body{ text-shadow: 0px 0px 4px rgba(150, 150, 150, 1); }

8 Mar 2017

Kerrs Pink “Kerrs Pink"1980 Norway Prog Rock

Kerrs Pink “Kerrs Pink"1980 Norway Prog Rock

Kerrs Pink's first album was recorded in the summer of 1980 at Roxy Studio in Fredrikstad, run by former guitarist and main composer of progressive heavies Höst's Svein Rönning.Only 1000 copies were released on Kerrs Pink's own label, Pottittskiver, meaning slices of potatoes. The long playing record was distributed by the band itself and Polygram in Oslo to all of Norway. Steinar Straumdal contributed lead vocals to two of the tracks. Altogether, only four tracks featured vocals.The opening track "Velkomst", an instrumental even reached Norsktoppen (the national Top Ten) on NRK radio in 1981. This album included a 12-page booklet with drawings by Halvard Haugerud..................

The eighties threshold appeared in assorted ways before the eyes of progressive rock world, some say (count me in those stats) that was the fatidic decade, the one that came along with the vicious era of musical impertinencies and disarray for the genre and its multiple variations translated in "rediscovering and experimentation", plagued of disappointing results. But there was a group of believers that proved us all devoted detractors of the eighties wrong; some of the few braves who dared to challenge the music industry and the cultural parameters were these intrepid Scandinavian musicians renamed as KERRS PINK. The band gathered together all the essential and most representative Nordic elements, such as the infallible mellotron, acoustic guitars, remarkable drums performing, the flute, and of course, the lyrics in Norwegian. And presto, a great symphonic more than folkloric (and almost instrumental), prog rock band was reborn in Northern Europe. 
As I just underlined above, it is quite remarkable how in spite the inconveniences of being considered a brand new prog band competing with the all time masters of the prog scene in the early 80's, these Norwegian fellows never detached from their origins and roots by singing in their own mother tongue when the musical arrangements needed lyrics and the melodic voices of most of the members: bassist Jostein HANSEN lent his voice to the song "Bamse Brakar"; keyboard genius and pianist Halvard HAUGERUD led vocals on "Sang fra skogen"; and musical guest, lead singer Steinar STRAUMDAL on "Sett Dem bare ned" & "Hvis jeg er der neste år". In the same context of multiple drawbacks, the band has been suffering several changes in its original formation ever since they were known as CASH PINK (Jostein HANSEN named the band that), and at the time they renamed the band the way we actually know them, definite decisions were taken. Per KVAERNER and Per FRYDENLUND left the band and were replaced by multi-instrumentalist Trond BÖHN on keyboards and guitars and by Tore JOHANSEN, who reintegrated the band again. 

This debut album of the band, self-named and self-produced; was recorded during the summer of 1980 and officially released on January '81. Firstly, 1000 copies of the album were made and received favorable reviews from the national press and was played on the radio. The music of KERRS PINK through the use of folk music, through its fresh bucolic and impression of merriness, the playful charm, proves itself to be totally personal and fully influenced by Norwegian culture and identity. Through its joyful, roguish and waggish music, compared to some other Nordic bands such as SAMLA MAMMAS MANNA or KEBNEKAISE, KERRS PINK defines itself throughout the personal and typical Scandinavian music. For those who haven't listened to KERRS PINK yet, or even heard of the bands compared to them; a slight resemblance to the early 70's GROBSCHNITT prog school (72 - 78) will approximate your ears to picture the sound of the Norwegian band debut album. Deservedly, excellent performed music, worthy of total and complete The Prognaut .....

Replete with gorgeous guitar solos and occasionally assertive keyboards and flutes, this debut by Norwegian legends KERRS PINK reflects the maturity of a band that has held back 8 years worth of material and is done holding back. Sumptuous lead guitar melody follows sumptuous lead guitar melody so closely that the heels of the first often step on the toes of the second. Roughly half the tracks have vocals, but they are, for the most part, no more assertive than the occasional flute or organ passage. Similarities to early CAMEL are unmasked at this point in their career, although, apart from a poorly integrated graft of "Rhayader Goes to Town" on "Sirrus", these influences are unobtrusive. 
Where KERRS PINK distinguish themselves to some degree is in their incorporation of Nordic folk melodies into the modern arrangements. Even here, the prettiness is spread a little wide and rarely pierces the surface virtually lacking in tension. Almost any cut could be transferred to a compilation album with minimal spillage and be a highlight, but in each others' company they are like store bought lingon berries, tasty but best partaken in small doses lest one succumb to their less desirable effects. 

It is easy to point out a highlight - the brilliant "If I'm still here next year" is an entirely arresting blend of WISHBONE ASH, OUGENWEIDE, early HOELDERLIN and late NOVALIS, with some EDEN (Germany) thrown in. It's a shame they didn't write more "songs" of this nature that establish a groove, for want of a better term, which is a skill long ago mastered by their heroes with humps. The opening two tracks are also noteworthy, the first for its appealing almost Slavic melody, the second for the thrust of lively vocals towards the end, a skill they would hone on mid period releases. 

I don't mean to beat a dead camel but this comely disk is far less than the sum of its parts, and for that reason I round down from 3.5 kenethlevine ....

Kerrs Pink enjoys a rather important reputation in international progressive rock circles, despite long-lasting obscurity in Norway and an unstable career marked by numerous break-ups and lineup changes. The group has recorded five albums in its first 30 years of existence. All have been released or reissued by the French prog rock label Musea. The music is most notable for its blend of Scandinavian folk elements with the vintage British symphonic prog sound of the ‘70s. 

Kerrs Pink, named after a variety of potatoes, formed in 1972 in Trømborg, a small Norwegian town. Of the four original members, all aged 15 to 17 at the time, only Jostein Hansen would continue to carry the torch. Essentially a cover band at first, the group also used the names "Memories" and "Cash Pink" in its early years, which it spent in basements and dance halls. The first major change in personnel occurred in 1975 when guitarist Harald Lytomt was recruited. Hansen, who previously played guitar, too, switched to bass. This pair would later form the die-hard core of the band and write most of its material. In March 1976 the group performed its first "real" concert and began to focus on original songs. It took another three years before the members found the guts and the money to self-produce their first single. Released on their own label, Pottittskiver, "Kong Edvardt"/"Feberlåten" attracted good press and sold out its limited run of a thousand copies. Galvanized, Kerrs Pink entered the studio of Höst guitarist Svein Rönning in the summer of 1980 to record its self-titled debut LP, also self-released later that year. The lineup at this point included Lytomt, Hansen, Halvard Haugerud, Tore Johansen, Trond Böhn, and Terje Solaas. The instrumental track "Velkomst" reached the national Top Ten in early 1981. A second LP, Mellom Oss, came out in January 1982 and featured a new drummer in Tore Fundingsrud. The cost of self-production and lack of commitment from some of the musicians led to the band's first breakup. Bøhn left during the recording sessions, Lytomt and Fundingsrud followed shortly after the LP's release to form the harder-edged Mantra. Hansen and Haugerud continued for a while as a pop/rock unit before things ground to a halt. 

In 1989, Musea expressed interest in reissuing Kerrs Pink's two LPs, which rekindled a flame in Hansen. He re-formed the group with former members Johansen, Fundingsrud, and Lytomt, plus Mantra's keyboardist Per Øyvind Nordberg. This lineup re-recorded Mellom Oss for its 1992 reissue, contributed to the Musea project Seven Days of a Life (1993), and recorded the ambitious concept album A Journey of the Inside (also 1993). This outburst of activity was followed by an extended hiatus. Tired of waiting, Lytomt began work on a solo album in 1996. He asked Hansen to provide lyrics, and in the end, Art of Complex Simplicity came out in 1997 under Kerrs Pink's name, featuring a cast of former members and studio musicians. After another break, Hansen and Lytomt recruited a fresh lineup, including two keyboardists and male and female lead singers, to record 2002's François Couture.......

Line-up / Musicians 
- Harald Lytomt / electric and acoustic guitars, flute 
- Halvard Haugerud / vocals, Hammond C3, Fender Rhodes, Yamaha grand electric, ARP Pro-soloist, Mellotron 400, Mini Moog 
- Tore Johansen / electric guitar 
- Jostein Hansen / bass, vocals 
- Trond Böhn / keyboards, electric and acoustic guitars 
- Terje Solaas / drums, chorus 

A1 Velkomst 
Written-By – Johansen* 
A2 Sett Dem Bare Ned 6:44 
A3 Barkebillens Flukt 3:53 
A4 Sang Fra Skogen 4:35 
A5 Pimpernelle 5:33 
B1 Parringsstevet 3:52 
B2 Bamse Brakar 3:23 
B3 Sirrus 4:27 
B4 Hvis Jeg Er Der Neste År 6:32 
B5 Avskjed 6:32

johnkatsmc5, welcome music..





Cassete Deck

Cassete Deck