01	Dundrets Frojder						10:46
	02	Oforutsedd Forlossning						03:13
	03	Den Aterupplivade Laten						05:59
	04	Folkvisa I Morse						02:09
	05	Syster System						02:29
	06	Tarningen						03:37
	07	Svackorpoangen						03:14
	08	Minareten						08:21
	09	Vaerelseds Tilbud						02:28
	10	Minareten II						04:41
	11	Circus Apparatha						06:04
	12	Probably The Probably						03:55

MALTID

1. Dundrets frojder
2. Outforsedd forlossning
3. Den aterupplivade laten
4. Folkvisa i morse
5. Syster System
6. Tarningen
7. Svackorpoangen
8. Minareten
9. Vaerelseds tilbud
10. Minareten II (CD Bonus Track)
11. Circus Apparatha (CD Bonus Track)
12. Probably the Probably (CD Bonus Track)


--------------------------------------------------------------------------------


Song #11 is picked from Samla Mammas Mannas first album.
Song #10 & #12 are from the same recordingsession as Maltid.

Lasse Hollmer: Electric piano, piano, vocals, song, breakfast
Lasse Krantz: Bass, vocals, door
Coste Apetrea: Guitar, vocals (except song #11)
Hasse Bruniusson: Drums, percussion, vocals, glass
Henrik Oberg: Congas (on song #11)

Cover by Tage Asen

Silence Records SRS 4621 - 1973 LP
Resource Records rescd 505 - 1993 CD




Date of Release 1973

Maltid (Swedish for "Meal Time") was the Samla Mammas Manna's second LP, the first featuring guitarist Coste Apetrea. A beautiful piece of work, although poorly recorded, this album showcases the musicianship, audacity, and downright silliness of the band. Free improvisation, Scandinavian folklore, progressive rock motifs, and Amon Dььl II-like short songs all come together on this LP as a patchwork instead of an integrated whole. "Dundrets Frojder" is a kaleidoscopic piece containing the best and worst of the Samlas. It features a middle part with lush Mellotron chords and a warped electric piano solo by Lars Hollmer. "Ofцrutsedd Fцrlossning" is a simple song with self-mocking, screaming, high-pitched vocals, while the instrumental "Den Aterupplivade Laten" could have been recorded by the early Banco del Mutuo Soccorso. "Tarningen" is a dual keyboard/guitar melody that will remain in the band's live set for quite some time. "Minareten" features some extended jamming in twisted time signatures with a weird blues-like finale. Maltid is not yet the Samla Mammas Manna's prime material, but it is still a very respectable offering. The 1993 CD reissue on the Resource label contains three bonus tracks from the same recording session. - Franзois Couture


Coste Apetrea - Guitar
Hans Bruniusson - Drums
Lars Hollmer - Keyboards
Lars Krantz - Bass

1973 LP Silence 4621





Samla Mammas Manna [Sweden]

Discography
Samla Mammas Manna (71)
Maltid (73)
Klossa knapitatet (74)
Snorungarnas Symfoni (76)
Kaka (99)

As Zamla Mammaz Manna:
For aldre nybegynnare/Schlagerns Mystik (78)
Familjesprickor (80)


As von Zamla:
Zamlarannama (82)
No Make Up! (84)
... 1983 (99, Live from 1983)



Reviews
This pioneering Swedish band combines folk melodies with hard driving rock improvisations and Zappa-like humor. Their first LP in 1970 (on the Silence label) gives few clues to their eventual direction. With the addition of the talented guitarist Coste Apetrea, their second LP, Maltid (1973), is a mix of hot, guitar-led improvisations, with short, folky tunes. Klossa Knapitatet (1974) expands on their improvisational side, and may be their best. After a mostly mediocre collaboration with Greg Fitzpatrick, Snorungarnas Symfoni (1976), they reemerged as part of the RIO crowd.
SMM turned into Zamla Mammas Manna when Coste Apetrea left, to be replaced by Eino Haapala. This line-up's first release was the two record set For aldre nybegynnare/Schlagerns Mystik. One LP contains live improvisations more in line with Henry Cow than the hard-rock and jazz of earlier releases. The other LP is wild Swedish folk craziness and a long, rambling rock jam. I must admit I love this collection, but be warned, this is not for the faint of heart. Their final release as ZMM was Familjesprickor (1980), their final LP on Silence. A little darker than prior releases, Familjesprickor is, nonetheless, an excellent place to start.

Von Zamla features the keyboardist Lars Hollmer and guitarist Eino Haapala with two different line-ups. Zamlaranamma (1982) features Jan Garret (bass) and Denis Brely (bassoon, oboe, sax) from Albert Marcoeur's band. No Make Up! (1984) features Michel Berckmans (oboe & bassoon) from Univers Zero fame. In 1999, Cuneiform Records released a live set from this line-up, the excellent 1983.

In 1999, the original band, featuring Coste Apetrea, reformed for a one-off release, Kaka. While very good, the band's early energy and creativeness is hard to recreate some 25 years later. -- Doug Hebbard

Band that was always experimenting with silly voices, fast, odd beats, improvised song parts, unusual instruments, and occasional blazing guitar solos. Worth to check out is their drummer* Lars Hollmer's (hope I got his name right) solo work, especially the album Tolv sibiriska cyklar (Twelve Siberian Bikes) which is loaded with wacky virtuoso world music.
* Lars Hollmer was, in fact, the keyboard player. -- thanks to Doug Hebbard

Ah, one of the best Swedish bands. One of the few bands the Swedish "prog" from the 1970s who really deserved the label. Playful, humouristic music, mainly instrumental with occassional vocal numbers. You might want to be careful with For aldre nybegynnare which contains only improvised numbers which is not easy digestable. Samla Mammas Manna became Zamla Mammaz Manna which derived into von Zamla. The later von Zamla album is a bit wilder than the rest. A year ago the "classical" combo of Samla rejoined, although I don't think a new album is in the works. However, their second album has been released on CD.
Ostensibly a Swedish folk band, their sound quickly picked up rock, jazz, classical and RIO influences and blended them all together into a unique sound totally their own. On their second Maltid, these widely diverse influences are not yet fully integrated into one cohesive sound, and thus the album is a little patchy, but nonetheless enjoyable. Snorungarnas Symfoni is a collaboration with composer Gregory Allan Fitzpatrick, an album of four long pieces, all extremely diverse with very complex yet melodic arrangements, the result being a positively brilliant album that defies categorization yet defines the word progressive. Familijsprickor was their final album, and by far the most intense, both for its edginess and general chaotics. Warning - these guys can get pretty bizarre at times, and may not be for everyone. Start with S. Symfoni. Von Zamla was keyboardist Lars Hollmer's attempt to resurrect the band in the mid-80's.
I love asking people how to pronounce this band's name. I highly recommend Maltid for the experimental listener. It falls well into the "progressive weirdness" category that Gong, Area, and Pell Mell are part of. While some of the many short tracks have a considerable about a "noise" (screechy vocals, strange sounds), the band has, not unlike Gong, a killer musicianship that makes Maltid a listenable (and enjoyable) offering. From Sweden (I think) Samla put out a bunch of albums in the early to mid seventies. Supposedly Maltid is one of the worst, which really makes me look forward to hearing the rest. The bassist and drummer are enormously talented, while the guitarist shreds through songs with a unique, distinct style. I can't say much else. Fans of the Radio Gnome era of Gong will love this. The rest of you should approach with a certain amount of caution.
I've only heard the first album, which with its silly voices, jazzy soloing and heavy use of electric piano sounded like something from the German or French jazzrock underground. Not unlike early Magma or Moving Gelatine Plates, but with more of a sense of humour. -- Mike Ohman







Artist: SAMLA MAMMAS MANNA
Title: Maltid
Label: SILENCE (SWEDEN)
Format: CD
Price: $14.00
Catalog #: SRSCD 3604
The second Samla Mammas Manna album, originally issued by Silence in 1973. With 2 bonus tracks. Two more albums would follow on Silence under this spelling of the name, then they would change it to Zamla Mammaz Manna and finally Von Zamla, going into the mid-80s. " I highly recommend Maltid for the experimental listener. It falls well into the 'progressive weirdness' category that Gong, Area, and Pell Mell are part of. While some of the many short tracks have a considerable amount of 'noise' (screechy vocals, strange sounds), the band has, not unlike Gong, a killer musicianship that makes Maltid a listenable (and enjoyable) offering... Not unlike early Magma or Moving Gelatine Plates, but with more of a sense of humour." -- Mike Ohman/Gibraltar