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5 Aug 2016

Rävjunk “Uppsala Stadshotell Brinner”1977 + "Uppsala Stadshotell Brinner Igen"2016 second album by Shadoks music + ‎" Ensam På Scen" 1980 + "Bohman, Bohman / All Along The Watchtower" 1979 single 7″ Swedish Prog Psych Punk


Rävjunk “Uppsala Stadshotell Brinner”1977 + Rävjunk"Uppsala Stadshotell Brinner Igen"2016 second album by Shadoks music + ‎" Ensam På Scen" 1980 +  "Bohman, Bohman / All Along The Watchtower" 1979 single 7″ Swedish Prog Psych Punk 

Rävjunk “Uppsala Stadshotell Brinner” 1977 Swedish Prog Punk Rock

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History: 
Rävjunk is perhaps best known for his deal with the moderator Gösta Bohman on the single "Bohman, Bohman", which was banned by Sweden's Radio and was not allowed to be played in the ether. "Gösta Bohman you're a coward / Gösta Bohman go to hell" is one of many nice rhymes in that text. 
The reason for the band had been on since the early 70's. Previously, they had performed sporadically at mostly different national celebrations under names such as the Libbet Swallows, with anarchic and rocky rock of God's kind. 1977 came the punk, the band changed its name to Rävjunk and got a stronger focus on fast, heavy rock in the spirit of time. 
The same autumn came the debut LP that reflects this break in the band. On the one hand there were punctuated live favorites like "Hey little girl" and "I'm so crazy, I'm so paj" but also blues and on the b-side three long instrumental songs. The disc is a sought-after collector's item and has even been published as bootleg in Spain. 
In the following years, there was also the new wave-rock that applied. The band had a charismatic singer in Sören Andersson and competence was also highly competent. The members changed over the years, but the faithful core was by Christer Lindahl (guitar), Lars Wallin (bass) and Peter Ericsson (drums). Around the country, Rävjunk was an appreciated live attraction at rock clubs, festivals and prisons. 
Following the success of "Bohman, Bohman," a five-lap EP followed by the single "Single on stage" and they participated in the Uppsalas collection "018 / Ten Groups" with "Rewind". In 1981, the group dissolved but they have made several reunions. In connection with the first 1982, Rävjunk returned "Bohman, Bohman", now as the EP. 
After Rävjunk's split, Söder Andersson continued in groups like Kings of Speed, Scandinavian Leathermen and, above all, The Sleep, who released the LP "Win or lose" in 1985 - 
In 1978 Sören played with some friends in the single "Avgaser" / "A kick in the fairy" under the name Endless Night. It was supposed to be released by MNW, but it remained outgived...


The team, who, with his appearance, stated that the years of psychedelic music had by no means been left behind. However, to the usual "Swedish" version of the German kraut-rock Rävjunk sometimes hard guitar and rhythms were added, that late analysts of the Swedish music scene recorded the group among the first punk bands in the country. Psychedelia and punk ... concepts that are compatible only on Swedish soil. The collective has appeared in one of musical centers of the country - the city of Uppsala. Initially, the group was called Libbet Sväller and was built around the singer Søren Anderson. At least he gathered such a team in 1970, along with drummer Peter Erickson, who became friends at the gas station, and guitarist Christer Lindal. Soon the band also had a bass player Lars-Erik Wallin. 
The first rehearsals took place at Søren's house, but, then, when the musicians decided that it was going, it seemed, not bad, they found a more suitable room in the center of the city, having divided the point with the group Gudibrallan. Both groups were roughly similar in style and tastes, played mostly cover songs from Black Sabbath and Dzhimmi Hendriksa, and little scribbled his own material, but more than just loved to play improvisation, especially pumped beer in a nearby bar. It's clear that "under the fly", the musician seemed that they get very good and how such music is not shown to the public ?! Since then, they have started to perform at local bars, practically without going beyond the boundaries of the city. For the most part, concerts took place in a mixed composition, but often under the name Gudibrallan, mainly because they had a studio album recorded. Many performed at free open air festivals and various meetings of the "alternative" stage. One such event took place in Slotsbaken, on a clearing in front of the castle near the city limits. It was the summer of 1975. The concert was conducted by one of the anarchist organizations and was held under the slogan "Stop pressing tomatoes for sauce!". The musicians were properly prepared for the performance, having recorded on the tape in advance the sound of the train traveling along the rails and playing their part of the concert at the tempo set by this tape. In the meantime, the collective changed the rehearsal base, having moved to the former laundry converted into a studio. Several years of idleness and carelessness and the first album of the collective began to appear. It was in 1976. The group was renamed Rävjunk. One such event took place in Slotsbaken, on a clearing in front of the castle near the city limits. It was the summer of 1975. The concert was conducted by one of the anarchist organizations and was held under the slogan "Stop pressing tomatoes for sauce!". The musicians were properly prepared for the performance, having recorded on the tape in advance the sound of the train traveling along the rails and playing their part of the concert at the tempo set by this tape. In the meantime, the collective changed the rehearsal base, having moved to the former laundry converted into a studio. Several years of idleness and carelessness, and now the first album of the band began to appear. It was in 1976. The group was renamed Rävjunk. One such event took place in Slotsbaken, on a clearing in front of the castle near the city limits. It was the summer of 1975. The concert was conducted by one of the anarchist organizations and was held under the slogan "Stop pressing tomatoes for sauce!". The musicians were properly prepared for the performance, having recorded on the tape in advance the sound of the train traveling along the rails and playing their part of the concert at the tempo set by this tape. In the meantime, the collective changed the rehearsal base, having moved to the former laundry converted into a studio. Several years of idleness and carelessness and the first album of the collective began to appear. It was in 1976. The group was renamed Rävjunk. The concert was conducted by one of the anarchist organizations and was held under the slogan "Stop pressing tomatoes for sauce!". The musicians were properly prepared for the performance, having recorded on the tape in advance the sound of the train traveling along the rails and playing their part of the concert at the tempo set by this tape. In the meantime, the collective changed the rehearsal base, having moved to the former laundry converted into a studio. Several years of idleness and carelessness and the first album of the collective began to appear. It was in 1976. The group was renamed Rävjunk. The concert was conducted by one of the anarchist organizations and was held under the slogan "Stop pressing tomatoes for sauce!". The musicians were properly prepared for the performance, having recorded on the tape in advance the sound of the train traveling along the rails and playing their part of the concert at the tempo set by this tape. In the meantime, the collective changed the rehearsal base, having moved to the former laundry converted into a studio. Several years of idleness and carelessness and the first album of the collective began to appear. It was in 1976. The group was renamed Rävjunk. Several years of idleness and carelessness and the first album of the collective began to appear. It was in 1976. The group was renamed Rävjunk. Several years of idleness and carelessness and the first album of the collective began to appear. It was in 1976. The group was renamed Rävjunk. 
The name came to Peter when he drank his morning coffee. He did not like it very much, and he exclaimed "Damn, coffee with taste of fox shit!". The rest seemed that this is a good name for the group ("Fox shit"), so they decided to do so. We recorded the album in a crowd. There was even Hasse Brunyusson - the legend of the Swedish progression. He, in fact, was to become one of the band's musicians, but did not work out! All was written on the two-channel recorder Revox A77 and the TEAC 8 mixer. The material, for the most part, was recorded live. Added only some sound effects - Boa Erickson tried with the local radio, which, in principle, and kept the album together. The whole process of recording musicians cost 6000 Swedish kronor (or 700 euros, if you count on modern currency). The money was taken from Martin Hiden, who was engaged in sound during the recording. 
The first side of the album is a dashing mixture of crazy rock, hard rock, blues, punk and progressive rock. A few booming moments of guitar drone remind of German bands of kraut-rock. All, however, is perfectly explained by who liked what music. Guitarist Christer was a fan of Hendrix, singer Søren - a supporter of the nascent punk movement, bassist Lars-Eric liked to listen to the Cream band and a similar blues-rock, while drummer Peter was crazy for different German rock bands like Guru Guru and Can. 
The record was released by a "private" method, however, some reviews were published in the press, and one of the tracks (Nasten) got even in the rotation on Swedish radio. The group wanted to move on. The growing interest in the creativity of such collectives as The Ramones and Motor Head did not go unnoticed, and it was decided to move in this direction. So the next three years have passed in the creation of a new, tough, punk-rock real band. To bring sound to the necessary standards in the team took the guitarist Henrik Lind. They began to travel around the country with concerts, choosing mainly prisons as concert venues. They also did not forget to release their music on vinyl, but punk fans, unlike art-rock supporters, liked to buy singles more, instead of lengthy albums, so Rävjunk began to release their songs in small portions, but more often. And there came the recognition of local punk bands, like Ebba Grön and PF Commando. There was also released an EP called Rävjunk. It was already punk, though, not without the admixture of progressive rock. During one of the performances, they were joined even by keyboardist of the star Swedish group Kaipa Hans Lundin. 
These "progressive" anachronisms were also destroyed by the group. Sales of singles were quite low, and the guys did not want to play more "stupid" music. So, having released the last one in the beginning of 1980, the band broke up, for a century, left in memory by a bridge between the craze for alternative psychedelic music and the movement of punks. .


Reissue of ultra-rare Swedish hard rocker album from 1977, influenced by early krautrock and heavy psych jamming, you can imagine the fuzz here and the wild pounding rhythms. Includes a 2nd disc full on bonus material, everything here taken from the original masters! Nice double digi-pak....


Rävjunk were one of the pioneers of Sweden's nascent punk scene, though their sole album only featured scant evidence of this style. After the first 3 short vocal oriented punk influenced tracks, most (excepting one out of place swampy blues number) of the remainder is long form guitar based jamming, along the lines of early Guru Guru, Can, or an instrumental Stooges. The Krautrock influence becomes even more pronounced on the bonus material that closes out Disc 1 (20 minute track) and all of Disc 2. The liner notes confirm this is no accident, and describe how the band was torn between becoming the Swedish Sex Pistols or a terminally non-commercial instrumental underground act. The former was the direction they took afterwards, but the latter appears to have won out as the band was pretty much done by 1980....by....ashratom ...


Shadoks Music present the first reissue of Uppsala Stadshotell Brinner (1977) from Scandinavia’s punk-psych band, Rävjunk. Hailing from Uppsala, these young musicians recorded what is now seen as a rare gem of the ‘70s. The bands style was quite unique: they were heavily influenced by German krautrock bands but also saw the heavy psych movement as a bright star. Some tracks on Uppsala Stadshotell Brinner are short with heavy and fuzzed-out guitars, other are ten-minute guitar jams.Uppsala Stadshotell Brinner clearly showcase the contemporary trends of the North European underground. The A-side delivers an impressive edifice of very raw punk rock and hard rock, mixed with some bluesy scales and progressive moves. The heavy drone excursions on the flip-side sound much more Teutonic with obvious krautrock allusions. Several influences are evident, but it’s all blended into something unique as each member brought their own intriguing ingredients into the music. GuitaristChrister Lindahl was a Hendrix freak and singer Sören G. Andersson was deeply involved in the new punk rock movement. Bassist Lars-Eric was very much into Jack Bruceand Cream, while Peter Ericsson, the drummer, was an avid fan of Can and Guru Guru. Uppsala Stadshotell Brinner is a great '70s Swedish psych album. Edition of 500 (numbered). 180 gram vinyl. Comes in a heavy sleeve and includes a two-page insert ….. The Swedish Progg Blog.....


"SWEDISH PROG CLASSIC" ... that's what you can read on the back of the elaborate double Digipack, which contains the music of the only LP of Rävjunk from Uppsala and much more. Apparently in Sweden, the term "progressive", especially when it comes to the 70s, not only complex Symphoprog, but also so all sorts of more or less inspired and free Gitarrengejamme (see also "The Essence of Swedish Progressive Music 1967 - 1979 Pregnant Rainbows for colourblind Dreamers "). Anyway, I would hardly have come up with the idea to sell the bluesy-herbaceous post-psychedelic, sometimes almost punky junk of Rävjunk as a prog. 

On the 1977 published "Uppsala Stadshotel Brinner" is edged and rough rocked, dominated by the snotty guitar lines Lindahls, bluesy mostly, sometimes a little more free, almost herbaceous. Basically, MC5, Frost and the Stooges made similar music almost 10 years earlier. Rävjunk sounds like a US-60s punk formation that has gone to Sweden. The whole thing may have turned out a bit spacy, and in the long numbers somewhat meditative, slightly herbaceous. There are also occasional keys to be heard, some jazzy electric piano runs in the hypnotic title track, as well as strumming at the beginning of "Snöspar", otherwise organ wizards and mellotron-like keyboard surfaces moving far in the background. 

The two long numbers of the original LP offer in places pretty freaky jumble, spacey guitar whine and driving rock motor skills. Really cool is "Vi Ses", which slides for almost 10 minutes, sparingly instrumented, with monotonous Tastenschüben, stoic rhythm schemes and the crashing then stuttering and whining electric guitar. New! meets Bluesrock ... 15 years later, this might have been called Postrock. It is almost a pity that the number is hidden after 9 minutes and 37 seconds. 

The long bonus track of CD1 and the second CD offer "more of the same" (with "Mahal Revisited" there is also a lookup to "Vi Ses"): Rumble studio jams, demo tunes and a live number of quite variable sound quality, in the same period how "Uppsala Stadshotel Brinner" was recorded (1976-77). Even the numbers of the former LP do not sound perfect. At that time, the band recorded the whole thing more or less live under rather primitive conditions in the home studio (rehearsal cellar). It is rustling, hisses and crackles a bit, but this fits quite well with such music. That's just the raw charm of the "underground". 

"Uppsala Stadshotel Brinner" is certainly not a Swedish Prog Classic, rather a Swedish proto-punk classic. Apparently, the band has dedicated itself to punk in their last 4 years until the 1980 resolution. However, if you appreciate herbaceous rawness, harder rocking jamming and edgy "Heavy-Prog" with dominant electric guitar.....by..... Achim Breiling..


Rävjunk “Uppsala Stadshotell Brinner” 1977 first album

- Sören G Andersson - vox, stringmachine 
- Christer “The road grader” Lindahl - guitar, organ, vox 
- Wilhelm Wallin - bass 
- Peter Ericsson - guitar, drums 
And: 
- Hasse Bruniusson - drums 
- Olle Sjöstedt - guitar, vox 
- Gert Hedov - guitar 
- Kenneth Sylwan - harmonica 
- Henrik Lind - guitar 

A1 - Sherry, Vermouth, Vin å Öl 
A2 - Hey Little Girl 
A3 - Jag é så skitig jag é så paj 
A4 - Uppsala Stadshotell brinner 
A5 - Inferno 
A6 - Säg mig Andersson 
B7 - Nåsten (Den tysta skogen) 
B8 - Snöspår (Del 1,2 och 3) 
B9 - Vi Ses (Vid Taj Mahal) 



Rävjunk"Uppsala Stadshotell Brinner Igen"1976-80 Shadoks Second album

https://www.youtube.com/watch?v=v715amUFfuU


Uppsala Stadshotell Brinner Igen. is the second album by Rävjunk, Scandinavia's best punk-psych band from Uppsala, Sweden. This second album includes tracks from rare singles and EPs released from 1979-1980, as well as completely unknown tracks picked by Peter Ericson (drums). Shadoks Music and Ericson were working on this album for weeks, and just before the album was done, Peter sadly passed away. This album is in memory of Peter Ericson, the great Swedish drummer and singer from Rävjunk. Uppsala Stadshotell Brinner Igen. is a great selection of songs influenced by the early pre-punk period ala Stooges/MC5, as well as the longer jamming guitar tracks of German kraut and space-rock bands. They also saw the heavy psych movement as a bright star. Several influences are evident, but it's all blended into something unique, as each member brought their own intriguing ingredients into the music. Guitarist Christer Lindahl was a Hendrix freak and singer Sören G. Andersson was deeply involved in the new punk rock movement. Bassist Lars-Eric was very much into Jack Bruce and Cream, while Peter, the drummer, was an avid fan of German bands such as Can and Guru Guru. The first album, originally released in 1977 was titled Uppsala Stadshotell Brinner (SHAD 185LP, 2016), which in Swedish means, "Uppsala City Hotel Is Burning". Uppsala Stadshotell Brinner Igen. is Swedish for "Uppsala City Hotel Is Burning Again". A great album from beginning to end, just as good as the first album for sure. Comes as 180 gram "transparent yellow" vinyl, in a heavy sleeve and with a two-page insert. Edition of 500 (numbered)....


Rävjunk's self-released 1977 album ”Uppsala Stadshotell brinner” has been a collector's classic for ages, thanks to the jam heavy, guitar driven tracks. I personally think the album is overrated because, unlike most apparently, I like the punkier side of Rävjunk a lot better. ”Uppsala Stadshotell brinner” has its share of high octane hit-and-run tracks of course, including ”Hey Little Girl” and ”Jag e så skitig, jag e så paj” but they just aren't as good as the three seven-inches the band released on their own Sub label in 1979 and 1980. A proper reissue of those was long overdue when Shadoks Music finally compiled them in 2016, adding seven previously unreleased recordings (including Wire cover "40 Versions"), effectively creating a proper follow-up to their legendary first.

Kicking off with ”Bohman, Bohman”, what could possibly go wrong? A raging and hilarious full frontal assault on Gösta Bohman, then leader of right-wing political party Moderaterna, with lyrics unsophisticated enough to get the song banned by the Swedish Radio. (Later, the reincarnated Rävjunk performed an updated version of the song, changing the lyrics to ”Reinfeldt, Reinfeldt” in 'honour' of Moderaterna's new leader and Prime Minister of Sweden 2006-2014, Fredrik Reinfeldt.) 

While ”Uppsala Stadshotell brinner igen” has its progressive touches, particularly on the previously unreleased tracks of the 'B' side, the album as a whole is a no-nonsense affair further examplified by the punch-in-the-face take on Bob Dylan's ”All Along the Watchtower” and a Swedish version of Stooges chestnut ”I Wanna Be Your Dog” (”Roland Agius se ut över stan!”). There's a different kind of energy at work here which simply blows most of ”Uppsala Stadshotell brinner” to smithereens. When I talk about Rävjunk, this is what I mean.

Tracklist 
Bohman Bohman 3:17 
All Along The Watchtower 3:50 
Så Skitig Så Paj 1:34 
Roland Agius Se Ut Över Stan! 2:15 
Skjut Jultomten Nu 1:57 
De Utslagnas Café 4:14 
Storstad 0:58 
Ensam På Scen 2:20 
Maktens Torn / La Dominique 3:46 
Spanska S. 2:14 
40 Versions 2:21 
Mahal Revisited No 2 4:51 
Midnatt-Sommardröm Version 1 1:30 
Midnatt-Sommardröm Version 2 1:21 
Foxy Lady 3:33 
Taj Mahal 8:19 


Rävjunk ‎" Ensam På Scen" 1980 vinyl 7"

Tracklist 
A Ensam På Scen
B1 Maktens Torn
B2 La Dominique


Ravjunk  "Bohman, Bohman / All Along The Watchtower" 1979 single 7″

full single 

https://www.youtube.com/watch?v=uKHnmx0cHB0

https://www.youtube.com/watch?v=6yNPOOvy0xY

Tracklist

Bohman, Bohman.
All along the watchtower.













Original Rävjunk live Stockholm antingen 1974 eller 1975











Discography: 
Singel: Bohman, Bohman - All along the Watchtower (Sub SUB Z-100 -79) 
EP: De Utsagnas Café - Storstad - Roland Agius Look Out Over Town - So Dirty, So Pie - Shoot the Santa Claus now (Sub SUB Z- 102 -79) 
Single: Alone on stage - Tower of power (Sub SUB Z-103 -80) 
EP: Bohman, Bohman - Tomten - Midnight Summer Dream - Returning (Puka PUKA1 -82) 
LP: Uppsala Stadshotell Brinner (Rävjunk JJJJ 27 -77) 
Collection LP: 018 / Ten Groups: Back (Swedish Love SLLP 07 -80) 
CD: Uppsala Stadshotell Brinner (PUKA 2002) 
CD: Never Played (PUKA 2002) 
CD: The Rävjunk Collage (PUKA 2002) 
CD: The Freaky Guitar Album (PUKA 2002) 
CD: Uppsala Stadshotell Brinner 30th Anniversary Remaster 2cd (Transubstans Records - TRANS029 -07) 

johnkatsmc5, welcome music..

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