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So 2009 isn't quite over yet, but here is my top 40 artists chart for the past year, with short explanations for some of the artists:

1 Dark Moor: 569 scrobbles
Still my favorite band, the band that got me into power metal as well as metal in general.
2 Blind Guardian: 489 scrobbles
Maybe a bit artificially high on my charts because of the number of tracks in Nightfall in Middle Earth, but still deserving of a high spot.
3 Dream Theater: 468 scrobbles
Saw them in July in Asheville, and listened to Black Clouds & Silver Linings about a million times before the show.
4 Queen: 466 scrobbles
5 Helloween: 398 scrobbles
6 Nine Inch Nails: 390 scrobbles
I probably wouldn't have listened to NIN half as much if it wasn't for the fact that The Slip is free and Ghosts I-IV is really cheap. Thanks, Trent.
7 Led Zeppelin: 385 scrobbles
8 Opeth: 349 scrobbles
Everyone should listen to Opeth. Even if you don't like metal.
9 Wolfgang Amadeus Mozart: 342 scrobbles
Easily the most metal artist on my charts.
10 King Crimson: 298 scrobbles
11 Machinae Supremacy: 263 scrobbles
Another good free album, Deus Ex Machinae put this artist high on my charts.
12 Extol: 250 scrobbles
Listened to The Blueprint Dives a lot. If nobody told me, I would never be able to guess that they are the same band that made Burial, which is also great, but in a completely different way.
13 Tool: 247 scrobbles
14 Lacuna Coil: 245 scrobbles
15 Iron Maiden: 230 scrobbles
16 Holy Blood: 227 scrobbles
Of the bands I started listening to in 2009 for the first time, I think Holy Blood is my favorite. I can't wait to hear Oskord once they release something...
17 Nightwish: 222 scrobbles
18 Talking Heads: 206 scrobbles
19 Rush: 196 scrobbles
20 Rhapsody of Fire: 190 scrobbles
21 Yes: 188 scrobbles
There used to be an artist image of Chris Squire with a zebra stripe jacket and triple neck bass with a caption that read something like: "Scientists have determined that it is physically impossible to find a picture more prog than this." That always made me laugh.
22 Angra: 185 scrobbles
23 JT Bruce: 164 scrobbles
I have to say something for all the artists with free stuff - JT Bruce is great if you like technical instrumental prog metal. You can download three albums for free on Jamendo, and you can buy his latest (and best) album, Universica on his website.
24 Sonata Arctica: 163 scrobbles
25 Tourniquet: 153 scrobbles
26 The Allman Brothers Band: 146 scrobbles
27 Theatre of Tragedy: 142 scrobbles
28 Antonio Vivaldi: 141 scrobbles
I listened to a lot more "classical" music this year than I used to, which is something I'm happy about.
29 Cynic: 138 scrobbles
30 Narnia: 134 scrobbles
31 Ensiferum: 127 scrobbles
Saw them at Volume 11 Tavern in Raleigh in November (my car was hit and had to be towed along the way, forcing us to walk part of the way, but it was worth it).
32 Frédéric Chopin: 120 scrobbles
33 Depeche Mode: 118 scrobbles
34 NESkimos: 112 scrobbles
Their albums have tons of short songs, so they are a bit overrated on this chart. Video game cover bands are one of my guilty pleasures.
35 ZAO: 109 scrobbles
I've had The Fear Is What Keeps Us Here for years, but it wasn't until 2009 that I really started listening to it a lot. Usually I'm sort of turned off by metalcore, but I think Zao is pretty good regardless of their genre.
36 XOC: 107 scrobbles
Another video game band with lots of short songs and an unusually high number of scrobbles...
37 Black Sabbath: 106 scrobbles
37 VNV Nation: 106 scrobbles
39 Johann Sebastian Bach: 103 scrobbles
40 DragonForce: 101 scrobbles
DragonForce? How did this get here... I guess when their new album came out I listened to it a lot.

2010 predictions:
Jazz Fusion - I've been listening to Billy Cobham and I'd like to hear more of this. I've always wanted to listen to more Jazz, but I've found it inaccessible. I think I'll enjoy fusion a bit more.

Melodic Death - Since I like Ensiferum and Blackguard, I'd like to listen to more.

Thrash - I really enjoyed Gama Bomb (another artist with a free album available on their website), and I've never really explored thrash metal outside of Metallica/Slayer/Megadeth.

Less Power Metal - I'll probably keep listening to Dark Moor, Helloween, Blind Guardian, and the other artists I like, but I'll probably stop looking into new power metal bands in favor of some of the other genres I listed.

Well, I've now been to the last gig I had lined up for this year. So what have I been to this year?

Static X
Sevendust
Bloodstock (bands I enjoyed being Katatonia, Anathema, Moonspell and Sanctorum)
Prog Nation (bands I enjoyed being Opeth, Dream Theater and Bigelf)
Editors
Mew
Yes
The Enemy
Joe Bonamassa

It's not been that much of a metal year for me since moving back to Scotland.

So I've seen Opeth (my faves <3), Katatonia (who I've been waiting to see since the Last Fair Deal Tour back in god knows how long ago...), Anathema (who I'd been waiting since when I got into them back in 98/99 to see), Dream Theater (who blew me away and converted me to becoming a fan) and Joe Bonamassa (who is GOD).

But none of them won it for me. All amazing performances. However, the band who won it for me were:

MEW!

They just totally blew me away! I was so impressed by the fact Jonas could reach those high notes, the vocal harmonies were mind blowing, and the visuals they had were awesome. I couldn't fault them, other than them not playing my favourite song... Seriously amazing performance from them, just... Nah I don't have words, they were absolutely mind blowing!!!

Knight Area - “Momentum”
Tiles – “Window Dressing”
Anekdoten – “Wheel”
Genesis – “Cul-de-Sac”
Giant Squid – “Dead Man Slough (Pacifastacus Leniusculus)”
Retrospective – “Pink Elephant Missed”
Rocket Scientists – “Copernicus”
Paatos – “Téa”
Yes – “Can You Imagine”

CrowfeatheR's influences are; Guitar:Juliana Hatfield, Jeff Martin(TEA PARTY), Dave Navarro(Panic Channell, Janes Adiction),Zakk Wylde (Ozzy), Sony Mayo (Seven Dust),Les Paul, ALAN HOLDSWORTH, Steve Howe (Yes)
Bass: John Taylor (Duran Duran), DUG Pinnick (King's-X),Chris Squire (Yes),Bootsy Collins, James Jamerson.
Vocal: Jeff Buckley, Billy Idol, Chris Cornell (Audioslave, Sound Garden), Jim Morrison (The Doors), Jeff Martin (Tea Party),Scooter Ward(November Falls, Cold), Ian Astbury (The Cult), Scott Stapp (Creed) Keyboards: Rick Wakeman (Yes), Laurence Tolhurst (The Cure)
Drums/ percussion: Lars Ulrich (Metalica), Sam McCandless (Cold)
Programming: Trent Reznor (NIN)
I cut my musical teeth in my early years being influenced by the great progressive bands of he 1970's and 1980's like Yes and Rush. Lately my musical tastes have been heavier and I think for my tasteToolis the best band actively together.
Sounds Like
Halo Guitars
Pigtronix Effects Pedals
Mangan FusionMatched guitar strings

Vocally;
Peter Murphy(Bauhaus)
Jeff Martin (The Tea Party)
Jeff Buckley(R.I.P)
Chris Cornell (Audio Slave, Sound Garden)
Chris Daughtry (Daughtry)
Lajon Witherspoon (Seven Dust)
Billy Idol
Ian Astbury (the Cult, The Doors)
Jim Morrison (The Doors)
Robert Smith(The Cure)
Sean Morgan (Seether)


Guitar;
Juliana Hatfield
Dave Navaro (The Panic Channell, Jane's Addiction, Red Hot Chili Peppers)
Steve Howe (YES, GTR, ASIA)
ALAN HOLDSWORTH
John Petrucci (Dream Theater)
Joe Satriani
John 5 (Rob Zombie, Marilyn Manson)
Zakk Wylde (ozzy, Black Label Society)
Les Paul

Musically;
Audio Slave
The Cult
The Tea Party
ZZ Top
Incubus
Billy Idol
The Cure
Sevendust
Nickel Back
Daughtry
Muse
Seether
Disturbed

Imagine smooth, subtle, seamless transitions from jazz influenced chord structures to riff rock set to a familiar contemporary rock feel with catchy sing song, powerpop, vocal hooks and melodies. Guitar: this is heavily Jazz influenced, with melodic and shred metal tidbits here and there when called for. To get me out of Jazz mode I have to use alternate tunings. "CrowfeatheR" on the guitar is a nuclear-jazz guitarist with a sonic chameleon and multiple personality disorder complex. Every section of every song must have its own sonic principal and style that suits the feel of the music. My favorite guitar sound is from a HALO guitar and an EMG pickup. My primary instrument in the past has been the electric Bass. My greatest influences growing up were John Taylor (Duran Duran), James Jamerson, Bootzilla (that's Bootsy Collins to you), Muzz Skillins (living Color), Doug Pinnick (Kings-X, Pound hound), Chris Squire (YES) and of course Geddy Lee (Rush). Although I have the technical ability for endless masturbatory riffing and blazing runs faster than any guitar player could ever do using a pick, using my "cross finger picking" technique, I chose not to include too much of that in my popular music. I have put most of that behind me and I am trying to loose my musical ego. I am more worried about how things sound other than playing stuff no one else can. My favorite Bass tone is my custom made Bass through a bright, tube preamp with new sparkling Curt Mangan light stainless strings, mmmm, warm, punchy and crunchy. My percussion tracks are a Combination of live drums and percussion and digitally sampled or electronic, drum programming. My favorite drummers are too many to list , but include Morgan Rose (Seven Dust), Danny Carey (TOOL), Sam Mcandless (COLD), Jerry Gaskill (Kings-X) and the creator of the modern drumming style, Neil Peart (Rush). I prefer the sound of Mahogany drum shells, ported bass drum heads, a hard beater and a beater patch.



Join his fanclub TODAY: http://www.last.fm/group/CrowfeatheR+%28REAL+life+guitar+hero%29

Did I mention Alice in Chains totally ripped him off? Soundgarden too!

Belle & Sebastian - Dear Catastrophe Waitress [2003] What I always liked about the voice of Belle & Sebastian's lead singer, Stuart Murdoch, was that he sounded much like Ray Davies of THE KINKS. And what I like about "Dear Catastophe Waitress" is that it has a subtle precious vibe to it reminicent of the Kinks' "Village Green Preservation Society." -- The songs have a sentimentality and sense of humor that seems very local.
And while songs like "Piazza, New York Catcher" may not be the most timeless of tracks, "If She Wants Me" or "Wrapped Up In Books" certainly are.
It still surprises me that Trevor Horn produced this album. The former lead singer of Yes and the Buggles who produced with bombast throughout the 80s and 90s (Frankie Goes to Hollywood, Seal, Yes), was able to turn it down a notch for the better-than-twee indie hipsters from Glasgow. And while I'm currently kind of tired of their sound - this album did play as soundtrack to much of the last ten years for me.
Listen, watch "I'm A Cuckoo"

Goldfrapp - Supernature [2006]
While Madonna's output of the decade mostly disappointed, and Britney's pop ingenuity was mostly overshadowed by her personal life - Goldfrapp delivered. If you're not familiar with Goldfrapp, think Madonna channelling Edith Piaf in a subterranean East Berlin discotheque in the late 70s.
Alison Goldfrapp and Will Gregory debuted in 2000 with the equally excellent "Felt Mountain" - which has a smoky caberet feel to it. But 2006 saw them crank it up and simplify to create some great grooves and moments of pop brilliance. There's nothing overly complex or thoughtful on this album, but it's laden with timeless sultry hooks that make you think about things to do when the lights turn off.
Listen, watch:
- "Number 1"
- "Ooh La La"


Laura Veirs - Saltbreakers [2007]
Let me start off this by saying that this really was the decade of Nonesuch records. You could pick any ten records that the label put out this decade and have a compelling list of great music...This is my first Nonesuch on the list, but more is to come.
That said, Seattlite geologist-turned-rocker Laura Veirs blew me away with "Saltbreakers" in 2007.
Laura's guitar playing reminds me of Bill Frisell: A clean sound with long sustains and drones....A lazy rhythm guitar that occasional forget that it's playing the lead. Laura's voice is almost conversational, especially in her enunciations. It has a disarming effect and makes you eager to hear each next confession within the album. There are no sleepers here: from the dreamy "To The Country" to the rollicking sing-along of the title track - each song captures your attention and imagination.
Listen, watch "Pink Light" -

1. Rush
Rank in 2007: 1 (unchanged)
First Song: Working Man. Must have heard this on FM radio in Toronto circa 1975.
First Love: In the End. My first entry into Rush was the just released All The World's A Stage album. "In the End" was my first favourite.
Current Favorite: Armor and Sword. From 2007's Snakes & Arrows, the guys show that they're still rocking and writing great music after 30+ years in the business.
Trend: Still my favourite band.

2. Porcupine Tree
Rank in 2007: 2 (unchanged)
First Song: Blackest Eyes Saw that these guys opened for Yes. Bought In Absentia and was hooked.
First Love: Trains The best track on In Absentia, IMHO.
Current Favorite: Time Flies from The Incident.
Trend: A return to form with The Incident. Awesome concert as well!

3. Dream Theater
Rank in 2007: 3 (unchanged)
First Song: As I Am Blew me away.
First Love: As I Am
Current Favorite: The Count of Tuscany off of the new album is great.
Trend: Still listening to a lot of DT. I have to say the new album is a notch behind Systematic Chaos.

4. The Tragically Hip
Rank in 2007: 2 (up 1)
First Song: Little Bones On Much Music when it came out.
First Love: Little Bones Was the official party tune of that summer.
Current Favorite: It's a Good Life If You Don't Weaken Not the typical Hip song; great guitar work.
Trend: I finally purchased World Container. It's OK, but like Rush, I'll continue to support them for a long time.

5. The Tea Party
Rank in 2005: 4 (down 1)
First Song: The River Again on Much Music.
First Love: The River Sounded like nothing else at the time.
Current Favorite: Halcyon Days Probably the best mix of East and West rock.
Trend: Unfortunately, TP has disbanded so without new music, I expect them to slip down the charts over time. Great band though.

6. Genesis
Rank in 2007: 6(unchanged)
First Song: Dance on a Volcano In someone's basement circa 1976.
First Love: Follow You, Follow Me On FM radio
Current Favorite: Watcher of the Skies Back to the Gabriel days for my favourite.
Trend: Still a classic band.

7. Yes
Rank in 2007: 9 (up 2)
First Song: Roundabout Again, FM radio.
First Love: Close to the Edge It's a toss-up between this and...
Current Favorite: And You And I
Trend: Kind of surprised that they have moved up in two years since I have not purchased any music of theirs in some time.

8. U2
Rank in 2007: 10 (up 2)
First Song: Gloria On campus radio circa 1981.
First Love: Where The Streets Have No Name I obsessed over this album while living in London, UK in 1986-1989.
Current Favorite: Magnificent Good tune from their newest album.
Trend: Again solidly in the Top 10 and rising.

9. Coheed and Cambria
Rank in 2007: 7 (down 2)
First Song: The Crowing Heard this on a flight home from Tokyo on American Airlines of all places.
First Love: The Crowing Again, C&C sounded like nothing else at the time.
Current Favorite: Welcome Home The new album rocks.
Trend: Still like their stuff a lot, however #4 in 2006 was probably just a timing thing.

10. Sarah McLachlan
Rank in 2007: - (-)
First Song: Vox Heard this one on CBC radio back when it was first released.
First Love: Vox I had a sense that she would be good.
Current Favorite: Fear Great track.
Trend: I now have a Bose iPod speaker system in the dining room so my wife and I are listening to more SMcL in the evenings.

Take care,
Barry

In Svezia nei primi anni 70 bands e artisti nascevano come funghi dopo la pioggia in agosto ed ogni cantina o garage aveva la sua versione di Bob Dylan, Led Zeppelin o Rolling Stones. Nel sobborgo di Stoccolma, Bromma, i compagni di classe Björn Aggemyr (chitarra) e Björn "Nysse" (guitar) Nyström cominciarono a strimpellare i loro strumenti quando erano appena dodicenni. Il tastierista Christer Sjöborg si unì e Kurt Persson suonò la batteria con loro per un breve periodo. Fu presto sostituito da Peter Sandberg e decisero di chiamarsi Goda Vänner & Musik (Buoni Amici & Musica). Questi quattro ragazzi provavano in una piccola stanza di 3,5 X 3,5 metri nello scantinato del padre di Nysse, e principalmente facevano pezzi delle band britanniche di hard rock del periodo come Deep Purple o Uriah Heep. Björn e Nysse riuscirono a persuadere il loro insegnante alla scuola Riksbyskolan di Bromma a permettergli di mostrare il loro talento agli altri scolari. La proposta fu accettata, ma avrebbero dovuto portare la propria strumentazione, problema che fu risolto invitando il fratello di Björn, Jan Aggemyr, nella band. Jan aveva la patente ed un'auto, una chitarra elettrica e la capacità di usarla, il che era proprio ciò che serviva. Poco prima del loro debutto i ragazzi avevano trovato un pacchetto di pane raffermo nella sala prove. La marca era Wasa Bröd e l'etichetta "ger råg I ryggen" (dà forza e coraggio) catturò subito la loro attenzione, e fu così che nacque il nome Råg I Ryggen.
A quel tempo, nel 1974, i ragazzi nella band avevano tra i 15 ed i 20 anni, ma avevano già equipaggiamento musicale e attrezzature da non sfigurare di fronte a band ricche e famose, come Yes o King Crimson. I chitarristi Jan e Nysse suonavano chitarre Gibson o fatte da loro, Björn aveva un basso Rickenbacker, e Peter suonava un drum kit Rogers completo. Il tastierista Christer aveva una dozzina di tastiere, tra cui uno dei primi Mini Moogs svedesi e un Hammond A-100 con 2 speaker Leslie da 150 watt! Il suo materiale da solo avrebbe riempito per metà il pullman dei Råg I Ryggen, senza contare il problema di averlo sempre stipato nella cantina del padre di Nysse mentre provavano.
Nel 1974 la band suonava regolarmente a Stoccolma e nei sobborghi nelle vicinanze, e parteciparono anche ad un concorso che serviva per scoprire nuovi talenti musicali. In quel periodo era Nysse il cantante della band, anche se circa metà del loro repertorio era strumentale. Nederlaget è il nome di un'altra band che si esibì quella notte e il loro vocalist, Jonas Warnerbring, fu notato dai Råg I Ryggen. E' il figlio del famoso cantante Östen Warnerbring che ha rappresentato la Svezia all'Eurovision Song Contest negli anni 60, tuttavia i loro stili vocali non sono né simili né comparabili. Jonas fu avvicinato da Nysse e Björn quella sera e fu presto convinto a lasciare i Nederlaget in favore dei Råg I Ryggen. Con il nuovo vocalist, la band si poteva concentrare maggiormente sul proprio materiale e riprese a suonare nella piccola cantina, a dispetto del fatto che i Råg I Ryggen adesso erano in 6 e più orientati verso sonorità progressive, pur non tradendo le loro radici che affondavano nell' hard rock. I genitori di Nysse non si lamentarono mai della musica pesante che veniva da sotto, nemmeno quando una finestra si ruppe a causa del volume esagerato.
Una sera quell'autunno Peter era uscito a bere con alcuni amici, e mentre aspettava il treno per tornare a casa fece amicizia con Kjell Gradin, un anziano gentleman che guarda caso gestiva un'etichetta discografica! Nel loro stato di alterazione alcolica si accordarono subito per un test recording e solo poche settimane più tardi la band aveva ordinato tutto il suo equipaggiamento in un piccolo studio di Sundbyberg. Råg I Ryggen aveva suonato Spångaforsens Brus ed una canzone ormai sconosciuta, ma né Kjell Gradin né il suo piccolo studio erano preparati per l'assalto musicale e questa registrazione fu rovinata dal suono pesantemente distorto. L'etichetta Rondo aveva precedentemente registrato solo Göingeflickorna ed altre band vocali molto soft, ma questo non scoraggiò Kjel che fece un altro tentativo di registrare i suoi nuovi apprendisti appena scoperti. Prenotò l'EMI-studio di Skärmarbrink - che era uno dei più moderni studios a 16 canali della Svezia a quei tempi - per due giorni interi per registrare un album con la band. Le date erano il 22 ed il 23 di febbraio e presto si presentò un altro problema. I testi di alcune canzoni erano di solito improvvisati sul palco, ma la band pensò che non avrebbe funzionato in studio. Il testo per Naked Man fu scritto il giorno prima della registrazione e il tocco finale per Queen Of Darkness fu dato nelle ore precedenti l'arrivo allo studio alle 09.00 AM. L'album fu registrato in 16 ore. Tutti gli strumenti, tranne il sintetizzatore, furono registrati live il primo giorno, mentre tutte le parti vocali e il mixaggio furono fatti il secondo giorno. Fu scoperto qualche piccolo errore, ma non c'era tempo per il redub, e tuttavia ascoltando l' album oggi queste piccole cose danno autenticità al groove ed alla musica.
L'album eponimo uscì nell'aprile 1975 e qualcuna delle canzoni in lingua svedese fu trasmessa in radio. Rondo sembrava credere nella musica dei Råg I Ryggen così distribuì tra le 8000 e le 10000 copie dell'album e prenotò la partecipazione al Gröna Lund per il 3 luglio. L'album fu distribuito da EMI in Svezia ma non all'estero. Nel periodo in cui l'album fu preparato la band aveva almeno 2 esibizioni dal vivo alla settimana e provava 2 o 3 volte alla settimana mentre ognuno lavorava anche a tempo pieno (quattro di loro lavoravano in negozi di musica!). I fan dei Råg I Ryggen a Stoccolma crescevano sempre più e a volte loro regalavano dischi alle persone del pubblico che avevano il coraggio di salire sul palco e cantare con loro e questo accadeva abbastanza frequentemente. La band aveva il proprio tecnico del suono ed un amico che si occupava delle luci allo stesso modo di un rigido codice morale: non era permesso l'uso di alcol prima e durante l'esibizione, anche se il pubblico ne faceva uso per essere "carico". Le esibizioni di solito consistevano di 2 sessioni di 45 minuti, e di solito loro erano l'unica band della serata, anche se una volta ebbero un concerto assieme alla blues rock band Nature.
Quando arrivò il giorno del concerto al Gröna Lund, l'arrangiatore disse che sarebbe stato loro permesso di suonare per mezz'ora al massimo, e dovettero pianificare una lista di canzoni adatta. Il volume fu regolato dalla stessa band e la loro performance fu la seconda più rumorosa mai registrata al Gröna Lund (solo i Wishbone Ash erano stati più rumorosi). Tutto fu molto bello con una grande connessione col pubblico, ma quando mancava solo il coro finale di Sanningsserum qualcuno tagliò la corrente! Questo era già accaduto a Jimi Hendrix circa sette anni prima, e quell'evento fa ormai parte del folklore del Gröna Lund, ma questo lasciò sia i Råg I Ryggen che il pubblico sbalorditi. Gli elettricisti del Gröna Lund inizialmente dichiararono che un fusibile era saltato, ma in seguito ammisero che avevano effettivamente tagliato la corrente per evitare che i Råg I Ryggen suonassero anche solo un secondo in più del consentito.
La band suonava anche fuori Stoccolma, in posti come Norrtälje, Orsa e Gävle. La distanza non era mai esagerata e la band tornava a casa dei genitori di Nysse dopo ogni concerto, dove la attendevano dei panini o una tarda cena.
Il contratto tra i Råg I Ryggen e Rondo diceva che sarebbero dovute essere registrate più canzoni, ma essere week end rockstar e allo stesso tempo avere lavori a tempo pieno - combinato con la crescita di differenze musicali - alla fine ebbe un effetto negativo sulla band. All'inizio del 1976 il cantante Jonas Warnerbring ed il batterista Peter Sandberg lasciarono il gruppo e furono sostituiti rispettivamente da Bo Lantz e Jonas Edgren. Questo portò nuove influenze e una nuova direzione musicale. Le canzoni divennero più complesse e i testi spiritosi vennero eliminati per lasciare il posto a discorsi più seri. Tristemente questo non funzionò molto bene e la band fece solo pochi concerti prima di sciogliersi circa sei mesi dopo. Non esiste materiale scritto dall' ultima line- up della band in studio, e c è solo un live di qualità mediocre. Questo è triste, anche perchè l' LP originale si può trovare ad un prezzo oscillante tra i 100 ed i 150 dollari, e l'album è considerato un classico tra i conoscitori del progressive e dell hard rock svedese.

[Dal booklet del CD Råg I Ryggen scritto da Tobias Petterson]

In Sweden in the early 70s bands and artists sprang up like mushrooms after an August rain and every other cellar and garage had its own version of Bob Dylan, Led Zeppeli or Rolling Stones. In the Stockholm suburb Bromma classmates Björn Aggemyr (bass) and Björn "Nysse" (guitar) Nyström began banging away on their instruments when they were just twelve years old. Keyboard player Christer Sjöborg soon joined in and Kurt Persson played drums with them for a short while. He was soon replaced by Peter Sandberg and the band named themselves Goda Vänner & Musik (Good Friends & Music). These four kids rehearsed in a 3,5 X 3,5 metres small room in Nysse's father cellar, and mostly played songs by british hard rock bands like Deep Purle and Uriah Heep. Björn and Nysse managed to persuade their teacher at school (Riksbyskolan in Bromma) to allow them to show their talents in front of the other pupils. The proposal was accepted, but they had to bring their own musical equipment, a problem which was solved by bringing in Björn's older brother Jan Aggemyr into the band. Jan had a driver's license and a car, an electric guitar and the knowledge to use it, thus fitting the bill perfectly. Shortly before this début performance the boys found a package of old bread in the rehearsal room. The brand was Wasa Bröd and his tag line "ger råg I ryggen" (gives strength and courage) immediately caught the band's attention, and the name Råg I Ryggen was born.
At this time, in 1974, the boys in the band were between fifteen and twenty years old, but the band had assembled musical equipment and gear like a rich and famous groups like Yes or King Crimson. Guitarists Jan and Nysse playing Gibson guitars or homemade ones, Björn had a Rickenbacker bass and Peter thundered away on a full-fledged Rogers drum kit. Keyboard player Christer had six pairs of keys, including one of Sweden's first Mini Moogs and a Hammond A-100 with two 150 watt Leslie speakers! His gear alone would fill half of Råg I Ryggen tourbus, not to mention the trouble of having it all stashed in Nysse's parent's cellar while rehearsing.
In 1974 the band would perform regularly at youth centres around Stockholm and its suburbs, and they also entered a talent hunt at Jarlateatern. Nysse was the vocalist around this time but about half of the band's repertoire was instrumental. Nederlaget was another band that performed that same evening and that band's vocalist Jonas Warnerbring caught the attention of Råg I Ryggen. He is the son of famous Swedish singer/performer Östen Warnerbring, who had represented Sweden in the Eurovision Song Contest in the sixties, although their vocal styles are neither comparable nor alike. Jonas was approached by Nysse and Björn that evening and was soon persuaded to quit Nederlaget in favour of Råg I Ryggen.
With a new vocalist on board, the band concentrated more on their own material and kept rehearsing in the small cellar room despite the fact that Råg I Ryggen now consisted of six members and more progressive sound developed, although the band still had his roots in hard rock. Nysse's parent's never complained about the heavy music almost coming from below, not even when a window broke due to the high volume produced in the enclosed quarter.
An evening that autumn Peter had been out drinking with some friends, and while he waited for the train ride home he befriended Kjell Gradin, an elderly gentleman who appened to run a record label! In their drunken state they immediately agreed on a test recording, and only a few weeks later the band had lined up all their equipment in a small studio in Sundbyberg. Råg I Ryggen performed Spångaforsens Brus and a now unknown song, but since neither Kjell Gradin nor his small studio was prepared for the musical assault and this recording was ruined by a heavily distorted sound. The Rondo label had previously only recorded the likes of Göingeflickorna and other very soft vocal acts, but this didn't deter Kjel from making another attempt at recording his newly discovered apprentices. He booked the EMI-studio in Skärmarbrink - which was one of the most modern 16-channel studios in Sweden at the time - for two full days to record a full-lenght album with the band. The dates were the 22nd and 23rd of February, and suddenly a new problem came up. The lyrics for some of the songs where usually improvised on stage, but the band figured that it would not work out in the studio. The lyrics for Naked Man were written the day before the recording and the final touch on Queen Of Darkness were made in the early hours before Råg I Ryggen arrived at the studio at 09.00 AM. The album was recorded in 16 hours. All instruments, except for the synthesizer, were recorded live the first day, while all vocals and mixing was made the second day. Some small errors were soon discovered, but there was no time for overdubs, but while listening to the album today these small things only add authenticity to the groove and general feel of the music.
The eponymous album was released in April 1975 and some of the Swedish-language songs were aired by the Swedish radio. Rondo seemed to believe in Råg I Ryggen's music and issued between eight and ten thousand copies of the album, as well as booking a gig at the big scene at Gröna Lund on the 3rd of July. The album was distributed by EMI throughout Sweden, but not abroad.
At the time the album was released the band performed live at least two times a week, rehearsed two or three times while everyone held full-time jobs (four of them actually worked in music stores!). Råg I Ryggen's following in Stockholm grew bigger and sometimes they woul give records to people in the audience i they dared to ascend the stage amd sing with the band, and this would occur quite frequently. The band had their own sound technician and a friend doing the lightning, as well as a strict moral codex: no alcohol was allowed before or during a gig, although the audiences used to be loaded. The gigs would usually consist of two 45-minute sets, and usually they would be the only band of the evening, although they once performed alongside the blues-rock act Nature.
When the day of the Gröna Lund gig came, the arranger told the band that they would be allowed to perform for half an hour at the most, and had to plan the track list accordingly. The volume was set by the band themselves and the performance was to be the second loudest ever measured at Gröna Lund (only Wishbone Ash had been louder). All went very well with a great connection between band and audience, but with only the final chorus of Sanningsserum left to play someone cut the power! This had previously happened to Jimi Hendrix some seven years earlier and that event is now part of Gröna Lund folklore, but this left both Råg I Ryggen and the visitors flabbergasted. The electricians at Gröna Lund initially claimed that a fuse has gone, but later admitted that they had actually cut the power to prevent Råg I Ryggen from playing as much as one second more than agreed.
The band also played outside Stockholm, in places like Norrtälje, Orsa and Gävle. The distance was never too great though and the band always returned home to Nysse's parents after every gig, where sandwiches or a late dinner awaited them.
The contract between Råg I Ryggen and Rondo stated that more songs should be recorded, but being week-end rock stars and full-time employees at once - combined with growing musical differences- finally took its toll on the band. In early 1976 vocalist Jonas Warnerbring and drummer Peter Sandberg left the band and they were replaced by Bo Lantz and Jonas Edgren respectively. This brought fresh influences and a new musical direction. The songs became more complex and the witty lyrics were brushed aside for more serious topics. Sadly this did not work out too well and the band made only a few live performances before breaking up about half a year later.
None of the material written by the band's last line-up was ever recorded in a studio, and only a live performance with mediocre sound quality exists. This is sad, since the original vinyl version of Råg I Ryggen's only album currently swaps hands for about $ 100-150, and the album is generally considered a classic among connoisseurs of swedish progressive and hard rock.

[From the booklet of the CD Råg I Ryggen written by Tobias Petterson]