Published Today 13:04
With an attitude like few.
A happy moment with the 1900s. Sven-Bertil Taube sings too good to be overtaken by time.
A happy moment with the 1900s. Sven-Bertil Taube sings too good to be overtaken by time.
To see this concert is like taking leave of the 1900s, 1900s as fairy tale.
When Sven-Bertil Taube talks about his childhood in the neighborhoods around the Hedvig Eleonora church, a few blocks away, one can see newsreels of the old bourgeois sunniest days played to one’s inner vision. He got to know Lars Forssell and Ulf Bjorlin in elementary school, they ran into each other’s stories and threw paper swallows. Olle Adolphson came out to Sjösala and sailed.
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Though he stumbles onto the scene, he has an attitude get. Handsome as a hollywoodsk silver fox, with perfectly rolled up shirtsleeves. Sven-Bertil turns 80 and celebrates understood both elegant and exclusive: Only one concert, not a minute too long. Gentilt probably introduced as a tribute to his dead companions, rather than as a monument to himself.
Or of his father, for that matter. Those who believe that Sven-Bertil’s greatest achievement has been to provide Everts songs eternal life in Summer Sweden gets a quick guide to justice golden age of song collection “Hommage”.
It’s Performing verifier Sven-Bertil who are on the scene, and he seems to like it best when he can recite Lars Forssell’s “Shanty” and “Snake game” or dramatize his “Monte Carlo”. He is as good as Hakan Hellstrom that make life seem like a tall tale and he has fun when he pulls his stories to the neck almost overshadows the mighty twenty overpower the orchestra led by his new friend Peter Nordahl. He is Sven-Bertil fan and the one who managed to give thirty baby boom ‘boys’ visexperiment a new, custom-made suit that fits here and now.
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I sit and think there must have been absolutely wonderful to be young man in the 50s, if the world was so small and additionally low for one’s feet. No one came and said that they were privileged or offended. The poets and vissångarna got to be how pretentious they wanted – and after that Lars Forssell wrote his famous BLM tribute to Evert Taube they got even be life-affirming romantic without being seen as cheesy.
For those of us who just managed to live a fourth or fifth of the 1900 century, and which is characterized by all the music that came after the American punk, it is inevitably an exotic and cynicism-free experience to go into Olle Adolph’s, Sven-Bertil Taube and Ulf Björlins world – and that’s probably why we like to do it sometimes.
It’s a bit like eating buns with milk. Older people might not agree, but for me they are idyllist in each stanza. In their world there is no lack of illusion, which rhymes “nightingale speaks” to “Österlens valleys”. Even the “Trouble” has the somewhat rosy over him, so this evening, when Myrrh Malmberg sings a SMUG version of Sven-Bertil while he rests in a pink armchair and thanks with a kiss on the hand.
There is no Swedish star who has such a strong happy go lucky-radiation Sven-Bertil Taube when he is in such great form here.
It is understood also that he sings good, as wide awake and present, to appear as buttery or out of date over time.
He says goodbye with “One last glass”: “I go my way but stay you / Good night, feel the joy shine you!”.
Bye 1900s, and goodbye.
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