Ch. #37 – “Our simple mortal coils”


Unfortunately that has been a bit of unintended lull on what’s suppose to be a weekly series, but I have had some milder turmoil in my personal life and with my relationships the last few weeks which have left me emotionally drained to the degree that I have just not been able to keep up with “Rambling in B-flat” as I want to.

So this piece is me trying to get the show on the roll again, not just for the blog’s sake but also attempting to restore some kind of balance to my life. And at this moment I couldn’t think of any better song for this purpose than Tom Petty and the Heartbreakers‘ 4-chord classic anthem about ups and downs of our mortal coils, “Learning to Fly“.

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Ch. #36 – “Ending with a bang and a sound”


It’s over boys and girls. I’m calling it. The blessed warmth and light of the summer season has left us for this time around. At least around the neck of the woods where I’m living. With the passing of summer’s warmth and light also spells the end of the outdoor concerts for the year. Aye, it’s a time of much sadness.

*Queue tiny violins playing*

We did have a good run though. My season of outdoor concerts was great this year. I got to see and hear a lot of cool bands and artist put on goods shows, several of which artists and their shows I have chronicled on this here blog in the past few months.

And it ended on a high note. I would even dare to venture to say it ended with a bang. Or to be precise I should say it ended with The Sounds.

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Ch. #35 – “The faerie queen of ice and snow”


And now to something completely different.

I was on my journey home from my chronicled visit to Chicago I had a layover in Reykjavík on the fortress of solitude like island of Iceland. As I was sitting by the window peering out over the mesmerizing landscape of the island I couldn’t help to think about a particular music artist. To be fair it’s the artist I imagine most people would think about while associating the concepts of “Iceland” and “music”. I’m of course thinking about the otherworldly and undefinable Björk.

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Ch. #34 – “Oh, I’m still a fool for the Blues”


I know, I know. There has been a lot of Blues related songs and topics on the blog in the last few weeks, but you have to humor me for another week. I haven’t been able to shake these Blues from me yet, but for good reasons.

As I alluded to in last week’s entry I had the good fortune to spend the better part of a week in Chicago this past week. Given my musical leanings one location I made sure to visit during my stay in town was 2120 South Michigan Avenue; the address of the legendary music studio and label Chess Records.

The music label is unfortunately not active anymore, but we remember and hold this label and studio at that Chicago address so dearly because of it’s importance in Blues and popular music history. During the 1950s and -60s this label and studio was the home of so many of the most revered Blues and early Rock & Roll musicians of the time period. To name drop a few; Howlin’ Wolf, Wille Dixon, Bo Diddley, John Lee Hooker, Little Walter, Buddy Guy, and Chuck Berry. Therefore the label and the people behind it, the Chess brothers, are rightfully to be credited for spreading these musicians and their music around all corners of the world and in the process turning the cogs and wheels in the machinery that gave us the boom in Rock music in the 1960s and continuous to this day shape popular music as we know it.

A keen reader and/or Blues fans may have noticed that I left out a certain name in that name drop. Rest assured it’s was completely intentional because he’s our the star of the hour. Whenever I think about the Blues one of the names I find the hardest to not think about is the eminent and venerable Muddy Waters.

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Ch. #33 – “When the Blues hit home”


As I’m writing this installment of my weekly series on this here blog I’m sitting on a plane bound to the Windy City, Chicago, for a last hurrah of my summer of 2019. And bound towards Chicago, the home and stomping grounds of the many, many artist that turned Blues electric, put it on vinyl and spread it across the world in the 1950s and early 1960s, how could I write about something else then the Blues?

For those of you that have followed the blog for a while or are a recent reader that have caught up with the backlog of “Rambling in B-Flat” shouldn’t be surprised to read that Blues and related music and genres are very dear to me. While I consume and am interested in music from a pretty broad spectrum of genres, I would have to put Blues up their as one of my absolute favorites if pushed into a corner.

So this is going to be my little story, or anecdote if you will, how I found the Blues and how it hasn’t released me since.

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Ch. #32 – “Dude, TOOL!”


Earlier this month one of the last major acts on a dwindling list of artists, and one of the very last on my personal “do want”-list, finally made their discography available on most streaming services. That band is the Rock and Metal non-conforming conundrum of awesomeness that is TOOL.

In addition beside having their (almost) entire back catalog available on streaming service’s TOOL fans had another reason to rejoice as earlier this month the band also released their first new material, the single “Fear Inoculum“. And not only that, they also confirmed the release date of their long awaited album follow-up to their last album, which has been in development hell for over a decade for numerous of legal and personal reasons. The album which also bear the same name as the single is slated for released later this week.

Ever heard of TOOL? No? Then you are in a very convenient time to get yourself acquainted with the band. But beware, your mind may be blown and your perception of what music could be may be changed forever. In a good way though, trust me.

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Ch. #31 – “Woodstock and Hendrix”


As I have already mentioned and what has become a theme of several installments on this here blog already, this year spells the 50 year’s anniversary of a lot of significant things. Because looking back it turns out that a lot of, to quote the US National Recording Preservation Act of 2000 here, events that were “culturally, historically, or aesthetically significant” happened in 1969.

As for events directly related to music goes the event most people would associate with 1969 is Woodstock; the mythical music festival that took place in upstate New York that has been enshrined in our collective conscious for it’s pivotal role in the progression of popular music and for it’s cultural impact of both those who attended and those who did not alike.

If you are a regular follower of music journalistic outlets like Rolling Stone, NME, Pitchfork and so on you likely have been exposed to a number of articles the last few months talking about Woodstock. Several about the development and the ultimately unfortunate cancellation of the festival’s 50th anniversary edition, but of course also about the original festival itself.

It has been pretty inspiring lately to read all these articles with tidbits about legendary festival for some one who neither weren’t there or even was conceived at the time. Although there were many a great performer and narratives from Woodstock we could talk about, for me if I had to pick a single thing that I most associate with Woodstock it has to guitar maestro and virtuoso Jimi Hendrix.

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Ch. #30 – “Slow burners from Gothenburg”


I don’t want to be a downer, but let’s face it. The summer on this side of the globe is starting to draw against its closure. I know, I know. We don’t what to think of it because we want the summer to last forever but alas. Around these parts you can feel it in the air and sense it by the night sky that’s slowly but surely appearing earlier and earlier for each day that goes by.

What this also means musically is that the number of summer concerts left in the season is dwindling fast. In fact I was actually at one of the last shows I’m planning to attend this summer just the other day.

That’s sad. I mean that I’m running out of shows to look forward to, not what I felt about the aforementioned show. It was on the contrary quite sweet. So let’s dish about it and more so about the band in question; a little indie-rock duo from the other side of Sweden, Pale Honey.

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Ch. #29 – “Where do we separate the art from the artist?”


Yeah. That’s the question I’m going to attempt to tackle today. Or at least prod around a bit with. I don’t know, it’s a big question that I hardly think I could offer all the perspectives and even less the answers to. But it’s a topic I have thought about for a while now but balked on more than one occasion due to the gravitas and moral complexity to it that I have finally decided that I wanted to give it bash and at least offer some thoughts on it.

The context of this question how we as a society but also as individuals should pose and relate to artist and their art when the artists have or are doing something objectionable. Examples from recent months of this could be the allegations against and ongoing legal preceding around R. Kelly, the controversies around Michael Jackson that has flared-up again in the wake of the recently release documentary “Leaving Neverland” or the hullabaloo around Morissey for publicly supporting the right-wing nationalist party “For Britain”.

When an artist perform an act that is either or both an offense in the sense of the law or in the sense of morals or ethical standards it naturally compromise the character of said artist. And by compromising the artist it naturally also spills over to the work of the artist. But to what degree? Or even does it always? And what does it mean for you whom are a consumer of the work’s of said artist?

…yeah, that’s a though cookie. So harking back to my initial question and tee off of this blog entry; where do we separate the art from the artist?

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