If memory serves, Hans’ Swedish version of ‘Penis Dimension’ (‘Penisens Storlek’) on his debut CD (Tra-La-Larsson) was something that FZ gave the okay to not long afore he shuffled off this mortal coil. His cover of ‘The Black Page’ (which sounded similar to Frank’s Synclavier version) and backwards version of ‘Oh No’ from the same album, and subsequent rendition of ‘Uncle Meat’ (from Du Är Min Sötsak), pretty much tell you what Mr Annéllsson is all about. Add to that the pleasant vocals of one John Marshall Gibbs and a collection wacky, yet faithful interpretations of mainly 70s English prog-rock songs, and you have this jaunty little affair – guaranteed to bring a smile to the face of an old fart like me. Actually, some of the plinky keyboard translations of Steve Howe’s guitar parts had me laughing out loud. And my kids have even started singing along to the one FZ song here – ordinarily they’d be telling me to turn it off; must be the munchkin vocals. Having said that, musically Hans’ own songs (instrumentals like the up-tempo rocker, ‘Anabolic Parabolic’), are some of the more interesting items here. So include this CD on the list of great exports from Sweden – alongside Tony Rickardsson and Ikea. (NOTE: This is the second in a series that will of course continue with Return Of The Son Of One More Time For The World. You can order it from www.recordheaven.net and/or www.cdbaby.com.)

This album is a bit over a year old, but as it is new to United-Mutations, I'm happy to include it. Hans Annéllsson's latest album is called "One More Time For The World Some More" and Hans says in the liner notes that he also could have called it "Songs You Shouldn't Cover" or even "Covers From Hell". The disc presents 16 tracks: 4 compositions by Hans Annéllsson, 4 Yes tracks, 2 King Crimson compositions and 1 Zappa, 1 Lennon, 1 Genesis, 1 Beatles and 1 Brian Eno song. Zappa's 'What's The Ugliest Of Your Body?' has a very fine slide guitar, backed by some sort of 'Be In My Video' beat and some Ruben-esque doo-wop background vocals. This is really good. Annéllsson's own compositions are very impressive as well, 'Anabolic Parabolic' being my favourite one. True, some people say that there are songs or artists that one shouldn't cover, but I'm glad Hans Annéllsson didn't care about that. "... Some More" is an excellent album, and it desperately needs your attention !!

Anyone who transforms “Prince Rupert Awakes” into a dance-floor delight and creates the illusion (perhaps unintentionally) of Phish covering “Close To The Edge” deserves your attention. At times it feels like this is a collection of covers a close friend has pieced together and given you as a gift. And, I suppose that in a way it is: it’s clear that Annellsson truly loves each of these songs and has been careful to transform each into something that’s always nothing less than beautiful. Krimson’s “Fracture,” “Magical Mystery Tour” (if you have to ask who wrote this one, please go away right now) and the Genesis track “Afterglow” prove the most successfully transformed, while the Lennon/Ono track “Woman Is The Nigger of the World” and Eno’s “Here Come the Warm Jetz” prove less obvious victories. It’s arguably the most joy-inspiring release of the year (thus far) and anyone who says otherwise just doesn’t know how to have fun.

One More Time For The World Some More is the second volume of covers – with a sprinkling of originals – that Hans Annellson has put together. Included are a few Yes classics like "Close To The Edge," "South Side Of The Sky" and "Yours Is No Disgrace," as well a few Beatles/John Lennon pieces including a funky, new wave-y, reggae-like version of "Woman Is The Nigger Of The World." John Marshall Gibbs provides the vocals here and on the rest of the album, giving many of the pieces that upbeat and friendly poppy 70s feel – Donovan, Oliver, etc. though on "Woman Is…" he does have a bit of Lennon's cadence (though I also thought Gibbs sounded a bit like Steve Hogarth). When recording covers, one can go one of two ways – faithful rendition and total rearrangement. Most go with the first option, and the results are usually harmless exercises. Those that go with the latter had better say something new or original with the material. Here Annéllsson has gone with the latter, and the results are that only handful of the album's 16 tracks that really work well and are worth hearing more than once or twice. The cover that I liked the most is Frank Zappa's "What's The Ugliest Part Of Your Body." I'm not familiar with Zappa's original, but here Annéllsson mixes 50s doo-wop with a Hawaiian sway and a segment of two falsetto – or helium induced – vocals a la Frankie Valley/Frankie Avalon. Given the kitschy-smart material that they started with, it does make this piece stand out. It's great kitsch, a la well, Zappa, I suppose, but also shades of "Weird Al" Yankovich. Of the other tracks that work the best, we have King Crimson's "Prince Rupert Awakes," a piece that features a (programmed) drum beat you can dance to – having re-listened to the original, I actually like this version better. Genesis's "Afterglow" is a warm ballad that sounds quite good and doesn't tarnish the original. I like Annéllsson's take on "Close To The Edge," too. However, I will admit that it would be a unique version only if it didn't seem so much like what The Flower Kings would do with the very same piece, adding a little swing to the arrangement. It does sound good, moving along smoothly, flowingly. Add in "Woman Is…" and you find that 5 of the first 7 tracks work. If you're doing the math, that means 11 tracks don't work, or don't work well (exluding a short, cheery synth instrumental as a "bonus" tacked on to track 16). The album loses momentum right after "Afterglow" (track 7) as "Magical Mystery Tour" is a little lackluster and then given a kitschy reprise at the end, that I actually imagine that Transatlantic might have done with the same tune if Mike Portnoy were at the helm of what/how to cover. "Fracture" is uninspired and way too synthetic… it's all parpy keyboards. This also mars the later "South Side…" cover, where Gibbs voice is just too whiney and the vibes sound off. Things do pick up a bit with "Yours Is No Disgrace," but the programmed drums give this too much of a dance-club feel; maybe that was the intention. If this were the 80s, it'd have made its way into new wave clubs. So while the energy is picked up, we still can't put it in the "works" category. The instrumental pieces are the Annéllsson originals, including "Anabolic Parabolic," an instrumental that is one part hard rock drive, and two parts tinkly keyboards and warped keyboards. "Let's Rock! (The Boat)" is a guitar rock outing, though not truly a instrumental as "Let's Rock!" is vocalized everyone in a while. "It Conquered The World" is a wheezy (keys/synths/bass), piece filled with numerous soundbytes and bloopy/bubbly sound effects and Middle-Eastern guitar textures… there's just not very much movement in the arrangement (but for the guitar) which after a few moments makes this a very trying piece. "Sit.com" is interesting once, but once you get the "joke," it just becomes repetitive. Of the Annéllsson originals, "Anabolic Parabolic" probably works the best, but then it is within the first half of the album. I'd recommend waiting for a "best of" album, and even then I'd look to see which tracks Annéllsson thought were his best covers. Otherwise, I'd say this worked better as a concept rather than an acted upon idea. It's one of those cases where you just take the one that worked the best and release a single (or EP) rather than a full length album. Rating: 2.75/5