Just like Docenterna, who formed two years later, Dag Vag used the punk wave to launch themselves. They took a punk name and released just one punk single before turning to alternative pop. But where Docenterna started to play catchy modern pop, keeping some of the punk attitude, Dag Vag’s main influences could be found in the Swedish progressive movement, among bands like Träd, Gräs & Stenar, as well as in world music and reggae. These influences were then used to create something that was still very much pop. If not unique, it was at least rare on the Swedish rock scene in the ‘80s. Dag Vag have also meant much for Swedish alternative music in providing a connecting link to the '70s where most '80s bands chose to turn their backs on the preceding decade.
Per Odeltorp, aka Stig Vig, was the leader of the band Hottentots, which developed into Dag Vag. At first, they called themselves Dag Vag & Svagsinta, but after the first single they shortened it to Dag Vag. A musical change also took place, from punk to reggae-influenced pop, as they scored a hit with a cover of Anita Lindblom’s “Sånt är Livet.” Dag Vag had already made a name for themselves in alternative circles when their full-length debut was released in 1979. The album kept the reggae influences, but also showed traces of new wave. Brynn Settels, aka Bumpaberra, left the group temporarily and Malin Bäckström was replaced by Kenny Håkansson for the recording of the live album Scenbuddism, and after big success with their next studio album, the band decided to try to promote themselves abroad. But their only single in English, “Wipe Out,” was a total failure.
Next, a new album (7 Lyckliga Elefanter) in Swedish was released. Settels had rejoined the band after playing with Peps Persson and had brought with him percussionist Per Tjärnborg. It is likely that it was these two who took the African influences a step further from the reggae rhythms on earlier albums that had been used to create pop, some of the songs on this album were pure Afro-pop with Swedish lyrics and the reggae influences were stronger than ever. The album is often seen as Dag Vag’s artistic peak, and was also a commercial success that made the band one of the best-selling in Sweden. The following album sold just as much, but in 1983 the group disbanded.
Vig formed Amazing Speedboats, while Johan Zachrisson started a solo career as Zilversurfarn. In 1988, Dag Vag reunited and in 1989 they released Helq. This album was not as successful as the former two and when Zachrisson moved to Portugal the next year, the band lost speed. Zachrisson returned to take part in the recording of Halleluja!, but shortly thereafter the group’ days as a performing and recording unit came to an end – until reuniting in 2006. However, in later life Vig suffered from kidney problems and began a regimen of daily dialysis in 2003 until receiving a kidney transplant several years later. Vig died in his apartment on January 23, 2012…………… by Lars Lovén…………..
Swedish “prog” doesn’t have much in common with “progressive rock”. Through the 70s many Swedish bands subscribed to the general political influences of the time, such as; feminism, leftism, vegeterianism and anarchism, but all'n'all with “messages”. Some far left such as “Knutna Nävar” others with humor such as “Philemon Arthur & the Dung”. Dag Vag was not really regarded as a “prog” band as such, even though their lyrics often focused on injustice. Maybe they were too anarchistic in their approach, also with lyrics focusing on drugs, and “reggae beats”. A memorable song title from their first lp “Jag Blev Inte Hög” [I didn’t get high], is a hilarious story about a guy who drops all sorts of narcotics, only to achieve drowsyness. Scenbuddism is another great record, and was one of my favourite lp’s of the time. The excellent blog prog not frog (go there for dl-link in comments) has provided us with this fine piece of vinyl……..
For many years in Nöjesguiden childhood was Stig Vig one of the writers in their interviews and reviews helped develop the newspaper’s personality and tone. Yesterday, he died, aged 63. We want to honor him by re-publish the last conversation with the stick, aka Per Odeltorp as Bulletin Board had, in 2008 in connection with the re-release area of the Day WAY discs. - Tage, wave! So we chanted down at the club Underground in Sergelstorg, and when the day is weighed drummer, who is also the Stig Vig’s brother, embarrassed raised his hand in greeting cheered intensely. Sure, we thought we were a little irony in our call, my God, we were the children of punk, but our love for Dag Vag was deep and intense when we followed them to the gigs on the Underground, Mariahissen and Eriksdalshallen. In Eriksdalshallen they played in November 1980 together with his sibling band Ebba Green on the joint tour Tourists in existence. They had ended up in the rather peculiar situation as Sweden’s two biggest bands play connections to a fully established British pop singer. So when they had finished the respective sets, and played a few songs together as an encore, got a little Englishman in large glasses up on stage to play songs only a few in the audience recognized. The undersigned was thus not alone shrug after three-four songs from the main act and promptly go from there - the same thing did half the audience. - Playback of Eriksdalshallen was pretty fun for us, too, if you say so, remember Stig Vig today. Elvis Costello was forewarned by EMA him to “warm up” by two of Sweden’s currently most popular bands, yet he goes out and run ten (or how many there were) new songs in a row. In itself, the majority already gone when he started, but he was not very happy afterwards. Dag Vag was the only band in the country that could compete with Ebba Green in popularity 1979-82 appears understood as incomprehensible today. While Ebba mythology has grown year after year, with re-editions, old live recordings and boxes in a never-ending stream, Dag weighed 300 million albums sold, top chart positions, and Rock Bears almost disappeared into oblivion. There are many to blame for that. The first is Dag Vag themselves. With continual party reunions and new recordings, they have helped to devalue its memory - too often, for plojigt, for uninteresting. The next culprits are the country’s subsequent band that had Ebba Green in breast milk, but at no time pondering whether there are influences from prog-rock-reggae to integrate into their music. Day way music seems to have been a dead end, and their legacy has not been heard in the Swedish music since their first closure. But the greatest debt is to be attributed to record labels and rights holders, as in a few occasion have tested how the land lies with the compilation album, but never (never say!) Let the original album is available on CD. Until now. But now, finally, their five albums before closure in 1983 are now on CD, with droves of motivated bonus track, whether it all together packed in a small box or separately, depending on how desperate the hell it was. If it had not been such a matter of course that the discs would be available had there been a cultural achievement seldom seen, but it is also a perfect illustration of one of the best band’s rapid rise and equally rapid fall. The debut, which just named Dag Vag and introducing their homespun reggae sign as cover, is a really really good rehearsal. Stig Vig, Bumpaberra, Tage Dirty, Zilverzurfarn and early member Olsson blends ska and reggae with a little blues, punk, large doses of popular movement prog rock and a little hint of Swedish heritage (Elsa Beskow, indeed, and later records kept on the track with Dan Andersson, Evert Taube and Thore Skogman) in a way that broke away on his feet much more than just me. No other young bands would come up with the idea to launch her debut album with Trees, Grass and Stones-cover (and no other young band had rowed idea safely ashore either, for that matter), just when it was time to make peace with the Swedish music, movement, and Dungen fans would do well to explore bonusspårens early jamversion of Tokna & Crazy. With the possible liberal drug I was not high ended the first but far from the last time in favor of the establishment (but was on the other side a series of amateur comic Swedish Leagues). But more than a dress rehearsal, the album was not great work still remained. With the live recorded sequel scenbuddism peaked Dag Vag. Significantly more secure about what they wanted and how they achieved it (and with a live sound that far surpasses the first album studio sound quality, even in remastered versions) played Dag Vag into a true classic. - Then we go, start Stig Vig a long shot of the now overconfident and hyper tight finished version of Tokna & Crazy, and the go was. He and Tage Dirty, aka brothers Stig and Lennart Odeltorp, brought all his experience to reggaeifera Swedish folk music with Peps Perssons Chapel. They also brought the country’s hottest organist Bumpaberra, Brynn Settels, who was in-and-a member of the Dag Vag throughout the band’s existence. For they had they sought out the young guitar hero Zilverzurfarn, or Johan Zachrisson, today best known as the father of Lykke Li. New additions Beno Zeno, or Kenny Håkansson (no relation to his namesake in the Hellacopters and Nöjesguiden disc editing) as he was known in Mecki Mark Men and Kebnekaise, was a veteran from the days when the Swedish music movement was more concerned with kraut and progressive than the struggle and prog, and together, finishing the day weighed fuzzy rocking while sharp reggae music movement. Poor & Rich, children chant pair of Hagen and not least Fog in a hard swinging full band version - scenbuddism is the best Swedish live album ever. Their third album, parsnip 1980, was more than a prawn sandwich, a root vegetable. The majestic opening manifesto Music was a bicicleta open goal, and sure enough, there was more good times. But Parsnip was also the beginning of the end. Dag Vag allowed to cut corners in the band name of democracy, including the roll on who should never have reached outside the rehearsal cap. Likewise Vaskarubli, a grimy answers cover of Ebba Gröns shooting Flying, sitting very uncomfortable in the day weighed knee. When it was time for 7 Happy Elephants we had grown apart, Dag Vag and me. For my part, they had helped me discover that there was a whole world of music outside of New Mexico to explore, and the Day WAY part was honestly a right uninspired moments. Maybe it was the environment that ruled concentration in other directions, along with the Talking Heads and Grace Jones at Compass Point in the Bahamas, where the album was recorded. The influences from other parts of the Caribbean were heard Although such a lively give Bun a leg, but a translation of Generation X and Billy Idol’s Dancing with Myself were more than a little silly, and some English language tests are påhäftade this still makes no human being happy. Their fifth album Almanac was a gift to the faithful fans, in the form of a second live album that not even a visiting Don Cherry managed to take off, and with the same Trees, Grass and Stones cover that they began their album career, in reverse, they laid down business and the tale was all. Day WAY cases was as fast as their rapid ascent. But even if the quality fell on the last CDs, and although scenbuddism so completely outclasses the rest of the day weighed directory, does not now that you can skimp in and settle for a separate CD instead of the box. For one thing, the box a chronicle of the only successful meeting between prog rock, punk and the Caribbean, with real gold nuggets spread across all five discs. Firstly, there are a pompous bonus on all disks, especially in the form of the band’s powerful singles. The ancient electronic debut single, that’s life, Selecter-translation Handle E too much and what is closest Per cussions solo project Great Wall. Not to mention the chance to get everything signed by ordering through the day weighed website. It beats even getting Tage wave…………..