommy Ekman) the extremely rare Swedish soul funk track “Kool katt” with Stop (below).
Electric banana band – Banankontakt 1982ELECTRIC BANANA BAND The rather different project Electric banana band (left) was created as a spin off of a well-known Swedish children’s TV program “Trazan och Banarne”. The program it self was created in 1977 and is one of Sweden’s biggest successes. At the same time they released songs taken from the program. But it was in 1981 that the actual band was created. It included the famous comedian Lasse Åberg, well-used drumer Per Lindvall (that also participated as drummer on Shine’s LP below) and the world known guitarist Janne Schaffer on guitar among others. Schaffer, one of Sweden’s best session musicians, had earlier played with such great acts like Abba and Bob Marley. The style of Electric banana band was a mix of pop, funk and samba with nice melodies and with the distinctive guitar play by Schaffer on many tracks. The lyrics were often funny and even hilarious but sometimes also of a social nature penetrating questions about ethics and morale. In 1982 the joyous popfunk track “Banankontakt av tredje graden” (Banana contact of the third grade) was released that still today is one of the best grooves ever in Sweden with over 150 000 sold copies. Despite, or perhaps thanks to the heritage from the children’s program the lyrics were a serious appeal to all humans to change their wrong behaviors. Lasse Åberg’s sings about a spaceship that reach the earth and when the “Banana commando” steps out they see all the destruction that war, environmental pollution etc. creates and asks: “When is a change gonna come!?” I wonder the same… Besides the highly recommended “Banankontakt” the groovy “Zvampen” (The mushroom) from 1983 is definitely worth having. Schaffer’s guitar glows on this and creates a powerful party feeling with an unusually catchy groove. I guarantee that you can’t sit still when this disc moves!
Today Shaffer still playes guitar in various projects and lives in the same suburb as I do. The former comedian Lasse Åberg later became a popular designer and painting artist best known for his obsession with Mickey mouse. One of his latest work is the design of the cover of the seats on the Stockholm subway trains.
Other artist did have soul and funk influences too, but it was most often only on one or two tracks like Gyllene tider and Tomas Ledin.
1983 – A busy year
StopSTOP In 1983 something happen that for me changed my perception of Swedish soul and funk when the band Stop (right) released their debut single “Kool katt” (Cool cat) on the small Swedish label “Hawk records”. The single was unique in many ways, foremost as it feutured the first rap in Swedish even though the music was of a bouncy soul funk kind rather than a traditional old school rap one. The band was created in 1982 and released “Kool katt” early in 1983. The front cover (right) of the single (no 12″ version ever released) featured the two members (from left to right: Werner Theunissen, Latifah – that only posed on the cover – and Jonas Siljemark) in a rebellious pose. Theunissen had played in a funk band in the the late 70s before he in his late teens met Siljemark. The single is indeed a very groovy track with a classic soul funk mix, lovely synthesizers and a steaming hot rap kind of break featuring Theunissen and Kayo (see separate bio below) talking on the dance floor.
The lyrics on its hand are stupidly hilarious though and something to take anything else than seriously. The B-side featured a tasteful instrumental version that did include some vocal parts, even more hilarious than the a-side. This track had it all except good lyrics; great hooks, great melody, a crazy synth and nice energetic guitars. The members wrote the track with some little help from the Freestyle (see above) members Christer Sandelin and Tommy Ekman as main role were as arrangers and producers giving the basic patterns that final touch. Both later became successful producers and songwriters in Sweden during the 80s and the 90s. Gigi Hamilton, another key member of Freestyle did also play a part as one of the background vocalists (the cats).
Being a extremely rare piece it’s for sure a collectors item despite the fact that it was only performed in Swedish.
A very interesting fact is the striking resemblance between the already mentioned break in “Kool katt” and the likewise thrilling break in Leon Haywood’s monster groove “I’m out to catch” that also saw the light in 1983. Both of them occurs in the middle of the track when a girl tries to catch a man on the dance floor. The exchange of words are almost exactly the same on both tracks and it easy to imagine that Stop might have been inspired by Haywood’s track. But according to Stop member Theunissen they didn’t know Leon’s track. If so, it’s an amazing thing that two band in very different corners on the globe came with the same idea and with literally the same words the same year!
In 1984 Stop came up with their second and last single, the danceable “Don’t stop”. It was released on both 7″ and 12″ and performed in English this time. It did also manage to sell several copies in Europe but remained an obscurity. Stop did tour around Sweden after that release with a good and appreciated show (see members of the show on the b/w picture above) but Stop was disbanded soon after with just two single under their belt. The two members continued their music careers, mainly as managers, with a very successful result. Siljemark later became CEO of Warner Music Scandinavia and Theunissen has been working with booking many of the most well-known Swedish artists for many years besides playing in the rock band “Stockholm cowboys”.
A funny thing is that both “Don’t stop” and “Kool katt” were released as cover versions on a 12″ already in 1984 under the name of CCC (Cool clan connection) just a few month after the original “Don’t stop”! The project that Theunissen and Siljemark had nothing to do with featured “Don’t stop” on the a-side and “Kool katt” on the b-side. Instead of “Hawk records” the covers were released on the Swedish national television label “SVT Tevegram”. The arrangements of the track is different from the original and isn’t as tight and slick produced either, it’s still pretty nice tunes though. CCC’s “Don’t stop” cover was also the signature of the very popular music program “Bagen” (The bag) for a couple of years and both of the covers were included on a compilation based on the TV program as well.
PER CUSSION 1983 was a busy year that besides Stop showed two albums of interest. The first of them was the project Per Cussion all stars featuring jazzfusion artist Per Tjernberg and US born Grandmaster funk (later shortened to GM funk) as the two leading characters. Grandmaster funk (Michael White), had moved from Brooklyn in New York to Stockholm where he became a breakdancer in the early 80s and was a key figure bringing break dance to Sweden. They released their first 12″ “Don’t stop” in 1983, which was the first rap ever recorded in Per Cussion all starsSweden. The track, and a video of it, received huge attention in Sweden and some concern outside as well. It was for example listed as “recommended” in the Dance/Disco column in Billboard. One especially flattering story for Per Tjernberg was when Africa Bambaata, that he considered the high priest of hip hop, asked him if he could spare some copies of the 12″ since he had worn his out when DJ-ing! It was released on several obscure labels like Virgin Greece and ultra rare Black market. The latter reported the pretty impressive 15 000 copies sold, before going out of business. The 12″ was followed up by an album with the same name in June that year. The final result was a well arranged and produced mix of funk and rap that besides “Don’t stop” included the essential and steaming hot funk bomb “The warning”. The album is considered as the first rap album in Sweden and a very rare piece of old school rap in any collectors’ dungeon. A good news also is that the original Swedish label Silence recently have reissued “the best” of Per Cussion all stars including the whole first album and the best of the following album “Beatwave” in 1984 besides a few really rare 12″ versions and GM funk’s one and only 12″ under that name called “Snowblind”. This rare CD is a highly recommended and will soon be out of print!
In 1986 Per Tjernberg made two more efforts under the Per Cussion name when he released the album “Everybody’s talking”. It was once again a release on the Swedish label Silence and produced by M. Grant and G. Andersson. He did also, presumably after the album, release the 12″ “Who messed up the world” on the Swedish label Palladium that featured some social reflections over world politics and following the same sound tradition found on the earlier productions. Even though these two were Per Tjernberg’s last efforts under that name he has release several CD’s using his real name playing and experimenting with different styles of music like reggae, funk and world music. The latest release is “Universal riddim part 2” in 2005.
Shine – Shine 1983SHINE The second interesting release besides Stop that year was the twelve piece (soon shortened to ten) multiracial band Shine that presented a polished mix of soul and funk. Among the members both vocalist and percussionist Frankie la Motte (co-produced Charlie’s debut album) from the US, guitarist Amadeo Nicoletti (played with Stop, Shine, Charlie etc.) from Italy and multiinstrumentalist Kofi Bentsi-Enchill from Ghana/Holland became well-used musicians and producers for many Swedish artists during the rest of the 80s and the entire 90s. In many ways they brought the American soul funk tradition to Sweden and were an inspiring force for many young musicians to come. Kofi Bentsi-Enchill, that earlier was a member of jazz funk band “Modern soul”, is one of the best regarded bass players in Sweden and are sometimes compared with legendary names like Larry Graham and Stanley Clark. His distinct, powerful and engaging style left no one untouched. A good example of his skills is displayed on the short instrumental “Spicy fingers” track on the b-side (sample).
Before Shine’s one and only self-titled, and today very hard-to-find album (above) on Connection records at least the 7″ “Equality” was released on the small Sound of Scandinavia records label. Whereas that track did appear on the forthcoming album the amazing dance tune “Give your love a chance” (written by Bentsi-Enchill) on the b-side was neglected, a huge mistake, as it’s one of Shine’s most irresistible hits! The following album, on which Bentsi-Enchill wrote five of the nine tracks, featured several good dance tunes like the energetic and enchanting boogie track “I love this feelin'”, perhaps the band’s best creation. The album also presented other speedy popfunk tunes like “Don’t stop” and “Dance-o-matic” besides the deep funky tune “Watch out”. The latter was almost a blue print of Per Cussion all stars “The warning” with just slightly different arrangements and without the rap. The strange thing is that no credits or any other information can be found on the cover pointing out any relations with Per Tjernberg’s track; a real mystery! The album is no mystery though and a very good example of “Nordic light”!
Li Berg – The smørgasbord 1983LI BERG In 1983 yet another very rare example of Swedish groove hit the scene when vocalist Li Berg (right) released “The smørgasbord”, a highly seductive and nicely produced combination of post disco and pop funk. The smoker is a humorous tribute to the world known Swedish dish and mainly performed in English. Towards the end of the track one can even hear some imitations of the Swedish cock from the Muppet show. The track itself, that was both released on 7″ and 12″ and featured an always welcomed instrumental version on the B-side, is a joyous and easy listening production with a sensual singing effort by Berg. Sometimes Berg is similar to Teena Marie as both of them got that very seductive and sexy female voice. But Berg don’t have the same intensity as Marie and sings more controlled and polished that necessarily isn’t something bad.
The ultra rare piece was written by Torkel Odéen, Dick Berglund and Li Berg and produced by Torkel Odéen and Dick Berglund for HannaH productions and was released on Polygram records, Solna, Sweden. Torkel Odéen had earlier worked with community radio in Stockholm on Radio SUS and Radio SBC under the name of “Bagarn” (The baker) and is a well respected radio DJ from the time with a lot of knowledge and respect for “the right stuff”. Odéen’s HannaH productions are still active today with three studios.
Li Berg – Li 1985The single also appeared on her debut album “Vill du” (Do you want) in 1984. It generously include the entire 12″ version of “The smørgasbord” and was besides that track completely performed in Swedish. Her strong debut did also continued the pop funk/disco style from “The smørgasbord” and featured a long side with that big hit “Vill du” (Do you want) and “Video” as the two most interesting and catchy dance tunes. But both the sensual and slightly rock inspired funky dance tune “Olo’s bar” and eveb more funky “Pokerface” are strong numbers not to be missed! Li Berg did also participated in the Swedish Eurovision contest finale in 1985 with yet another track written by Dick Berglund, “Jag vet hur det känns” (I know how it feels) and ended up on fifth place. As always when it comes to finalists in the contest her track was released on 7″ with “The smørgasbord” on the B-side. The contribution could also be heard on her second album “Li” (above) that same year including the brilliant pop funk track “Mer av dig” (More of you) (sample). This is a rarely heard piece of music in Sweden and a good pop funk/disco track internationally as well. C a t c h it if you can! Even though the album, that included a good interpretation of Diana Ross’ track “Upside down”, did offer good and catchy melodies it presented more pop and rock than funk this time. The warm and appealing groove oriented feeling from the first album was in many ways gone. What happen to Li Berg after that is unknown however.
ESQUILLE The mid- and late 80s soul and funk tunes in Swedish are very limited in numbers; especially the funk tracks are almost non-existing. The releases became more focused on soul and R&B including a few highlights. One super rare item of the soul funk tracks that came at this time was Esquille and his “Just 4 U” that was released on 7″ in 1987. It featured a very addictive synth galore with great hooks and an immediate and refreshing melody. In 1990 Esquille came up with yet another single “Such a good good feeling”, this time featuring the unknown singer Natalie. The result was a poor house influenced creation however with no hit potential and not even close to the the magic presented on “Just 4 you”.
CharlieCHARLIE/ERIC GADD One other really rare funk/rap gem was represented by an elsewhere-unknown Swedish girl called Charlie (left). On both 7″ and 12″ “It’s a mystery” was released in 1988. It is a track with a mega deep and fat bass line, sensual vocals and some pretty hot male rap in the break. The rap was made by MC II Fresh, one of the foreground figures in Swedish rap history that already in 1984 created the rap collective “Ice cold rockers” that feutured the controversial movie “Stockholmsnatt” in 1986. A poorly mixed part II of that track was also represented on her debut album “To be continued” from 1989, a set completely singed in English with a lot of house and drum ‘n’ base influences, but wasn’t at all able to compete with the quality of the 12″.
During the late 80s a few competent acts saw the light. One of them was the talented male vocalist Eric Gadd from the Swedish summer island of Gotland in the Baltic sea that released his debut “Hello!” in 1986. But it was on the second album “Hurray du lever pang du är död” (Hurray you’re alive, bang you’re dead) in 1989 he really showed his full potential with the two addictive and refreshing pop soul compositions of “Kom hit o ta” (Come here and take) and “Plus minus”. Even though the rest of the album didn’t show the same class the album is well worth buying nonetheless. Gadd came back with the perfect soul track “My personality” in 1997, a sweet and polished soul gem that you immediately will be hooked on. His latest album “Life support” from 2002 is heavily influenced by US R&B with tracks written by such great producers as Barry Eastmond and Leon Ware. Gadd is considered as the soul king of Sweden.
KAYO/TITIYO/JUST D The last years of the 80s showed a few more artist of interest in these genres. Female vocalists Kayo and Titiyo together with the newly born rap group Just D were the most notable. Titiyo (right) came with here debut in 1990 featuring the competent and pleasant hit Titiyo 1990″After the rain”. Just D, a rap group that performed exclusively in Swedish had a big breakthrough with their debut in 1989 with hilarious yet clever lyrics making fun of the “cool life” and instead says “hey, relax man, you don’t need to be so cool!”. With the intelligent lyrics together with rather simple but still catchy sampled melodies they had several hits with tracks like “N gång till” (One more time) and the smooker “Hur e de möjligt? (How is it possible?) together with the lay back “Relalalaxa” (Relax) from the following album in 1990. Just D was one of the most well-known and popular groups in the late 80s and early 90s. Kayo, an accomplished dancer, was one of the members of Freestyle (above) in 1981 but left after the two first singles and before the recording of the first album. She did also the vocal parts in the break on Stop’s “Kool katt” together with W. Theunissen (above). She released her debut album in 1990 including the hit “Change of attitude”, a nicely presented and a bit bumpy soul funk track showing the best sides of here dark voiced vocals.
The 90s – Sweden’s second wave after Abba
STONEFUNKERS/VIKTORIA TOLSTOY/LISA NILSSON During the 90s an explosion in both the soul, funk and rap scenes came in Sweden producing dozens of hits and that like Abba over 15 year earlier conquered the world once again. Well-know names like Roxette and The Victoria TolstoyCardigan’s are all from Sweden that together scored many top hits. They represented the pop and rock fields, but what about the soul and funk? One of the funkiest of the funkiest are the Göteborg based funk band Stonefunkers that represents one of the finest moments in Swedish funk history and are highly recommended to any collector of rare funk. For jazz lovers I recommend the beautiful vocalist Victoria Tolstoy (left) that is regarded as one of Sweden’s most excellent jazz singers of today. With a sultry voice presenting an irresistible and spell bounding soft jazzsoul/jazzpop she has reached success both in Swede and abroad. Her most consistent albums is the excellect “White Russian” from 1997 including the irresistable “Solitary”. As a curiosity; she is indeed related to the world famous Russian author count Leo Tolstoy as he was her grandmothers grandfather, a fact that does make the whole thing even more exiting. Also one of the finest and most appreciated voices of the 90s in Sweden of Lisa Nilsson is highly recommedable stuff. Especially the third album “Himlen runt hörnet” (heaven around the corner) from 1992 got some mesmerizing momemts worth your time.
Ann Maartmann – Om ändå duANN MAARTMANN Among all the productions I have heard during the 90s it’s one that stands beyond anything else though in the mysterious beauty, vocalist and mutliintrumentalist Ann Maartmann (Pronounced Mortmann) (right) from the suburb Nacka east of Stockholm. With an impressive education mainly in the jazz genre at Berklee in Boston (where she wrote the amazing jazz funk tune “Illusions” in 1983 sample) together with rich natural gifts both as vocalist, saxophone and piano player she had a solid ground for something big. Her passionate and soulful voice were soon put on a recording after a contract with BMG Sweden when she dropped her irresistible debut track “Om ändå du” (sample) as a CD single in 1996; a track you simply can’t get enough off! Her debut is a rarely heard perfect blend of soul, jazz and R&B with a joyful saxophone, funky synths and haunting lyrics yearning for love and closeness; simply a pure masterpiece! The single also included an English version called “I can’t wait” (sample) with some interesting and slightly different arrangements including more of her pleasant and completely irresistable saxophone play besides being one minute longer than the original mix. She not only sang on both of the tracks, she wrote and produced them, played the rhodes solo, sax solo, altsax solo, played the strings, performed as background singer and arranged the strings and horn section; wow!
Ann Maartmann – ReconciliationTwo years later and with big promoter BMG cancelling their engagemt just before her promised album was finished she was nonetheless in an impressive way able to release the debut album “Reconciliation” (left) on her own and swiftly created production company/label “Sensitive”. Considering the great result it was unfortunately only released in Sweden, Japan, Taiwan and South Korea but had for sure the potential for some sort of success on both the US and German markets. The set was emphasizing almost completely on sweet and sensitive jazz and soul rather than R&B from the debut single “Om ändå du”. But the album on which she wrote all the tracks is nonetheless a brilliant achievement by Maartmann with very strong and hard to resist melodies, perfect harmony between the song and Ann Maartmann – Swedish goldthe instruments and a very high level of consistency all through the album. The album gives a feeling of hope and a new beginning just like after a refreshing rain. Her sensitive arrangements and appealing, likewise competent piano play leaves no one untouched. That sensitivity is perhaps best materialised in the dreamy title track and the very personal “It’s too late” that is one of the most touching moments in her career. But it can also be found in one of my personal favorites, the instrumental piece “Cherish the day”, on which Maartmann creates a beautiful song of joy and curiosity that sometimes takes the role of a charmingly shy girl that in the middle of the joy also shows a sincere gratitude of life. Reconciliation is an album that gives the listener plenty of peaceful and spiritual moments and generously regenerates your spirit with joy.
Her latest album titled “Swedish gold” from 2002 continues on the same high level set on “Reconciliation”. This time four of the nine tracks were written by others, including an old Ellington classic. Maartmaan delivers a highly tasteful and sassy laid back jazz soul of the best quality! In fact one even get the feeling that her song has matured a bit since the first album and feels more confident this time.
What about Tolstoy versus Maartmann? Well, see it like this. Tolstoy is a highly regarded and well-known singer with strong and appealing melodies but without writing as much by her self. The not as well-known Maartmann’s melodies are with out any doubt more touching and joyful with a consistency on each album that Tolstoy don’t even come close to. And when Maartmann also writes most of the melodies by her self the over all impression is not only impressive, it’s darn good! Their voices are very different but equally tasteful in their own special way which bring us to the conclusion that Maartmann is at least as impressive and accomplished jazz singer as Tolstoy and on top a by far better and more impressive song writer. Add Maartmann’s touching and lovely sensitive piano and saxophone play and I think we got a winner even though it’s a close race. Therefore Maartmann’s productions can be considered not only as Swedish gold but also one of Sweden’s most secret gold mines still to be explored and become embraced and enchanted by!
Who ever you choose between the two Maartmann’s debut single and the albums are three of Sweden’s finest musical moments!
Another interesting jazz soul name to watch out for is Linda Pettersson from Sundsvall in the northern parts of Sweden and her impressive and sensual debut album “Who are you” from 2004! Even though much is jazz and soul she has a rather wide array of songs on the album that is completely performed in English.
The rest of the 90s ends here and can be found elsewhere. Hopefully this little introduction has given you completely new beats and inspired you to embark on new musical adventures.
Where to buy?
Many of the artists are very hard, or literally impossible to get and even I do not have all of them. But a few of them can be bought at stores like:
www.cdon.com (EU citizens only)
Get the grooves via PSFS!
I can also try to get these rare 7″, 12″ or LP’s at a Swedish auction. I will then inform you about the assumed price (that often is very low) and you will set your highest bid. I will take a small charge of 10€ for each international order (worldwide) besides the coast for shipping and handling of only 10€ in the EU and 15€ elsewhere. All payments goes via PayPal or ordinary mail. When the money has arrived your records will be shipped within 24 hours.
This is a unique offer to get extremely rare grooves, take it!