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A nation of aftermaths

A great cross-section of Norwegian pop history, but the 200 selected songs also show that Norway for years was a musical province that was well pleased to dilate after the rest of the world.

(THIS ARTICLE IS ONLY MACHINE TRANSLATED by Google from Norwegian)

When the undersigned was just on a weekend trip to London, I was greeted by Norwegian music in three different stores: Kings of Convenience, Röyksopp and Silje Nergaard tinted out of the speakers to stimulate the shopping desire at Burger King, the clothing chain Top Shop and the Japanese interior chain Muji.

Nor is there any doubt that Norwegian music is stronger internationally than ever today, but when you supply the music on this autumn's big music historical CD box, Norwegian music in 100. Popular music in Norway 1905-2005, one is struck by how provincial Norwegian pop history has been. Ironically, the publishers got neither Kings of Convenience nor Röyksopp, because they couldn't get permission from the group's foreign record company in time.

Cover songs in fling

For Norwegian pop history is also the story of lack of confidence and a long-lasting aftermath and copying of foreign music trends. The earliest Norwegian rockers were blueprints of Elvis Presley and The Shadows, while much of the Norwegian hit story is simply translated from Swedish, German and English. The hit group from the 1970s (Dag Spantell, Gro Anita Schønn, Inger Lise Rypdal and Stein Ingebrigtsen) are the crown example, they sang translated lyrics over pre-recorded audio tracks from international hits.

This kind of dubbing of international pop hits runs like a common thread through the oldest selection on this box, and the collection even contains one entire CD exclusively devoted to the Norwegianization of international pop under the theme umbrella "Not all Norwegian, but…". Here, "Peek-A-Boo" by New Vaudeville Band becomes Oslo Harmonikvartett's "Sussebass", the humor trio KLM turns "I Will Follow Him" ​​by Little Peggy March into "The cod is coming", while record worker Hans Petter Hansen from Stavanger makes Demis Roussos 'power ballad "Goodbye My Love, Goodbye" to his own in the form of "I will be back soon".

But the Norwegian music industry's desire to make music using a copier and dictionary cannot be limited to a single CD, because the translations are in line on the other CDs as well: Per Asplin's "A happy calypso in the spring" is original Swedish, Jan Høiland's "Sailor" is German, while "Miss Johansen and I" by Inger Jacobsen. . .

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