In the last year finally came the album Magnus lindberg’s admirers waited for for so long. It was called ”Magnus lindberg’s harvest”, had attracted musiknestorn Kjell Andersson from the pension as a producer and sounded like traditional Swedish rock did back in the day, when it was at its best.
Text-based, rather hoarse, with visackordslåtar that most should be able to play and a voice that testified to the deep personal experience. Colourful and sensitively arranged, just like when this was the american mainstream.
Read more: ”Magnus Lindberg was a tremendous songwriter”
It is easy to forget this, forty years later, but once upon a time this was the centre of the Swedish rockfåran. Swedish-speaking storyteller with a guitar, in a rocktradition so självkart domestic that no one would have thought to call it americana.
see that storbolagens answers on the proggen. The same focus on authenticity, but from a more personal than political perspective. Almost the only men, of course. With Dylan, among the obvious examples and comparisons, and by the time Springsteen.
But where Lundell, Pugh, Plura, and Magnell reached its broad breakthrough remained Magnus Lindberg something of a name for the connoisseur, a figure that stood a bit on the side. Some opined that he was too brittle for the large crowd, or perhaps too openly emotional.
but it is possible to describe his career from a completely different point of view also. Then began Magnus Lindberg as one of the front men in the national Team in the 70’s, a pretty hejigt folkrockband who became leaders in their niche and competed in schlager-SM two times.
the Right many of the later plates was perceived as comebacks
Magnus Lindberg uncomfortable with that particular part, not least scenkläderna, and dropped out after the first race. And launched a solo career in the big EMI, with Frida from Abba as gästsångerska on the first album.
Later, he was one of the members of the supergroup Grymlings, as with The Traveling Wilburys as the model became a huge success in 1990. If a bit in the shadow of the bigger stars such as Pugh Rogefeldt and Mikael Rickfors, and it was the Pughs ‘ My best for you,” which was paradlåten.
Myself, I remember the happy period just after 1980, when Magnus Lindberg released their third and perhaps the most acclaimed album ”Red lips”, toured with own band, appeared on tv and seemed to be of course on the way to his big breakthrough.
wobbly and full of quieter periods. Right many of the later plates was understood as the comebacks, even if he belonged to the kind of artists who played much as solotrubadur on småställen, during the medieradarn. Over the course of the existence, as well as brödjobb as a music teacher.
But when he once gave out something it was usually worth the wait, and sometimes it surprises in 2010 duettplatta with Basse Wickman, another rockmelodiker from the same generation that ended up out in the periphery. On ”White lies + black ballads, volume 1” they sang, Dan Andersson, Stig Dagerman and Nils Ferlin, so that it sounded like the purest The Byrds-pop, and had the chance fallen differently, could also have been a ticket to the wide audience – according to the same logic as when Rolf Wikström got his major breakthrough as Ferlintolkare.
Overall, it was still a solid catalog of twelve albums as a solo artist and three with the national Team and three with the Grymlings, during a career that spanned nearly fifty years and had time to undergo strange many phases despite the fact that Magnus Lindberg has always appeared to be almost exactly the same. A little hoarse, a little vulnerable, a little into the background.
Read more: Grymlings singer Magnus Lindberg’s death
