27. The Cypress Tree

First Cab – “Little Pieces”, 1985.

I lived in a tiny village outside Oxford for a year and bandmate-to-be Chris had made friends with our Scottish neighbours, Syd and Ann. They were a little older than us and had invited us for lunch one Sunday. Syd and Ann’s traditional English Sunday lunch of roast beef, roast potatoes, Yorkshire pudding and vegetables was the first truly memorable meal of my life. There was nothing special about the food itself, but it was just so well cooked! Living at home with my parents, I was used to something completely different. On a Sunday, vegetables were boiled until they turned to jelly, and the beef shrank to a dry, woody lump while we were at the pub on the corner of our street having a lunchtime pint. The beef usually came out of the oven about half its original size. Like magic! Syd and Ann’s perfectly cooked roast beef lunch exploded in my mouth with flavours and textures I had never experienced.

Many years later, Ingre and I were taken to dinner in London at the Japanese restaurant Benihana by my brother Brian. Their advertising blurb goes “not just a meal, it’s an experience”. It’s true, it was an experience, and we had a very good evening out. The food was great, but there was also all the dicking around and juggling with knives and other kitchen utensils by the cook which was fun to see and made it special. It was also my first experience of Japanese food. Then I had another great Japanese restaurant experience in Stavanger, Norway of all places. I was on stand duty with some colleagues at an exhibition and we went Japanese for dinner. The Kobe beef and sashimi were something else!

In the early 90s, driving north from Newcastle for a camping trip in Scotland, Ingre and I stopped off at an Indian restaurant just outside Edinburgh. About the restaurant itself I remember almost nothing, but the food and especially the naan bread
was superb. That meal most likely contributed to us being able to tolerate the rain, which fell every day for the two weeks we drifted around in Scotland and the north of England. Why we didn’t even think of checking into a B&B is a mystery and we stubbornly pitched a wet tent every day.

Just to balance things a little, I ate an outstandingly disgusting meal in Shanghai on one trip to China. That popular restaurant served every part of a cow that you could possibly wish for. Knees? Eyes? Nose? Stomach? No problem at all! And the menu had pictures of everything, in case you didn’t know what a cow knee looked like. “And how would you like your cow spleen, sir? Medium rare?” It was a pity that all the food, like the restaurant itself, smelled like the silt on the bottom of a stagnant pool of rat-infested water. Or a rotting carcass. The spirit they served tasted even worse than the food, but it completely numbed my taste buds and, in the end, made eating possible. It also made my young colleague drunk.

When we lived in France, our favourite restaurant in Bourges was Vietnamese – not French – and we staggered home from there on a regular basis after a good meal, a bottle of wine and the free saki, which we were always given after we paid the bill. The saki cups had tiny pictures of naked men and women in the bottom, which we found inspiring.

The Cypress Tree, a song from the 1985 First Cab album “Little Pieces”, is about a fictitious Japanese restaurant and written before I’d ever visited one. It’s also the only song from the album that I still get a tiny royalty from every year (which is shared with two publishing companies and the rest of the band). Someone, somewhere is still playing that song every year on the radio. Sadly, the album is not available anywhere, though I have a spare vinyl copy if someone wants to make me an offer I can’t refuse… No, just kidding. Wild horses couldn’t make me part with it. I’d love to put the album out on streaming sites and we’ve talked about it, but unfortunately, I don’t own the rights.

27. The Cypress Tree

First Cab – “Little Pieces”, 1985.

Jag bodde i en liten by utanför Oxford i ett år och bandkompisen Chris hade blivit vän med våra skotska grannar, Syd och Ann. De var lite äldre än oss och hade bjudit oss på lunch en söndag. Syd och Anns traditionella engelska söndagslunch av rostbiff, rostade potatis, Yorkshire pudding och grönsaker var den första riktigt minnesvärda måltiden i mitt liv. Det var inget speciellt med maten egentligen, men det var bara så vällagat! Att bo hemma hos mina föräldrar var jag van vid något helt annat. På söndagar kokades grönsaker tills de blev till gelé och köttet krympte till en torr, träig klump medan vi var på puben på hörnet av vår gata för en lunchöl. Köttet kom vanligen ut ur ugnen ungefär hälften av sin ursprungliga storlek. Ren magi! Syd och Anns perfekta rostbifflunch exploderade i min mun med smaker och texturer som jag aldrig hade upplevt tidigare.

Många år senare togs Ingre och jag på middag i London på den japanska restaurangen Benihana av brorsan Brian. Deras slogan går “inte bara en måltid, det är en upplevelse”. Det var sant, det var en upplevelse, och det var en mycket bra kväll. Maten var fantastisk, men det var också allt lek och jonglering med knivar och andra köksredskap, av kocken, som var kul att se och gjorde det speciellt. Det var också min första erfarenhet av japansk mat. Sedan hade jag en annan stor japansk restaurangupplevelse i Stavanger, Norge av alla ställen. Jag var på plats med några kollegor på en utställning och vi åt japanskt till middag. Kobe nötkött och sashimi var något speciellt!

Tidigt på 90-talet åkte vi bil norrut från Newcastle för en campingresa i Skottland. Ingre och jag stannade på en indisk restaurang strax utanför Edinburgh. Om restaurangen själv minns jag nästan ingenting, men maten och särskilt naanbrödet var utmärkt. Den måltiden bidrog sannolikt till att vi tolererade regnet, som föll varje dag under de två veckorna vi drev runt i Skottland och norra England. Varför vi inte ens tänkte på att ta in på ett B & B är ett mysterium och envist satte vi upp vårt blöta tält varje dag.

Bara för att balansera saker lite åt jag en enastående äcklig måltid i Shanghai på en resa till Kina. Den populära restaurangen serverade varje del av en ko som du någonsin kunde önska. Knän? Ögon? Näsa? Mage? Inga problem alls! Menyn hade bilder på allt, ifall du inte visste hur en kos knä såg ut. “Och hur vill du ha mjälten, min herre? Medium?” Det var synd att all mat, som restaurangen själv, luktade som sumpmark. Eller ett ruttnande kadaver. Spriten som de serverade smakade ännu värre än maten, men det bedövade mina smaklökar så att jag till slut kunde äta den. Den äckliga spriten gjorde också min unga kollega full.

När vi bodde i Frankrike var vår favoritrestaurang i Bourges vietnamesisk – inte fransk – och vi stapplade hem rätt ofta, efter en god måltid, en flaska vin och gratis saki som vi alltid fick när vi betalade notan. Saki-kopparna hade små bilder av nakna män och kvinnor i botten, som vi fann inspirerande.

The Cypress Tree, en låt från First Cab albumet “Little Pieces” (1985), handlar om en fiktiv japansk restaurang och skrevs innan jag någonsin hade besökt en. Det är också den enda låten från albumet som jag fortfarande får en liten royalty från varje år (som delas med två förlag och resten av bandet). Någon, någonstans spelar fortfarande den låten varje år på radion. Tyvärr är albumet inte tillgängligt någonstans, även om jag har en extra vinylkopia om någon vill ge mig ett erbjudande som jag inte kan tacka nej till … Nej, skojar bara. Vilda hästar skulle inte slita den ifrån mig. Jag skulle gärna lägga ut albumet på Spotify osv, och vi har pratat om det, men jag äger tyvärr inte rättigheterna.

22. 96 tears

Two songs and a whole album had such an emotional impact on me in the last 10 years that tears rolled down my cheeks. Music from three different decades, totally different genres and definitely favourites from these three artists.

The voice of Mary J. Blige

One of Bono’s best songs, “One”, showed up on the 1991 U2 album “Achtung Baby”, but the song reached a whole new emotional level when Mary J. Blige lent her voice to U2’s backing track fifteen years later. I was totally stunned when I heard it for the first time on the radio, though it wasn’t played much at all in Sweden it seems. I loved U2’s version too, but Mary’s singing transcended Bono’s and gave it a whole new dimension. I’ve bought many U2 albums, including “Boy”, the day after they played live on Swedish TV for the first time in 1980, but I’ve never seen them live. Bono preaching from the stage is not something I’ve ever longed for, however sincere he is, but if the opportunity to see them comes along again, I’ll go for it. I won’t hold my breath for an appearance from Mary, though.

Kate Bush

I have a pretty big garden which demands a lot of lawn-mowing and with that I have no problem at all. When I’m not immersed in my own thoughts I like to listen to an album while I’m mowing. A few years ago I reached out for the Kate Bush album “Hounds of Love” on Spotify and listened to the whole of it in my mowing bubble. I bought the vinyl album when it came out in 1985, but had never listened so intensely to the whole album on earphones as I did on that day, with the resulting flood of emotions. The intimacy you get from the lack of distractions! “Hounds of Love” is a genuine masterpiece from beginning to end from a true artist. Kate forever!

Last up, a bunch of men so utterly removed from life as we know it in Europe, that even I have difficulty understanding my connection to them: Eagles. I watched a video of a concert recorded in Melbourne from their first farewell tour and when Don Henley stepped up to the microphone to sing “Wasted Time”, something hit me right between the eyes and I was done again. Gone again. I was something of an Eagles fan in the early 70’s and bought both “Desperado” (1973) and “Hotel California” (1976) and my friends had all the others, but then along came punk/new wave and I lost all interest in the band. And never regained it, though naturally that didn’t stop me watching the video concert. So what was that about? Nostalgia? Mourning lost youth? Who knows. But what I do know is that the song is great, Henley sang it very well and I’ve always loved the timbre in his voice. And I can still listen to “Hotel California”.

What’s really weird is the vast number of songs that I’ve loved and which have affected me greatly or been an inspiration over the years, but which haven’t provoked this sort of emotional response, or anything close to it. What about all the Beatle’s stuff? Nope. This could be an interesting subject to discuss with my psychoanalyst. If I had one.

19. Once in a lifetime

When the First Cab album “Little Pieces” was about to be released in 1985, we did a record label showcase concert in Stockholm at the Orion Theatre, together with stablemates Imperiet and Docenterna. First Cab were at the bottom of the bill and Imperiet at the top. Which puts Docenterna, hmm, firmly in the middle. We had borrowed an apartment from the record company for a couple of nights and the evening before the concert went out to celebrate the album release and the upcoming concert, which was perhaps the biggest gig we had done at that point and certainly the most important. The beer flowed freely during the evening and at least one of us threw up walking back to the apartment. Not naming any names, but I think it was the drummer. Initals BH.

We had to be at the venue by early afternoon for the soundcheck, and standing in the centre of that huge stage, pale-faced and shaking slightly, was not one of my proudest moments. We were all very tired and badly hungover and struggled through the soundcheck. Nobody was expecting any action from us and of course they didn’t get any. We simply played through a few songs and that was that. The concert was also to be filmed, adding to the stress, though the main focus for that was Imperiet.

Just before we went onstage, I was speaking to the label MD Peter, and asked him if I should talk in English or Swedish between the songs. “English” was the reply, so that’s what I did. The consequence of that was one of the daily newspapers (DN) in their concert review wondering why the First Cab singer spoke in “bad English” between the songs. What? My English isn’t that bad! I’ve always suspected that in fact it was his English that was crap and he simply didn’t understand what I was saying.

But we weren’t as active onstage as we normally would have been. We didn’t have enough energy for that. So, although our gig was also filmed, no-one ever bothered to edit it for use in any way. Not worth the expense, most likely. There exists a video cassette (somewhere), taken from one of the three cameras which filmed the gig, the one placed right at the back of the venue. I haven’t seen the film for 30 years and to be honest I don’t have any great desire to see it either. In fact I watched a bit of it only once when I had it in my possession. The sound on the video cassette is from the microphone on that particular camera and though I can’t actually remember what it sounded like, it had to be substandard, with the whole length of the venue between us and the microphone. We were a good live band – sometimes very good – which is how we got the record deal in the first place. We had the opportunity to make an impression on a crowd of two thousand in a classic Stockholm venue with all the major newspapers there to see it, but we lost it in a cloud of alcoholic fumes. I can’t even blame it on being young and stupid, as I was 31 at the time.

18. Baby Lemonade

Baby Lemonade, by Syd Barrett.

Last weekend I was in Russia for a couple of gigs, in St. Petersburg. When I was first asked I had some doubts, but I went along with it. The visa application process was not fun, there was plenty to do and it took a few weeks, what with chopping and changing the dates, but got done in the end. Finally, for various reasons I ended up travelling on my own, which was also a source of anxiety, though I’ve travelled most of the world alone. But it was just because it was Russia; a typical cliché. Anyway, after getting through the various checkpoints at the airport I met up with Sergey, the driver I’d booked online. I had quite a conversation with him the evening before on Whats App, we exchanged selfies, but it turned out he couldn’t actually speak a word of English. Not that it mattered. Sign language worked and when we reached his car, he used his phone to translate spoken words to script. This was no backwater.

A 35 minute drive later we were at the Baby Lemonade Hostel. For those that don’t know their Syd Barrett, the hostel is named after one of Syd’s songs, the first song on his second solo album “Barrett”. All the rooms are different, newly renovated and each has an album theme. For example, Ziggy Stardust, See Emily Play, Lucy In the Sky with Diamonds, Abbey Road, Sgt. Pepper’s, Dark Side of the Moon etc. The Ziggy room was stunning, though they’re all good and all painted by artist Maria (Masha). And the desk in the reception area is a pink replica of Battersea power station in London (Pink Floyd’s “Animals”). The flying pig will be added in a week or so. Madcap, the owner of the hostel (and designer of all the rooms), is hoping for like-minded guests, meaning people interested in both good music and the philosophical mind-set from the 60s and 70s.

Reception room at the Baby Lemonade Hostel.

When I arrived “in the evening, sun going down”, the reception area was still a building site and we were supposed to play there the following day, but that ended up being postponed for two days. The Saturday night gig, though, was at a bar in a fairly large adjacent room. Between 50 and 100 guests were expected, but about 150 turned up, which filled the room. They were attentive, sat or stood through 90 minutes of music and thanked us afterwards with hugs and hand-shakes. I even got to sign a couple of arms.

I last visited St. Petersburg in 1993, when it was more or less a lawless city and run by the mafia. My travelling companion and I were instructed by the travel company to “dress down” if we went out, wear no jewelry or watches and keep a close eye out for pickpockets and the like. But now it feels like any big city, with the exception of the unique architecture and significant museums, which definitely need a visit. The Hermitage Museum, currently with an exhibition of Dutch masters (Gerrit Dou!) and the New Museum of Modern Art where there’s even a mini-exhibition of Annie Leibovitz photographs, are both well worth seeing. And the buildings themselves are works of art. I could easily have spent another couple of hours wandering around the Museum of Political History, but an Armenian lunch and the airport called.

In the last four or five years a new revolution has taken place in St Petersburg and the town is bouncing. According to Madcap, 30 or more bars and restaurants are opening (or closing) every month and there’s now quite a cool nightlife in this city of 6.5 million, if you count the sound of the suburbs. There’ll be a repeat visit for sure.

17. All Stood Still

Who will be the next Bob Geldof? That’s like saying who will be the next Beatles. Or the next Abba. And the answer is: nobody. Geldof was (and is) smart, opinionated, big-mouthed, scary, sweary, self-confident and most of the big stars in 1985 could not say no to him when he popped the question; “Live Aid – are you in or out?”. But that was then. Geldof was known to most people in the UK, partly because he had been a pop-star and partly because he was living with a very popular TV-presenter; Paula Yates. They were celebrities and fodder for the tabloids. In fact, Paula was better known and more popular than Bob.

The BBC have put together two film-length documentaries about Live Aid which I can warmly recommend,  and both are available on YouTube (Live Aid – Against All Odds). It starts out with Band Aid, “Do they know it’s Christmas”, written by Geldof and Midge Ure from Ultravox and produced by Ure. The song became a huge hit, generated cash for Ethiopia and is of course still played every Christmas. But just a few months later Geldof got the idea to follow up Band Aid with Live Aid, a concert to be shared between London and an arena in the USA, and to be broadcast over the whole world. This they managed to put together in an amazingly short period of time, including booking many of the biggest artists of the day. And it generated even more cash for aid to Africa.

The whole world didn’t stand still for Live Aid, but in fact a good portion of it did. Wembley Stadium in London and John F. Kennedy Stadium in Philadelphia hosted together about 160 000 people on the day and  more than 1.5 billion people watched it live on TV in 100 countries. The numbers probably don’t mean much to people used to seeing those numbers on Spotify or YouTube every day, but the whole thing was organized and promoted in just a few months. It was an incredible feat and an event of that size would probably take a year or more today.

Live Aid would be technically much easier today but culturally impossible. Thirty-three years after Live Aid, the world is a different place and there’s no longer a music community around which everybody could gather. There’s no one forum which attracts everybody, like TV and radio did before the internet took over. We have YouTube of course, but we all watch different things – there’s no concensus. All the artists that appeared on Live Aid were very much aware of each other, many of them had met previously and the audience knew them all too, no matter what the genre. Today, a Spotify or YouTube star with a couple of million listeners globally can be completely unknown to the general public, whereas back then the artists had all had hits and the public knew them all.

Even worse is that the event that triggered both Band Aid and Live Aid, famine in Ethiopia, is happening again, this time in Yemen. And it’s hardly the responsibility of a bunch of pop stars to fix it. Put simply, we’re all responsible and the world is once again standing still. Governments don’t seem to care much and some care less than others. And who puts the governments in place? We do, in democratic countries, by voting for politician’s policies. It would have been good to see demonstrations against famine and children dying rather than for equality which took place last weekend, but that was the right priority. If women had already been equal in every way and if the world wasn’t led mostly by men, the famine in Yemen probably wouldn’t even exist.

16. Songs for the deaf

When I was nineteen I saw Hawkwind at the Rainbow Theatre in London. Lemmy was in the band on bass and vocals at the time and they’d just had a big hit with Silver Machine, which was the main reason I was there. But what I remember most about the concert was the volume – and the topless dancer – but mostly the volume. It was so loud that at one point I hid behind the seats, on my knees, crouched on the floor with my fingers in my ears. An unforgettable experience. I’ve had a ringing tone in my ears ever since that evening and for years after that I couldn’t stand to be anywhere which was too quiet. I couldn’t imagine myself ever living anywhere except a big, noisy city which would block out that ringing, but it seems you can get used to anything. Incidentally Lemmy’s Motorhead are number 6 on the list of loudest bands ever and Hawkwind are not on the list at all.

Famously, The Beatles played massive arenas in the USA in the mid-60s, with specially-built 100 watt Vox amplifiers (wow!). At Shea Stadium in New York, the 55,600 fans there could hear nothing apart from each other screaming and some buzzing and squeaking in the background which would have been the Beatles. They had no listening system onstage and couldn’t hear each other playing, which must have been a nightmare. Simply put, the sound was terrible and they were nowhere near loud enough. But when bigger and better sound rigs were developed in the late 60s, many bands squeezed every decibel out of them that they could. It was a badge of honour to be loud and the louder you were, the bigger you were. Some of the old megabands were famous for being terrifyingly loud and even bragged about it. Bands like The Who (Pete Townsend has had problems with tinnitus for many years), Kiss, Led Zeppelin, Motorhead, and AC/DC, to name a few, broke records for loudness. I used to think that outrageous volume was a thing of the past, but that’s not the case.

My Morning Jacket at Munchenbryggeriet in Stockholm in 2011 were painfully loud. I’d bought earplugs from a seller outside the venue, just in case, but I forgot them in my evening jacket in the cloakroom. I felt like an idiot standing there with my fingers in my ears and no seat to hide behind. It’s a pity though, because they were actually very good. Even locally there’s been some of that. Hogan’s Heroes (who? what?) in Högbo Bruk, with one of my old guitarist heroes Albert Lee, were also deafening.  I was near the front when the show started, drifted towards the back after a couple of songs, but after about 20 minutes I gave it up, slipped out to the carpark and drove home. I just couldn’t listen to it, which also made me pretty pissed off. I had paid to see the band, but couldn’t stand being in the same room as them. So is that my fault or the band’s? Or Högbo Bruk’s? Or is it just the deaf guy behind the mixing desk that’s at fault? Morrisey wrote a song in which he sang critically about DJs many years ago (Panic), for which he also got a lot of criticism. Maybe he should have written one about a mixing engineer instead? Whatever, I should have been given a refund.

15. Old wild men

Written by Lol Creme and Kevin Godley, two of the smartest songwriters I know, “Old Wild Men” is a song from an album, Sheet Music, by one of my old favourites, 10cc. Godley and Creme were both in their twenties when they wrote the song and envisioned life as old rock and rollers. A totally different take on Pete Townsend’s “My generation”, 9 years earlier.

“Old men of rock and roll, Came bearing music
Where are they now? They are over the hill and far away
But they’re still gonna play guitars, On dead strings, and old drums
They’ll play and play to pass the time, The old wild men
Old wild men, Old wild men, waiting for miracles”

10cc – Sheet Music

The other half of 10cc were Eric Stewart and Graham Gouldman. Stewart was a bit of a star in the 60s as frontman with the Mindbenders, which even included Gouldman just before they called it a day. Gouldman wrote career-building hits for the Hollies, Hermans Hermits, the Yardbirds (who later morphed into Led Zeppelin) and others. In 10cc, Godley and Creme usually contributed the arty, more complex songs and Stewart and Gouldman, the smart pop songs, but that varied and Godley and Creme came up with their share of hits. It was a team effort. The only other band I can think of which had four successful songwriters is Queen.

Stewart was keen to produce so they built their own studio in Manchester: Strawberry Studios. The studio was even involved in recording notes for the Mellotron, an instrument which played prerecorded notes from tape loops. Orchestral musicians would painstakingly be recorded one note at a time. By 1972 they had become a proper band and released their first album. The band was different: clever, funny – check out “Rubber bullets” from the first album – and a huge hit of course.


The two 10cc songwriting teams created a satisfying balance of pop and art music on their first four albums until Godley and Creme made a whole album of their own music in 1976/77, “Consequences”. The consequence of that was, they left 10cc. Godley and Creme didn’t like the new songs, didn’t like the set-up for the coming album and decided they didn’t want to make any more albums with 10cc. A decision which they all regretted to some extent. Stewart and Gouldman carried on anyway and had more hits (“Dreadlock holiday” for instance), but the albums were less fun without the arty input from Godley and Creme.


I also bought Deceptive Bends (without Godley and Creme), but it was too lightweight for me and after that I’d also had enough of 10cc. At the same time, Godley and Creme’s albums were hard to listen to as the pop which provided that magical balance and which had worked so well earlier, was mostly not there. But they also began making music videos just as MTV was taking off and became groundbreaking masters of that instead. “Cry”, from 1985 is a good example of their writing skills and video innovation. Clever guys and good at whatever they put their hands to, in other words. I know quite a few old men of roll and roll, being one of them myself. But we don’t play on dead strings and old drums and don’t consider ourselves particularly over the hill and far away. On the other hand, we’re not waiting for miracles either.

14. Baron Saturday

I get to Stockholm every now and again, maybe five or six times a year. This year I’ve seen a few very good bands in Stockholm and several of the musicians I saw were pensioners, in their seventies. I don’t go out of my way to see pensioners, it just sometimes turns out that way.

The Pretty Things – SF Sorrow.

First up were The Pretty Things in May at Slaktkyrkan. Singer Phil May and guitarist Dick Taylor are both in their mid-seventies but have still very much got it together. I was a bit doubtful about going when Göran asked me if I was interested, but I’m very glad I went, and I had a grin like the Cheshire Cat on my face for the whole concert. Most of their set I wasn’t familiar with, though that made no difference at all. About midway they played a few songs from their masterpiece album S. F. Sorrow, which came out in 1968 and which I completely missed at the time. Nobody I knew listened to The Pretty Things back then, which is a great shame as I know I would have loved that album in ‘68 if I’d heard it. So it was completely unknown to me until about five years ago, but I’ve since made up for that in a big way on Spotify. There’s a good story behind that album that might be worth telling someday. This was to be their last tour according to Phil May. A pity, but they’re not getting any younger.

Next up was The The, real name Matt Johnson and I don’t think anybody calls him The. That was at Münchenbryggeriet in June and I was quite a fan of The The during the 80s – meaning I bought the albums, which was how fandom used to be defined. If you wanted to listen to an artist, you had to buy the album. Matt was good at Münchenbryggeriet, but in some way the concert felt slightly chilly. On the way to the gig he was informed that his father had died, so if he wasn’t on top form, nobody could blame him for that. I ended up seeing very little of the concert because a very tall guy pushed his way past me and stood in front of me. When he moved his arms, I could just see Matt through his armpit. Matt is not a pensioner of course, just a youngster of 57.

Jenny Strömstedt at the Globe arena in Stockholm.

At the beginning of September Nick Mason, Pink Floyd’s drummer, took to the stage at Cirkus in Stockholm with his band of gypsies, Saucerful of Secrets. Again, I was a bit doubtful about going and again I made the right decision and went. Nick is a young buck of 74 and his band are all his juniors, around 60, so not quite pensioners. They played very early Pink Floyd stuff, which was anyway when I liked them best, and they did it with panache. So again, I had a big grin on my face for the entire concert. Panache is not a loaf of bread by the way – you’re thinking of baguette. Just to round this off, I saw Jeff Lynne’s ELO at The Globe in mid-September. Jeff is also into his eighth decade, but he can still do it well. The band was pretty much perfect, the sound was perfect too and I counted 13 musicians onstage. Best was Mr. Blue Sky which was first released in the middle of the new wave era in 1978 but was irresistible anyway. Funnily enough, pal Lennart and I had to move seats because we mistakenly sat in Jenny and Niklas Strömstedt’s and Anders Glenmark’s seats. In front of us was Robert Wells, and somewhere behind us, Tomas Ledin (all Swedish celebs). I tried to take a discrete photo of Jenny and Lennart while he checked our tickets with her, but I failed miserably.

12. Labelled With Love

A Padded Room.

When A Padded Room was to be uploaded to the streaming sites distributor, one of the obligatory questions we had to answer was how we categorize our music. Which is not as easy as it sounds. We’re not rockabilly and we’re not death metal. We can’t be called pop and rock is way too broad. So, after a very brief chat about that we decided on alternative rock. Which is probably OK, though if I was uploading something today I might choose indie rock instead.

There’s something kind of unsettling in right from the outset having to define so decisively what you are and put yourself into that little box. But everybody does it, because you must. That’s the way the internet works: tagging and metadata, all these hidden clues to pull you into a list if someone looks for a specific tag on a search engine. And it’s all about the internet. It’s a bit unfortunate that you can usually only choose one category though, as it’s not impossible that your music could fit into two, or even three categories. But alternative rock includes a lot of acts that we like or feel some affinity with, so it’s not wrong.

My biggest concern though, is if I write something a bit pop, or a bit punk, as I quite often do. How does that sit with the label “alternative rock”? And where does a song like Under Heaven fit in? I honestly have no idea. A Padded Room varies in style from one song to the next, not least because there are two of us writing the songs. And both Herbie and myself have a history of listening to just about anything good, regardless of how it’s categorized. We draw on influences from the entire history of rock, at least to a certain extent.

I can understand the reasoning behind categorization but there’s something confining about having to pigeonhole yourself and be locked into just one thing. For me it feels like an exclusion from something, rather than an inclusion. But that’s the way the music industry has developed, with radio stations dotted all over the USA, each playing only one category of music. Aiming for their little niche audience and excluding everything and everybody else. Great for an hour if you like a particular category, but does everybody only listen to one style of music? I doubt it.  

London Calling.

The Classic Rock station here in Sweden could and should have been fun but isn’t. The focus even there is far too narrow (mostly metal greatest hits) and I don’t know how many times I’ve turned it off when Joan Jett came on. Hearing a song from 1980 that you haven’t heard for years can give you a boost, but then hearing it again every day for a week or even two is incredibly tiresome. The song I’m thinking of is “London Calling” by The Clash. Great song, but why have I only ever heard that one song from that album on that station? Why not choose another? I think it’s either cowardice or sponsors insisting on only the hits! I’d love to hear something inspiring on the radio, something to get the blood running faster in my veins, but I can’t remember the last time that happened. Though it could have been the very first time I heard London Calling on Classic Rock. x