Rogefeldt's first three albums are often seen as his most experimental and influential, but nowhere was he as creative or playful as on the first, Ja, Dä ä Dä. At a time when Swedish pop was almost exclusively sung in English and when mainstream bands were very much dependent on English originals, Ja, Dä ä Dä made a big impact with its original material sung in Swedish. And though the lyrics are often nonsensical, the album's syncretic mix of styles makes it one of the most innovative Swedish rock albums of all times. Of course, there were other progressive groups in the late '60s, like Träd Gräs & Stenar, but they often made difficult experimental music, with heavy influences from psychedelic rock. Pugh Rogefeldt, with good help from Karlsson on drums and Wadenius on guitar and bass, mixed jazz, funk, R&B, folk music, pop, and even children's music into a unique but still easily accessible style. The song structures are broken up by long interludes and solos, showing influences from psychedelic pock and blues rock, but unlike conventions in these styles, the rhythm section is bouncing and alert. And incredibly dynamic. Together with Rogefeldt's rhythmic singing and shouting, this provides the album with a rare quality of funkiness. The big hit was "Här Kommer Natten," but retrospective, funky numbers like "Love, Love, Love" and "Surabaya Johnny" come forward as more unique.
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AllMusic Review by Lars Lovén