Cornelis Vreeswijk – “Min Polare Per” (My Buddy Per).

Hey people! 🙂

Today I have for you another song from Cornelis Vreeswijk, ’cause why not? The original version even comes from the same album as the song I shared with you yesterday (that is, his debut album from 1964), but I decided to share with you a live version.

I’ve introduced you before to some recurring figures in Cornelis Vreeswijk’s music and poems like Ann-Katrin Rosenblad or Fredrik Åkare, but so far I don’t think I’ve ever mentioned Polaren Per, who is like Cornelis Vreeswijk’s buddy or pal. Like the other two characters, he’s also supposedly based on a real-life person, namely Pär Hägg. And he features in quite a few Cornelis’ songs. This is the first one that was ever released.

This time round, I haven’t managed to translate it because I don’t even fully understand some pieces in it, especially the first verse. It’s about Polaren Per’s mysterious disappearance. He used to live with his girlfriend but something happened between them (this is the part I don’t understand fully, I believe she cheated on him but I’m not quite sure) that he couldn’t get over it, so he moved out and no one knows where he is. So, obviously, his friend is very concerned, and asks people if they’ve seen him, and looks for him himself all around Stockholm. He’s also worried about his – Per’s, of course – mother, who will miss her only son, and the fact that Per owes him fifty bucks. He has multiple theories as for what could be going on with Per and where he might be, like he may be at sea, drinking his problems away or may have moved into a cheap hotel, or maybe he’s just sitting in a pub, in which case there’s nothing to worry about at all. Luckily though, he must have been found, since there are so many other songs about Polaren Per that were released later on.

Cornelis Vreeswijk – “Visa I Vinden” (Song In The Wind).

Hiya people! 🙂

Today, I have a beautiful Cornelis Vreeswijk song for you (or Swedes would say a Cornelisk song, Cornelisk is an adjective and I like it because it shows how he really is a huge and recognisable part of Swedish culture. I think this is one of my favourites. We could say nowadays that it is so beautifully emo. 😀

It is a very sad and beautiful love song, and if we’re talking Cornelis and love songs, of course we’re also talking Ann-Katrin Rosenblad, to whom he most often dedicates his love songs, and other of his songs often mention her too. If you’re not yet in the know, Ann-Kat(a)rin Rosenblad was his fictional muse, based on the real life one – Ann-Christin Wennerström. – This comes from his debut album – “Ballader Och Oförskämdheter” (Ballads And Rudenesses/Impertinencies) from 1964.

I even managed to translate the lyrics (go Bibielle!!! I guess it’s my fourth Swedish-English translation if I’m counting right) and they surely do tell you what the song is about, but I wonder if it’s just me who feels that the English lyrics are way clunkier than Swedish. Perhaps it’s because it can’t be otherwise, or maybe I could do it better, I don’t know. If you speak Swedish and read this, lemme know.

Also, honestly, ever since I’ve first listened to this song (which was like… 2016 I guess?) and then understood its lyrics fully, I’ve never really figured out what’s the deal with the “sieve” in the lyrics (see translation below). I thought maybe this word has more meanings in Swedish or it’s some idiom or something, but when I was translating this today I couldn’t find anything like that. So I still don’t know. Maybe it means that she was so selective in love or didn’t retain her emotions for long, meaning that she easily fell out of love, or something? I found out that sieve can symbolise virginity, because of a vestal in ancient Rome who proved her virginity by carrying water in a sieve and not spilling any of it. Cornelis read a whole lot and we could say that he was quite nerdy, and there are mythological references in some of his poems and songs. But here it doesn’t seem very likely to be the case. Yeah, I was the best in my class at poem analyses but have always felt like I’m not very good at it actually. 😀

 

I’m singing a song in the wind,

And hope the wind will bring

This song to my beautiful one’s cheek,

And sprinkle it in her ear,

And move her heart.

I have been to many countries,

And not been to many more.

I guess I could stop going,

If you ask me to do so.

And lovingly look at me.

But wish me luck on the journey,

When I now pull away from you.

And the reason, Ann-Katrin, is this:

I cannot stay,

Where I do not have your love.

I’m singing a song in the wind,

I’m singing a song in a storm.

My heart is like a granite,

My heart has lost its shape,

And my pain is enormous.

But listen to my march under the moon,

It swings in steady minor.

It does not fit on the gramophone,

It’s about you, you troll,

That your heart is a sieve.

Renaida – “Ett Andetag I Taget” (One Breath At A Time).

Hiya people! 🙂

Today I have a very beautiful and sad Swedish song for you which captivated me from the very first time I heard it. The singer – Renaida Braun – was actually bornn in Tanzania, before her parents emigrated to Sweden. She took part in the Swedish TV competition Idol, and also in Melodifestivalen (Melodifestivalen, commonly known as Mello, which is the biggest and most popular Swedish TV show and whose winner goes on to take part in the Eurovision Song Contest the same year). I really like how emotive and strong her voice is and I absolutely love this song.

The lyrics are really simple, so I managed to translate them with no problem, yay!

 

I feel the pulse in my blood

My heart beats again

I stop for a while

Can I smile again?

It was nothing I understood

I only wanted to go home

The thought of losing me

Before the dawn

When the sky falls to the ground

And all the trees are burning in the park

The birds fall to the ground

And all the words disappear

When the sky falls to the ground

And all the trees are burning in the park

The birds fall to the ground

And all the words disappear

I lose my breath in a dream

A kiss from nowhere

Everything falls apart inside

Can’t see again

When a memory arises

As if the fairytale never existed

The truth shall be revealed

Before the dawn

When the sky falls to the ground

And all the trees are burning in the park

The birds fall to the ground

And all the words disappear

One breath at a time

I take one breath at a time

One breath at a time

I take one breath

When the sky falls to the ground

And all the trees are burning in the park

The birds fall to the ground

And all the words disappear

Rebecka Enholm – “Bara Få Va Mig Själv” (Just Get To Be Myself).

Hey people! 🙂

Some time ago on my blog, I shared with you some music from a famous Iranian-Swedish pop singer – Laleh. – One of her songs that I like and shared with you was “Bara Få Va Mig Själv” and I thought that now I’d also share with you this cover by a very young singer Rebecka Enholm, a more acoustic one. I do prefer Laleh’s version as I think it has more character, but this one is really nice too.

Here is my post with the song by Laleh and the English translation for it.

 

Rebecka Enholm – “Bara Få Va Mig Själv”.

Cornelis Vreeswijk – “Droskblues” & Jack Vreeswijk – “Efter Midnatt” (After Midnight).

Hey people! 🙂

Maybe it’s not the best time to share a song like this – talking about all the crazy stuff that is going on after midnight in what we could call the margins of society – (it’s not even 10 AM here when I’m writing this) but I figured it doesn’t really matter in the grand scheme of things since people are in different timezones and maybe you’re going to read this and listen to this song in the future, after midnight.

When I first heard this song sung by Cornelis Vreeswijk (who is, as you may already know, one of my faza people),

at the age of 17, and was able to roughly understand what it was about, I found it a bit creepy, but not in a somehow deterrent way, more like an interestingly creepy way. I also just like the bluesy sound of it.

Cornelis is quite known for having translated a lot of songs from other languages, mostly American though, and this one is no exception. It’s relatively recently that I learned that it’s not really his original song. It can be difficult to figure out sometimes if you don’t know the original version, because most often, his translations are quite loose and more like variations onn a theme rather than proper covers of the songs just in a different language. This particular song was originally written and performed by J.J. Cale and is known as After Midnight.

I feel that Vreeswijk’s version, even though it’s not written in first person like Cale’s, is more to-the-point and in-your-face. I can understand most of the lyrics (although I don’t even know what what the drosk- in Droskblues means) but there are a few lines which I don’t really know how to translate, so I figured that, to give you some  idea of what it’s about, I’ll share the original, English lyrics. What they differ in is that, like I said, Cornelis’ version is more graphic, and all sorts of people like directors, pimps, organisers and entrepreneurs, nymphomaniacs, drug addicts, are mentioned specifically. The ladies start their season, basically, all the yucky stuff that you don’t see during the day comes out. It has generally richer lyrics than the original, but well, Vreeswijk was also a poet, after all.

Additionally, I decided I’ll also share with you another version of this song, called “Efter Midnatt” and performed by Jack Vreeswijk – Cornelis’ son. – I like Jack a lot, but in this case I like his version a lot less than Cornelis’. I don’t dislike it, or I wouldn’t share it on here, but it’s not very interesting musically, oh, and my least favourite instrument is saxophone and it’s quite prominent in here. Besides, when I first heard his version, it literally made me laugh because I think his melody totally doesn’t match the lyrics. I often don’t mind and even really like songs which have dark, sad, depressing, scary etc. lyrics and a very upbeat melody when it’s clearly on purpose and kind of a way of being sarcastic or something, but here, I don’t think it’s on purpose at all.

So here are the J.J. Cale lyrics:

 

After midnight, we’re gonna let it all hang down

After midnight, we’re gonna chug-a-lug and shout

We’re gonna stimulate some action

We’re gonna get some satisfaction

We’re gonna find out what it is all about

After midnight, we’re gonna let it all hang down (after midnight, after midnight)

After midnight, we’re gonna shake your tambourine (after midnight, after midnight)

After midnight, it’s all gonna be peaches and cream (after midnight, after midnight)

We’re gonna cause talk and suspicion

We’re gonna give an exhibition

We’re gonna find out what it is all about (what it is all about) (what it is all about)

After midnight, we’re gonna let it all hang down (we’re gonna let it all hang down)

(We’re gonna let it all hang down)

After midnight, we’re gonna let it all hang down

After midnight, we’re gonna shake your tambourine

(We’re gonna shake your tambourine) (we’re gonna shake your tambourine)

After midnight, it’s all gonna be peaches and cream

(We’re gonna shake your tambourine) (we’re gonna shake your tambourine)

We’re gonna cause talk and suspicion

We’re gonna give an exhibition

We’re gonna find out what it is all about (what it is all about, what it is all about)

After midnight, we’re gonna let it all hang down (after midnight, after midnight)

After midnight, we’re gonna let it all hang down

(We’re gonna let it all hang down) we’re gonna let it all hang down)

After midnight, we’re gonna let it all hang down

(We’re gonna let it all hang down) (we’re gonna let it all hang down)

After midnight, we’re gonna let it all hang down

(We’re gonna let it all hang down) (we’re gonna let it all hang down)

After midnight, we’re gonna let it all hang down

(We’re gonna let it all hang down) (we’re gonna let it all hang down)

Cornelis Vreeswijk’s version:

Jack Vreeswijk’s version:

It’s not on YouTube, but here are other streaming platforms where you can find it:

Jack Vreeswijk – “Efter Midnatt”.

 

Cornelis Vreeswijk – “Balladen Om Fredrik Åkare”.

Hey people! 🙂

Thought that I’d share another song by Cornelis Vreeswijk with you today, one from his debut album from 1964. It is called, as you can figure out from the title, “Balladen Om Fredrik Åkare” and it should not be confused with one I shared before and that is very popular in Sweden – “Balladen Om Herr Fredrik Åkare Och Den Söta Fröken Cecilia Lind”, that one was later.

From what I’ve read, this Fredrik Åkare guy (whose name could also be translated to English as Fredrik Rider), is based on a real life person, that is Cornelis’ brother-in-law, husband of his younger sister Ida. Somewhere else though I’ve read that he was something like Vreeswijk’s alter ego, so I am a bit confused, but I guess it could simply be so that Fredrik Åkare played slightly different roles in different songs, depending what he was needed for, and he could as well have been some sort of a blend of these two people, anyway he is one of those characters (like Ann-Kat(a)rin Rosenblad, that I wrote about a little before 

who appear quite regularly in his various lyrics and poems.

This song has always had such a depressive and resigned feel to me. I don’t feel like writing a translation and I don’t want to botch it, so I thought I’ll just tell you what it is about, which is strongly from my point of view, the way I understand and feel this piece.

The lyrical subject – I think we cann assume that here it’s the author – meets Fredrik Åkare somewhere out in Stockholm – as Cornelis once said at one of his later concerts, this was in January, on a cold, early morning. – They meet, presumably after not seeing each other after quite a long time, and just have a friendly catchup, although it is mostly Fredrik talking and pouring his brains out, because it turns out that a lot has changed in his life since they’d last seen each other. He’s been wandering aimlessly, not really sure of anything in his life as it seems. When the lyrical subject asks him about his wife, he says that, indeed, he had a wife, but he has divorced her. He also says that she has taken everything they/he had, so he’s pretty much left with nothing, but he doesn’t give a fuck, as he says. So he’s just kind of living without any purpose or anything, walking around Stockholm like that, seemingly unsure about anything in his life, whether future or past, kind of oblivious to whatever is going to happen and letting things go however they will in a bit of an apathetic manner I’d say, or as he says himself – “like in a trance”. – But what is most important to him is that now – after a lot of emotional upheaval and sorrow – he is free.

I must say I don’t really get this understanding of freedom – being left with nothing, even without a family you used to have, and it especially doesn’t speak to me because he doesn’t really seem all that happy with this arrangement, and life still sucks for him, but I suppose it was just the next best thing, in his opinion. This frantic looking for freedom is quite characteristic of a lot of Cornelis’ lyrics or poems and it always makes me sad when I think of it because it doesn’t seem like he ever found it during his life. But then, does anyone? It’s probably just that some people lack it even more and so feel it a lot more keenly, dealing with all sorts of addictions and other things like that. Cornelis himself was married to three women over the course of his life and divorced all of them, but this bit about Fredrik Åkare’s divorce can’t be inspired by his personal experiences because if I remember correctly he married his first wife, Ingalill Rehnberg, the same year that his debut album came out, and he was with Ingalill for four years. Not that it wasn’t a difficult relationship from the start, from what I know.

So yeah, a depressing piece really, or so it is to me.

Cornelis Vreeswijk – “Saskia” – & Pernilla Andersson – “Saskia”.

Hey people! 🙂

So as you may remember I shared with you yesterday a song from Swedish pop singer Pernilla Andersson, and I said that I might share one more soon, that is her cover of a song originally written and sung by Cornelis Vreeswijk. And so that’s what I decided to do today.

This song is what made me fall in love with the name Saskia so much that if I ever considered having kids, Saskia would be a very serious candidate for a girl. I’d never really come across that name a lot before hearing this.

The song comes from one of Cornelis Vreeswijk’s earlier albums – “Tio Vackra Visor Och Personliga Persson” (Ten Beautiful Songs And Personal Persson). There is a recording of his live performance at an Örebro jazz club called Powerhouse, which was released as an album after his death, where he says that this song was inspired by a real life Saskia he once met in his “green youth”, on the way back home to his wife with whom he was at the time (Ingalill Rehnberg I think based on the timing), he would often stop at some sort of other beer place I don’t really know, to have a few beers with his “good friends and other condemned individuals”. And one time when he was there, there was a girl called Saskia who was working there, and she apparently asked him what was Rembrandt’s wife’s name, so he said that she was called Saskia van Rijn, and then he had free beer for the rest of his stay there. How magnanimously of her… I don’t know though if what they were doing after her work according to the song is also based on facts or not really. His second wife, Bim Linnea Warne, said once that, while he was awfully jealous which is quite well-known, he was very faithful himself, although, as much as I like Cornelis, I can’t help but feel a little doubtful about that. 😀

I love Cornelis’ original version, but Pernilla Andersson also does a really great job. Her song doesn’t have the last couple of verses though.

According to the lyrics, Saskia is cross-eyed, and that’s why she is a subject of ridicule for everyone, which I’ve always found a little surprising because, perhaps I’m totally wrong at all that but I guess strabismus (I suppose that’s how it’s called in English?) isn’t an uncommon thing, it’s also not like a very disabling condition or making one somehow grossly unattractive even if it’s commonly seen as not very beautiful, so while I get that someone could be bullied due to something like this, would that really raise so much attention? In the 60’s? As I said though, I may have no clue, since I’m blind myself and don’t know how much things like that can affect one’s view of a person, it’s just something that I’ve found kind of interesting and strange.

Below is the translation of the song, I wrote it myself but I used

this one

to help myself.

  Saskia has a name with a ring to it

She works at a pub

Pours beer for the guys

The guys think she is good

The guys think

She is good

Then there is nothing more to it

Saskia, she is crosseyed, you see

Although her gaze is clear and bright

It raises ridicule in everyone

It raises ridicule

In everyone

She is quiet and unnoticeable

Her uniform is starched

But she was beautiful, and when she smiled

In a way that made you gasp

In a way that

Made you gasp

I let my eyes explore her

And it was actually worth the effort

The more they saw, the more they found

She was purely incredibly brilliant

She was purel

Incredibly brilliant

After I had strengthened myself with a beer

I said “Miss, have you noticed?

Has it not struck you yet

That I have been observing you?

That I have been

Observing you”

She said “Sir, it is true

The reason is unknown to me”

Then I mustered up the courage and said

“When are you free, Saskia?

When are you free, Saskia?”

We watched a romantic movie

Then we drank coffee at a café

I followed her to her house

A light was burning in our hearts

A light was burning

In our hearts

Saskia had a sleeping alcove

And she was beautiful when she slept

And we were awake more than enough

Then her alarm clock went off

Then her alarm

Clock went off

Saskia is a name that has a ring to it

She works at a pub

Her eyes are crossed, wherever she looks

But she is beautiful when she smiles

Yes, she is beautiful

When she smiles

Pernilla Andersson – “Koltrast Vid Haväng” (Blackbird at Haväng).

Hey people! 🙂

Today I’m sharing with you a song by Pernilla Andersson from Sweden. She’s quite a well-known pop artist in her native country. I guess her most known song is Johnny Cash & Nina P. or perhaps it’s just me who has heard it on Swedish radio incredibly often. She also, like many Swedish singers, has covered Cornelis Vreeswijk’s music, and it’s possible that I will share her interpretation of his song soon. For now though, let’s listen to her own piece. Haväng in the title is a nature reserve in the south of Sweden, which is a popular tourist destination.

Vederkast – “Balladen Om Herr Fredrik Åkare Och Den Söta Fröken Cecilia Lind” (The Ballad About Mr. Fredrik Åkare And The Sweet Miss Cecilia Lind).

Hey people! 🙂

While I find that it’s always best to listen to my

fazas’

music in the original, when it comes to Cornelis Vreeswijk, I think he can be proud of very often having had people cover his music very well! I do like some covers of his songs almost as much as his original versions. And this is one of such cases.

I stumbled upon this version of the ballad about Fredrik Åkare and Cecilia Lind when my faza on Cornelis was quite well-developed already, and I instantly loved it. I like how in this rocky, gloomy version, it takes on an almost entirely different feel, yet is no less true and authentic than the original version. And also I just plain like how it sounds.

Here you can find

my post with the original song and the translated lyrics,

and here is

my post with Cornelis’ Dutch version. 

The YouTube version is just a teaser or something, so below is the link to Spotify, and if you don’t use Spotify, there’s also a link to Songwhip where you can choose the streaming service that you use.

Vederkast – “Balladen Om Herr Fredrik Åkare Och Den Söta Fröken Cecilia Lind”.

 

Cornelis Vreeswijk – “Tomtebloss” (Sparkler).

Hey people! 🙂

I thought that today I’d share with you this lyrical piece by Cornelis Vreeswijk. I like it a lot because, well, Cornelis being one of my faza subjects, I’ve been very interested in him as an individual, and this song tells us a whole lot about what his love life and relationships generally looked like. I once found a Swedish programme called “Cornelis Och Kärleken” (Cornelis and Love) where a few people analysed in quite an interesting way some of his lyrics that are about love and women – since a lot of his lyrics and poems talk about various women – and how they illustrated the way his relationships looked like. Having had lived a stormy life overall, it was no less stormy and intense with love, because while on one hand he was seeking love and closeness quite desperately, he had some extreme difficulty with forming and maintaining relationships and whenever there was indeed a possibility of having a closer, deeper relationship with someone, he would basically run away almost in panic immediately. It’s flamin’ difficult having fears which conflict with your basic needs. He was also pathologically jealous – largely due to abusing alcohol and all sorts of drugs and other things, many of which can do such things to your brain – so it also wasn’t easy for the other side to be with him for sure.

And in this song, it really shows, in a both lyrical and raw way. Its lyrics weren’t awfully difficult to translate so I tried my best to do it although there may be some errors in here.

  My beloved is like a sparkler,

like a sparkler easily ignited.

She burns so hot when she catches fire,

my beloved is like a sparkler,

like a sparkler easily ignited.

Red-hot like a kiln are my sweetheart’s embers,

but no fire is eternal.

Cold it is for the charcoal burner when his kiln dies out,

my sweethearts embers are so red, so red,

but no fire is eternal.

My beloved is like a race,

a race where neither of us can win.

Where no one catches the other,

my sweethearts lovemaking is like a race,

a race where neither of us can win.

Yes, love is like a sparkler,

like a sparkler easily ignited.

It burns red when it reaches us.

My soul – i am like a sparkler,

and no fire is eternal.

Song of the day (12th November) – Cornelis Vreeswijk ft. Made In Sweden – “Ett Gammalt Bergtroll” (An Old Mountain Troll) & Sofia Karlsson – “Ett Gammalt Bergtroll”.

Hi people! 🙂

So I’m quite behind with this series, which is quite a pity, because on 12 November was one of my main fazas – Cornelis Vreeswijk’s – death anniversary. It’s been 37 years since he passed away!… As I always say, way too many! And I originally wanted to commemorate him exactly on that day but oh well… at least I can do it now.

I’ve been feeling kinda crappy lately so I chose a poem which, deep down, between the lines – but it’s quite easily readable – is also about feeling shitty with and about yourself, which generally is very different from how I am experiencing it yet at the same time very similar because essentially it’s all about having an overactive and spiteful self-critic and hating yourself as a result, just the ways this hatred manifests are different between different people I think.

The author of the poem, however, is not Cornelis, although as you may remember from my blog he himself was also a poet in addition to being a singer. This poem was written by an early 20th century Swedish poet Gustav Fröding, who is really loved in Sweden, although, just like Vreeswijk he was also quite controversial in his time and if I remember correctly even had an episode where he faced a trial for obscenity because of one poem he wrote. Also, again just like Vreeswijk, he had a life-long problem with alcohol as well as intimate relationships with women. Interestingly, in my Dad’s dictionary, a troll means someone who drinks heavily and chronically. Fröding spent a large part of his life in all sorts of mental health institutions though it’s not clear what diagnosis he had exactly, it sounds like some sort of psychotic disorder and depression, the latter ran in his family. More exactly it was his mother who suffered from it when he was a child, and as a result wasn’t able to parent him properly and so he had a rather difficult childhood. Years ago when I was learning a lot about Fröding and reading his poems simply because I knew Vreeswijk appreciated him and they appeared to have so freaking much in common (and if you’ve got any idea about fazas you know that for someone who has a faza anything even remotely related to their faza object is interesting and worth digging into), I’ve come across an opinion that this early separation from his mother was the main factor contributing to his later problems with relationships and pretty much all the other emotional and mental health related difficulties that he was experiencing, including the self-hatred thing that we’re focusing on since that’s what the poem focuses on.

Cornelis Vreeswijk, as you may know since I’ve written about that a few times earlier when writing about him in more detail, also struggled with similar emotional issues (though he did not have any official mental health diagnosis as far as I am aware, though he did suffer from extreme paranoia and stuff). He had terrible problems with intimacy and closeness and often wrote about craving it, and had relationships with many women in his life, but when things started to get more deep, it scared him, or something else made the relationship impossible to be stable for longer and things were constantly stormy and messy from what you can observe when having a closer look at his life. He was always very shy though it may be hard to believe just when hearing him live a few times, I had a problem with that anyway because he is so eloquent and has a sort of jovial, kinda boisterous air about him. But when you observe things for longer, listen to many more live recordings, read some more and listen to some interviews like I did, it does show a lot, plus obviously it is there in his poems and lyrics. It often amazes me how he could mask it so well but from what I understand he saw his outside personality as some sort of a role he was supposed to play in life, or something. Must have been so freakishly exhausting, would surely be for me anyway haha. And of course there’s that whole self-loathing and self-destruction thing which is just so sad. I remember when watching the 2010 Amir Hamdin’s film “Cornelis” (which was a real struggle since I didn’t really have any audiodescription or anything and with my less than perfect Swedish skills didn’t always understand everything fully but still I think I understood a lot on that first watching, I did have English subtitles to help myself with though when need be but back then my Swedish was actually better than my English) that was what affected me the most when I saw the level of his self-destructivity, perhaps because, while I am not an addict in the classical understanding of this word, I struggle with other self-destructive behaviours like self-harm and can deeply relate to what it’s like feeling awful about yourself, so I guess it must have struck a chord or something.    So it seems quite natural that Cornelis would feel some affinity with Fröding as they shared so much, and I am actually a bit surprised that he didn’t interpret more of his poems because apparently a lot of Swedish singers did that.

He released his interpretation of it, with a very jazzy/bluesy feel on his 1970 album “Poem, Ballader Och Lite Blues” (Poems, Ballads And A Bit Of Blues). It’s not as very prone to setting to music as many other Frödings poems are, so probably for that reason, rather than an actual song, it’s more like sing-speak, which is something Vreeswijk used a lot in his music and I think it often makes it more expressive than just singing and is very characteristic of his style.

But a couple years ago, quite some time later after I acquainted myself with Cornelis’ discography, I came across his live performance of this song on YouTube, in collaboration with a 70’s jazzrock band Made In Sweden. I like the album version a lot and it’s not much different at all, despite the instrumentalists are different, but I slightly prefer the rocky live version rather than the jazzy album version as it just speaks to me more, so that is why I chose to share the live one with you.

For contrast, there is another artist from Sweden called Sofia Karlsson whom I absolutely love (I shared her cover of Vreeswijk’s Grimasch Om Morgonen in the very beginnings of this blog), who also interpreted this poem in 2009, but in such a starkly different way! While Cornelis’ version is so raw and jaggy, intense and frenzied, raving and just so very directly conveying the feeling of this poem, Sofia’s version, while no less expressive, is so much subtler, sophisticated and I’d say more from an observer’s point of view, if you get what I mean. For some people it might make it more bearable. 😀 I love both!

In Cornelis’ live version, he makes a brief introduction just like on the album and says that: “Gustav Fröding was a hip poet. He tried to drown his sorrows. But they could swim”. I think it’s such an interesting and Vreeswijkish way to put it lol. Below is a (free, not literal) translation of this poem, so that you know what it’s all about. I took it from

here.

It’s a pity though that most of you probably can’t understand the Swedish version and there are so many cool words that I’ve never heard anywhere else, my favourite is klumpkloss, which in the translation below is interpreted as “object of fright”, I’m not exactly sure how to translate it to English but I suppose it would be something like a lump. I find this word really funny but sadly never had an occasion to use it in a real conversation, I don’t even know if people actually use it. 😀

 

The evening draws on apace now

The night will be dark and drear;

I ought to go up to my place now,

But ’tis pleasanter far down here.

Mid the peaks where the storm is yelling

‘Tis lonely and empty and cold;

But ’tis merry where people are dwelling,

In the beautiful dale’s green fold.

And I think that when I was last here

A princess wondrously fair,

Soft gold on her head, went past here;

She’d make a sweet morsel, I swear!

The rest fled, for none dared linger,

But they turned when far off to cry,

While each of them pointed a finger:

“What a great, nasty troll! oh, fie!”

But the princess, friendly and mild-eyed,

Gazed up at me, object of fright,

Though I must have looked evil and wild-eyed,

And all fair things from us take flight.

Next time I will kiss her and hold her,

Though ugly of mouth am I,

And cradle and lull on my shoulder,

Saying: “Bye, little sweet-snout, bye!”

And into a sack I’ll get her,

And take her home with me straight,

And then at Yule I will eat her

Served up on a fine gold plate.

But hum, a-hum! I am mighty dumb,–

Who’d look at me then so kindly?

I’m a silly dullard–a-hum, a-hum!

To think the thing out so blindly.

Let the Christian child go in peace, then;

As for us, we’re but trolls, are we.

She’d make such a savory mess, then,

It is hard to let her be.

But such things too easily move us,

When we’re lonely and wicked and dumb,

Some teaching would surely improve us.

Well, I’ll go home to sleep-a-hum!!

Jack Vreeswijk – “Lilla Regn” (Little Rain) and Georg Riedel & Sarah Riedel – “Lilla Regn”.

Hi people! 🙂

Today, I will share with you another poem-song written by Cornelis Vreeswijk. With this one, I am sure it was written by him and as it seems originally was intended as a poem and not as a song as it didn’t seem to have a melody. The interesting thing about this poem which later became a song though, that I want to show you, is what came out of that it didn’t have a melody in the first place. Namely now people who cover Vreeswijk have all the freedom in the world to create their own, and here we have almost two different songs, very different in style yet with the same (only slightly varying) lyrics.

The poem – maybe a little surprisingly for someone who would know about Cornelis and roughly about what kinds of things he wrote – is not political, not a protest, not about people/society, not about love, not about Ann-Katrin Rosenblad (his muse) and not even about drinking. It’s, as you can guess from the title, about rain. Little rain. He addresses it in a way that makes you think this rain is a child. It’s a gentle encouragement for it to fall. “Of course the Earth is heavy and cold, but rain anyway”. And when it finally has fallen, the birds are hesitantly starting to sing more and more.

I think it’s very nice, and the two totally different musical versions take two totally differing looks at it.

Jack’s version comes from the same album from which is his last song that I shared with you – “Till Den Det Vederbör” – also written by Cornelis. Jack composed the music to it (or so I assume it was Jack) and it feels very deep but also minimalistic.

And then there’s another version of it composed by Georg Riedel, who is a Swedish jazz musician, and sung by his very talented and sensitive daughter Sarah on their album Cornelis vs Riedel. I’ve already shared a song from this album much earlier that was also sung by Sarah – “Se Här Dansar Fredrik Åkare”. – This is a very carefully made, heartfelt and refined album and both Sarah Riedel and Nikolai Dunger (who is another singer on this album) do a great job, in my opinion, of conveying the feel of each of these songs, as if they really took a lot of time to truly feel them and could relate to them personally. It is a very jazzy album as both Georg and Sarah Riedel are jazz people, which is normally something that would discourage me more or less as I usually don’t have a strong connection with jazz music, but here it doesn’t bother me at all and is great since Cornelis himself also drew from and was inspired by jazz among other genres, and it was his more jazzy songs that convinced me that jazz doesn’t always have to be awful and incomprehensive.

And so I seriously don’t know which version I like more. I wonder which one would be Cornelis’ favourite. And how about you guys? Do you like one of these more than the other?

 

Jack Vreeswijk – “Till Den Det Vederbör” (To The Concerned).

I’ve decided to share this song with you quite spontaneously, as I didn’t have any other ideas planned. And I have sort of mixed feelings about it because I feel I didn’t research it quite as well as I should, or perhaps there’s just not enough info on this. Usually if I post a song for you guys – and especially if it’s in another language – I try to put it in a context so even if, as it often happens, there is no translation, and I am unable to provide it myself, you can have a basic idea of what it’s about and what was the background of it. Here, I know very, very little.

I was listening to Jack Vreeswijk a while back, as I hadn’t in a long time and wanted to refresh some of his music for myself. And when listening to this song and trying to understand its lyrics (which I always prefer to do when having them written especially if I’m not sure of something and that was the case here) I learned that this was written by Cornelis Vreeswijk (which is actually no surprise when you look at them more closely) and Jack Vreeswijk. In case someone feels confused, Jack is the son of Cornelis. I’ve written a lot about Cornelis Vreeswijk on my blog before as he’s been one of my major fazas but to sum up quickly, he was a Swedish singer, songwriter, poet, guitarist and actor born in Netherlands, he passed away in 1987 (way too early) but his son, Jack, is still alive and also sings as well as composes music, often drawing from his father’s huge legacy and covering his songs not too badly at all (only when you compare him with Cornelis he just… ahem… lacks that charisma a little bit, so this is a clear example why we should not compare people to each other and why following your parent’s career isn’t always the best choice if you do not want to be compared. But don’t get me wrong, I do like Jack. A lot. I just see a lot that people compare him, and I do too, and I’ve heard how on his concerts people are far more enthusiastic about hearing his covers of his dad’s music rather than his own songs. Although maybe it’s just how I interpret or maybe it’s just me who would feel awful about myself and my music if I were in his shoes). I wonder whether this piece was originally a poem to which Jack composed music later on (it does musically sound more Jack-esque) or a poem late enough that Cornelis could somehow write it in collaboration with Jack (I’ve never heard about them ever having such collaborations but who knows, right?…) or a song that was unpublished or somehow very obscure or something. And if it was a poem, was it actually published in any of Cornelis’ poetry books or not? I can’t find any info or hint anywhere about it in another context than it being a song by Jack, but thenn I don’t have Cornelis’ poetry books as such so it’s possible it is there somewhere.

Moreover, I don’t really know the context of the lyrics. I can understand them quite well – although because neither Swedish nor English is my native language I don’t think it would be a good idea if I tried translating something I don’t have much of an idea what it’s more broadly about, also there are some single words I am not sure what they mean in here – and I couldn’t find a translation either.

But I just found this song interesting because the lyrics made me think, they’re intriguing, murky, weird and haunting. I’m not sure I like them as such but I don’t necessarily always love Cornelis’ lyrics, I doon’t have to agree with them and I often don’t, I don’t have to relate, there’s just something else that is not about plain liking. And I’m always excited to see something new from Cornelis (see how some people are so prolific that even after their death it feels like their creativity is a whole endless well), though I’d like to have more of an understanding of it, perhaps I will over time. Also I feel like I haven’t shared anything by Jack in a very, very long time. So basically these are the reasons why I decided to share with you guys a song about which I know next to nothing, and perhaps you’ll like something about it too. 🙂

My Bubba ft. Elsa Håkansson – “Uti Vår Hage” (In Our Garden).

This is one of Swedish folk songs I really like! I first heard it in the interpretation of Sofia Talvik, which is also lovely, then another one I like is Hanna Turi’s, but it’s something about My Bubba’s version that I love the most! The song is very joyful, but their performance of it quite melancholic which I think complements very well.

My Bubba is a Swedish-Icelandic duo consisting of My Larsdotter and Bubba Tomasdóttir, and the song comes from an album they’ve made together with Elsa Håkansson, containing Swedish folk songs, or visor as they are called in Sweden.

As for this song, I’ve heard that it’s frequently sung in schools, especially nearing summer holidays, and is generally very well-known by Swedes. I like the idyllic feel about it, and also, all the plants names that are mentioned in it, especially in the chorus – “Komm liljor och akvileja, komm rosor och saliveja, komm ljuva krusmynta…” – (“Come lilies and columbine, come roses and sage, come sweet peppermint…”) don’t akvileja, saliveja and krusmynta sound so lovely and evocative?! As a name nerd, I immediately thought that they would make such gorgeous names, although probably they wouldn’t in the real life, because I can imagine that Swedes would find them too fancy, while in most other countries they wouldn’t be too usable. 😀 But they are beautiful anyway. 🙂

Song of the day (25th January) – Monica Törnell – “Faster Fantasis Visa” (Aunt Fantasy’s Song”.

Hey guys! 🙂

I’d like to introduce you to a singer that I know quite well pretty much since I’ve become familiar with Cornelis Vreeswijk. Some of her music I like, some not so much, but for sure, her career and Cornelis’ were closely related, because Cornelis Vreeswijk was the one who discovered her in the 1970’s.

Monica Törnell is from Hälsingland, and enjoyed singing since an early age. As a young girl, she was singing at the opening of a restaurant of her father, and Cornelis was passing by and heard her. He liked her voice and somehow from there it has started, he helped Monica to develop her career and she also toured with him for a bit and featured on one of his albums. She was very popular in Sweden in the following years, until at some point, about 20 years after the beginning of her singing career, she started having serious health issues like myasthenia gravis so had to step away from singing. However she did release her newest album some… 2 years ago, I believe. Her voice is very characteristic, right now as she is older she doesn’t sound as good in my opinion, but there are people who like her nowadays voice even more. When she was younger, she had really wide vocal range, and her vocal abilities as well as the sound of her voice and also her style a little bit, remind me very strongly of Janis Joplin, though maybe it’s just me. Her music is a sort of blending of folk, pop and rock and sounds quite characteristically of 70’s-80’s. Monica has also been very good at drawing and painting since childhood, and she does paint still.

I was wondering for a long time which song of her I wanted to share with you because I have quite a few favourites, but I didn’t want the language to be too big a bareer – as most of her songs are in Swedish. – The one I chose finally is also in Swedish, but I think it shouldn’t be difficult for me to describe to you what it is about so you can have a clear idea.

The song is called “Faster Fantasis Visa” and I’ve always thought that it sounds like from some sort of an old children’s programme, and it seems like I had a surprisingly good hunch because, well, yes, it is! I couldn’t find much info on it other than the programme was one of the first children’s programmes in the Swedish television and started out in the 50’s, and was called “Humle och Dumle”, and I believe Faster Fantasi (Aunt Fantasy) must just be one of the characters, but, apart from what’s in the song, I didn’t find any info about her.

I like her because she’s kinda like me. 😀 From the song we know that her full name is Eva Britta Karin Katarina. She sounds like an extremely refined and experienced person. She’s been to India, China, Sahara, Italy (twice actually), London, Vienna, Argentina, Yugoslavia, England, Netherlands, Pakistan, New Zealand, Göteborg, Moscow, Copenhagen, Berlin… all around the world virtually as you can see… but – she adds – “I’ve never been outside my door, because I travel in fantasy”. Ain’t that so very cool?! 🙂

Myra Granberg – “Tills Mitt Hjärta Går Under” (Until My Heart Dies).

Hi people! 🙂

So I’m back, I will write more on that later. For now, I’m sharing a song with you, a song by a young Swedish artist Myra Granberg. When I first came across her and her music, I was quite surprised how her name could be Myra if she’s Swedish, since myra means “ant” in Swedish, so I was thinking either it must be her stage name or she’s a native English-speaker or something. It seems though that indeed she probably pronounces her name the English way, rather than like the Swedish word, because one of her other artist names has been Majro (the other one is Lvly).

Anyways, as I’ve read, she wrote this song during the summer heatwave in 2018 and it is a love anthem for her little sister, which I think is so very cool! 🙂 The song is very nice and I can understand why it was so popular in Sweden.

Song of the day (7th November) – Melissa Horn – “I Mörkret Långt Ifrån Varann” (In The Dark Far Apart).

Hi people! 🙂

Here is a song from one of the first Swedish pop singers that I’ve ever heard and liked enough to listen to her music regularly. Melissa Horn usually sings about relationships and love, which is not my favourite lyrics topic because it’s so awfully overrated and ever-present, but she is very expressive, and I just do like something about her music. She is the daughter of another Swedish singer – Maritza Horn – and from those two I definitely prefer Melissa. This song of hers is no exception when it comes to the lyrics, which you can see below.

   I think you have seen something
You haven’t had it easy
And now I understand
That something like that has to come out on way or another
You want a simple life
But I can’t give you that
I can close my eyes for a while
But in the end it hurts
And though we feel the same thing
Though we think the same way
Though we speak the same language
And live in the same country
We are sitting in the dark
Far apart
I think you want it
That is the reason why i have still stayed
But you think everything can wait
And feelings don’t work that way
I would miss your daughter
She is the best of you
And I know that she too
Can see her and me
Though we feel the same thing…
Though we think the same way
Though we speak the same language
And live in the same country
We are sitting in the dark
Far apart
Now I’ll take time without you
Without consideration
Without right and wrong
Without us
Without you
Until we will both decide
Though we feel the same thing…
Though we think the same way
Though we speak the same language
And live in the same country
We are sitting in the dark
Far, far
Far, far apart

Cornelis Vreeswijk – “Ann-Katrin, Farväl” (Farewell, Ann-Katrin) & Marie Fredriksson – “Ann-Katrin, Farväl”.

Hi guys! 🙂

So why not have a listen to another song by Cornelis Vreeswijk, plus a cover by Marie Fredriksson?

Again, we have a female character here, which comes up even more often in Vreeswijk’s songs and poems. The character of Ann-Kat(a)rin Rosenblad is based on his muse and friend who was Ann-Christin Wennerström. And, the portrayal of her that we get from all the songs with her in them is quite interesting and ambiguous. I like Ann-Katrin a lot and hearing this song always makes me sad. First, because it comes from Cornelis’ very last album, (Till Fatumeh – Rapport Från De Osaligas Ängder”) which was recorded about a month or so before his premature death (he died from liver cancer at 50). Secondly, because the song indicates that Ann-Katrin was a drug addict, amphetamine more exactly as in the case of Vreeswijk, though he was taking loads of other stuff as well. The lyrics have a kind of raw but at the same time rather elusive feel and I really regret that I’m not good enough in neither Swedish nor English to write an adequate English translation for you without risking a major linguistic catastrophe and a great prophanity, the more that there are none available online. The only thing that bugs me is the music style of it. Like, seriously, the lyrics on that last album are really captivating, you don’t have to agree with what he wrote and I most often don’t but his lyrics always have that captivating quality, but the musical arrangement of this album is mostly screwed. He maybe wasnät the greatest composer, but was such a great blues singer, and even managed to convince me to appreciate jazz a tiny little bit, and he was great at incorporating folk themes and motives in his music. And that last album is very much like classic 80’s pop, and this track is a great representation of it. I don’t like that at all and it clashes with the lyrics and generally with Cornelis’ actual musical style unbelievably! That turn to pop was motivated by that, after some years of relative fame, he had become forgotten and the way I understand it from what Iäve read he wanted to get the attention of people by doing something more… ahem, timely, or whatever, especially he wanted to attract younger people. It didn’t work, that is, he did get a lot of fame and largely from young people in Sweden after his death but not because those last two pop-ish albums did that, it was thanks to the Roskilde Festival where he played shortly before his death and, well, it looks like for artists it’s a common situation that they only get appreciated after they die. Perhaps that was better for him.

I like the expression of Marie Fredriksson’s interpretation of this song. I think in case of music, like, generally the arrangement, it’s her who wins here! But she’d never write as good lyrics as Vreeswijk did, haha. Marie Fredriksson’s cover again comes from the tribute album “Den Flyggande Holländaren”.

Ida Redig / Alexander Rybak – “Visa Vid Vindens Ängar” (A Song At The Wind’s Meadows).

Here’s another kind of poetic cover sung by Ida Redig. The song was originally written and sung by Mats Paulson in the 60’s, and is quite a classic example of a visa, visa is a Swedish sort of ballad, it’s a bit like a separate Scandinavian music genre. This is a summer visa, and it has a very lullaby-ish feel to it, which I like. But apart from the version by Ida Redig, which is again quite different from the original, I’m also going to show you another one that I like even more than hers, and it is Alexander Rybak’s version. Alexander Rybak is the guy who won the Eurovision Song Contest in 2009, he has Belarussian parents but lives in Norway, he sings and plays fiddle, and he sang the song “Fairytale” at the Eurovision. I really like him, and even more so does Zofijka. Alexander’s version is more similar to the original, as well as longer than Ida Redig’s. It comes from his album, which is also called “Visa Vid Vindens Ängar”, and the album is entirely in Swedish, which is fun since his mother tongue is Norwegian. I’ve heard people saying that they don’t like that he has such a strong Norwegian accent on here, but I think it’s very nice! I also have the lyrics for you.

 

There goes a wind across the wind’s meadows

A curtain of tulle flaps

And I shall write a summer song

With sun and smell of flowers in the melody

I wanted to sing about Katarina

To wooden flutes and cymbal

But the tones of the wind become summer songs

I only listen in the birch leaves hall

There goes a wind across the wind’s meadows

A curtain of tulle flaps

And I shall write a summer song

With sun and smell of flowers in the melody

There goes a girl in the aspen grove

I have a yellowed photography

With the years she became a dream, a saga

A lonely wanderer’s sympathy

I wanted to write a little song

Where instants become eternity

But words become mute and tones deaf

And the song’s thought secret

There goes a girl in the aspen grove

I have a yellowed photography

With the years she became a dream, a saga

A lonely wanderer’s sympathy

There goes a wind across the wind’s meadows

A curtain of tulle flaps

And I shall write a summer song

With sun and smell of flowers in the melody

Song of the day (16th May) – Ida Redig – “I Min Lilla Värld Av Blommor” (In My Little World Of Flowers).

Hi guys! 🙂

I have such a lovely cute song for you. It was originally written for one of my favourite films “Rännstensungar” (Guttersnipes), only not for the version that I love so much, but the earlier one, from 1944. It was sung by one of the main characters, Ninni. You might know from my earlier posts why I love this film so much and why I love it in the later version from 1974, in particular, but chances are that you might not know, so I’ll tell you again. 😀 I love it so much because in the 1974 version, one of the main characters – the painter Johan Fahlen –  is played by one of my music crushes Cornelis Vreeswijk, who apart from being a very fertile and well-known musician, a lesser known but no less expressive poet, had also fantastic acting skills and was an actor in a couple films. I absolutely loved him in this role, it was amazing! Besides, the plot of the film is very interesting and moving too. When I discovered this film and that it is on Youtube, I watched it on my own for the first time, but then got frustrated because I had huge gaps because of course I couldn’t see, plus my Swedish wasn’t that very good. So then the next time I watched it I did it with Zofijka, who also loved it, and she still begs me quite regularly and wants to watch “the film about Ninni”. So when I watched it with Zofijka, we both were telling each other what we can figure out so we could understand much more, me with her vision and she with my Swedish. That’s why collaborating can be really useful at times. And since that day, we got really crazy on “Rännstensungar” and watched them pretty much every day for a while. It’s definitely not typical for me to get so crazy about a film. Now I hadn’t watched it in ages so I did it today, without Zofijka and hope she won’t kill me for that when I tell her.

As I said, the film is about a girl called Ninni. Ninni can’t walk, and at the beginning of the film we learn that her mum has died. A friend of the family called Johan Fahlen, who is a poor and not well known painter takes care of her. Ninni’s biggest passion are flowers, and as she says herself, flowers are the most beautiful thing she knows. Both Ninni and Fahlen, whom she regards as her daddy, are hoping that someday she will be able to walk, and he is particularly determined, though it doesn’t seem like it could be possible. Ninni’s biggest dream is that she’d like to live in the countryside and live there, and see all the flowers in the world. Again, this doesn’t seem possible, because she lives in the city and they don’t have enough funds to make it true. But the ending is very very happy. 🙂

I think the film is gorgeous, so you can watch it

here

if you wish, although I don’t know if it’s going to be as enjoyable for you as it was for me because there are no subtitles as far as I am aware so you’d have to speak Swedish. You can have Zofijka’s perspective then. 😀 And there is of course this song sung by the girl who plays Ninni in this version, it was Karin Falk.

And so some time ago, I was pleasantly surprised seeing the song “I Min Lilla Värld Av Blommor” on Spotify, in quite an interesting version, by Ida Redig. I really like her arrangement of it, although it’s in a way quite different from how it sounded in both films from 1944 and 1974. I think her version is really beautiful. And I like the lyrics of this song, it’s basically about Ninni’s passion for flowers and her imaginary world that is full of flowers, where there is a place for everyone and children are playing, and she is dancing among the flowers. And there is no sorrow or pain, no one screams at you and people are always happy. Quite an escapist and idealist she is, ain’t she? 🙂 So here’s the Ida Redig’s version, unfortunately only on Spotify.