Bäst när det gäller – Gyllene Tider’s new song is out!

Gyllene Tider together with Linnea Henriksson made the official Swedish Soccer World Cup song. “Bäst när det gäller” (Best when it counts) premiered on Nyhetsmorgon, TV4 today. Per Gessle, Micke Syd Andersson and Linnea Henriksson were on TV to talk about the song and soccer. It was also revealed that a video to the song will be shot this weekend. Cosmos Music made available an official lyrics video until then.

“Bäst när det gäller” is available digitally on the usual platforms. There will be a physical release as well, a 7″ and a 12″ vinyl single on 1st June. The 7″ version is a limited edition single, released in 500 copies. The guys are in blue jerseys on the 7″ sleeve and in yellow on the 12″ sleeve. You can pre-order the singles at Bengans or Ginza or CDON.

Tracklist for the 2-track 7″ single:

  1. Bäst när det gäller
  2. Bäst när det gäller (Instrumental)

Tracklist for the 4-track 12″ single:

  1. Bäst när det gäller
  2. Bäst när det gäller (Bridge & Mountain Remix)
  3. Bäst när det gäller (Galavant Remix)
  4. Bäst när det gäller (Instrumental)

Per says, to write the official song is of course a huge challenge and you can’t say no to that. The guys in GT were extremely proud when they were asked. Mr. G says he already had the title in his mind for a while, but now he had the reason to write the text as well. It became a little story about a couple who are the best when it counts, but also a text filled with soccer references that most recognize.

Bäst när det gäller

När vi träffades i vimlet
Det var ett hat trick att minnas
jag kom från farmarlaget
Du var populär

Du sa du älskade fotboll
Jag såg en sol igenom fönstret
hur kan man låtsas att det regnar
när du ser ut så där?

Vi är bäst när det gäller
Vi är bäst när det gäller
Vi är bäst då när allt står på spel vi är bäst då när allt kan gå fel

Liksom dårar på nätet
Gillar vi ringarna på vattnet
Vi vill att världen ska få veta
Vår karaktär (eller vad säger du, Per?)

Att aldrig tappa kontrollen
Att aldrig ta nåt med en klackspark är aldrig tvåa på bollen
När du ser på mej så där

Vi är bäst när det gäller
Vi är bäst när det gäller
Vi är bäst då när allt står på spel vi är bäst då när allt kan gå fel

© Per Gessle

 

What would you like to see among the upcoming Per Gessle merchandise?

During the past few years we all attended several tours. Roxette, Gyllene Tider, Marie Fredriksson, Per Gessle. One of the evergreen topics discussed among fans was the merchandise. There is a bunch of useful merch stuff, there are some gadgets which are good only to gather dust on a hardcore collector’s shelf and there are some which would never sell out of stock. Now, 5 months before the Per Gessle’s Roxette tour starts, we thought a poll could be an option to let your voice be heard and tell us what kind of merchandise you would happily buy during the tour. Please, vote for the ones you would definitely buy, because you find it cool, useful, a lovely thing to make you remember the tour anytime you use it or look at it. If you have any other idea to add to the list, please let us know in a comment on Facebook and we might add some more ideas to the list.

Of course, all items would ideally be printed with a PG pic or a tour logo. Regarding the T-shirts there are usually discussions about them including the tour dates or not, so there you will find two options.

Please, choose as many merch stuff as you wish, but don’t forget to choose ONLY those which you would definitely buy. This might be helpful for Mr. G’s team as well, to decide what to include. 😉

 

Which gadgets would you definitely buy? (You can choose as many as you wish.)

Exclusive interview with Per Gessle: ”Boogie shoes are allowed!”

We are all very excited about Per’s upcoming tour and also the new album. Both we at RoxBlog and fans are very curious about some details, so we put together a few questions and sent them to Mr. G after the news came out.

RXB: – Hi Per! The question was never IF, but WHEN you would hit the road again. We’ve been wondering if it’s high time for another Gyllene Tider celebration, but you first teased and now suprised us with a European tour called ”Per Gessle’s Roxette”. Would you mind telling us more about how the idea was born?

PG: – Hello! Yes, the idea came up during the rehearsals for the summer tour last year. The band sounded very special and it just occurred to me that it would be interesting to play Roxette songs with these amazing players and their instruments. I suddenly had violin, pedal steel, dobro and several  wonderful voices available. I hope my gut feeling was correct. I’ll know when we get together after the summer.

RXB: – In 2009 you were called ”the man from Roxette” in all materials, now it’s more direct, potentially better marketing-wise ”Per Gessle’s Roxette”. Some fans think it sounds quite controversial, like you would set up your own ”Roxette tribute band”. Have you hesitated choosing that name?

PG: – No, I think it’s a great name since it’s exactly what it is. This is my personal version of Roxette. I play Roxette-songs I’ve written, music that still is such a big slice of my life. In the perfect world Marie would have been by my side to sing and perform  but that won’t happen anymore. I have to live with that. You do too. The options I have are to perform the songs without her or not perform them at all. I chose the obvious one.

RXB: – In the press release it’s mentioned that this tour’s idea was ”blessed” by Marie. Have you been in discussion with her about your plans regarding this tour?

PG: – Of course.

RXB: – It’s no secret 2009 was a success music-wise with fans being positively suprised by the setlist, band and the whole atmosphere, but it was more challenging in financial terms. You even mentioned in one of the interviews that you were forced to finance the tour yourself. Has this experience influenced planning of this tour in any way?

PG: – No, I’m a musician, songwriter and an artist. My mission is to play, write and perform. Sometimes you make records that sell well and get lots of airplay and streams and you make money. Sometimes your music doesn’t work commercially.  Same with tours. You win some, you lose some. That’s the name of the game. That’s how the music biz works.

RXB: – What can a fan expect? Would that be 100% of Roxette (we still hope for your live take on ”Vulnerable” and ”A Thing About You”) or will it be more balanced setlist with songs also from your long English solo career including ”The World According to Gessle”, ”Party Crasher”, ”Son of a Plumber” and ”Small Town Talk”?

PG: – I don’t know at this point but most of the songs will most certainly be Roxette-songs. I’ll probably sneak in a couple from the new solo album as well. Time will tell.

RXB: – How would the concerts in 2018 differ from the tour in 2009 – except of you being 25-year-old this time (18 back then)?

PG: – Hahaha, I don’t know yet. Different players, different point of views.

RXB: – How final is the current tour plan? Are there any further dates in additional countries in the can?

PG: – Could be more gigs poppin’ up.

RXB: – Do you consider taking this tour outside Europe – to South America or Australia maybe?

PG: – Maybe. I’d love to play South America, Asia, Oz, South Africa, New Z, Canada and the US as well. Time will tell.

RXB: – What was your role in deciding where to play or was it all in the hands of touring agencies?

PG: – The tour is put together by Live Nation. They’re doing a great job. We all strive for the same thing; to play where it’s possible.

RXB: – Many concerts are seated. Was that your clear intention with this tour? Does it mean we get more ballads this time?

PG: – No, it’s because my audience is getting older and many of them prefer seats. If you want I’m sure you can stand up. Boogie shoes are allowed!

RXB: – In 2009 you said the ”Party Crasher Tour” was the best gift for yourself on your 50th birthday. Is the 2018 tour another self-made present for your next birthday?

PG: – No, I don’t think in those terms. Quotes like that just pop out of my mouth when I talk to the media.

RXB: – Do you consider ”Per Gessle’s Roxette” being a one-off project or something you could do in the coming years more often?

PG: – I will continue to play my Roxette-songs as long as  I can. It’s who I am and where I want to be.

RXB: – In autumn you are not only touring Europe, you also release your first English solo album in 10 years called ”Small Town Talk”. First you planned to have an English song on each of the 2 ”En vacker…” albums. Was it during the recordings when it came to your mind to rather release a ”complete” English version some time later?

PG: – I got really positive reactions from BMG Europe re the Swedish albums so I decided to go for an English version as well. The hardest part was to translate the lyrics since they’re quite personal and almost impossible for me to re-write. I got help from Sharon Vaughn out of Nashville to make new interpretations on a few of the tracks. She’s amazing and has been a big help.

RXB: – The first thing we realized when the tracklist for ”En vacker dag” was available was that the English duet was missing. Will that missing song with Jessica Sweetman see the light of day on ”Small Town Talk”?

PG: – Time will tell.

RXB: – We know already that you do a duet with Nick Lowe on the forthcoming album. Helena Josefsson is of course in the picture as well. You posted a selfie with Linnea Henriksson the other day. Does it mean there will be an English version of ”Känns som första gången”?

PG: – Time will tell.

RXB: – Which songs from the 2 Swedish albums will land on the English one?

PG: – Time will tell.

RXB: – It’s your sister on the cover of ”En vacker natt” and your mother on the sleeve of ”En vacker dag”. Will you have the same family vibe for ”Small Town Talk”?

PG: – No. STT will have little old me on the cover.

RXB: – Oh, and before we forget – any plans to release the 2017 ”En vacker kväll” tour on DVD / Blu-ray in the nearest future?

PG: – Yep, there will be an amazing DVD from the Halmstad-gig very soon. It looks and sounds great.

RXB: – And what about releasing past Roxette gigs we mentioned here several times?

PG: – Yes, there will be old Rox live shows out this year as well. No rest for the wicked.

RXB: – Thank you very much for your time and see you on tour!

PG: – Cheers.

Official Swedish Soccer World Cup song by Gyllene Tider

It’s all about sports these days. First table tennis, now soccer! Gyllene Tider together with Linnea Henriksson will make the official Swedish Soccer World Cup song. The title is “Bäst när det gäller” (Best when it counts).

Per says, to write the official song is of course a huge challenge and you can’t say no to that. The guys in GT were extremely proud when they were asked.

Mr. G says he already had the title in his mind for a while, but now he had the reason to write the text as well. It became a little story about a couple who are the best when it counts, but also a text filled with soccer references that most recognize. The song is already recorded and will be released at the end of May. The recording sessions took place mid March when Per posted a picture of himself and Linnea in the studio.

As Micke Syd says, they recorded “Bäst när det gäller” with experienced technician Stefan Boman and Christoffer Lundquist mixed it later. To the question how it sounds, Per laughs and replies ”just like when Halmia takes the lead in Örjans vall on a beautiful day”.

 

Be part of the official video to Per Gessle’s new single!

As you could see in Per Gessle’s video message, he tells the details about how to be part of the official clip to his new single, Name You Beautiful.

It’s the official song for the World Table Tennis Championship, so that’s why table tennis is involved. You can film yourself or anyone else singing along Name You Beautiful or playing ping-pong. 10 seconds are enough! Make sure you film in landscape mode, NOT in portrait! Send your video to tabletennis@gessle.com. If the file is too big to be sent in a simple e-mail, use wetransfer.com. Send your file to the pingis master until 30th March! Be creative and funny, guys and girls!

Per says he might even do a backhand himself, so fingers crossed he will also appear in the video! Maybe playing a match with Helena Josefsson? 😉

 

Per Gessle interview in Scandinavian Traveler magazine

There is a short interview with Per Gessle in the March 2018 issue of SAS Scandinavian Traveler inflight magazine. The interview was done before the Melodi Grand Prix (Norway’s entrant for the Eurovision Song Contest) appearance of Charla K with ”Stop The Music” and it still states that Per would release his new English album this spring, which we already know will happen in autumn.

Love how the intro is written by Anders Dahlbom:

”An obsession. That’s how Per Gessle describes his relationship to music. An unadulterated passion for pop music that has colored almost the entire life of this simple guy from Halmstad.”

Anders and Per talk about Mr. G’s childhood, how it all started and the funny thing is, here it’s stated it all began with the hair. When Per as a 6-year-old went to have his hair cut. The barber was a relative, Artur and he promised not to clip Mr. G’s hair that fell down over Per’s ears, but in the end, he cut the hair off. Per cried for weeks as his Beatles haircut was gone.

It wasn’t really about the hair, rather the loss of a way of identifying with the pop world. The haircut had become such an iconic symbol. I wanted to get into the pop bubble.

During his teenage years, Per tried to find his way to express himself. He tried to learn to paint, shot movies with friends and worked in a theater. At high school he made friends with another student, Peter who was a bass player in a band, Audiovisuellt Angrepp. Mr. G went to see them practice in March 1977 and he tells Scandinavian Traveler that it changed his life.

Seeing how they created music together completely changed my life. The sheer power of expression, volume and creativity. From that moment, I just wanted to play in a pop band – nothing else would do.

Mats MP Persson was the drummer in Audiovisuellt Angrepp and they quickly became good friends. They started making music together and the rest is history.

Scandinavian Traveler writes that ”the joy of playing with others has been an everpresent feature in Gessle’s music over the years, regardless of whether he is playing with old friends in Gyllene Tider, on a huge world tour with Roxette, or with a country music band as he did during last year’s solo tour. But away from this, for songwriter Gessle, music has been mostly a job for a lone wolf.”

I’m quite comfortable working alone, even if the process has become a little more different at this stage in my life. I work more with others today than before.

Anders Dahlbom and Per talk about ”Stop The Music”, the Melodi Grand Prix contestant song penned by Gessle, Alex Shield and Charla K.

I actually don’t know who submitted the song. It’s one of many songs we’d written together sending files back and forth. I really come from another, older pop school, but it’s fun, mostly because it’s possible to write in this way.

About the upcoming album Per tells Scandinavian Traveler that he has employed a similar team approach to song composing. Many of his Swedish lyrics from En vacker natt and En vacker dag have been translated by American songwriter Sharon Vaughn.

Talking about the European tour in autumn, performing songs both old and new – the joy of playing with others remains as strong today as it was back in 1977.

Many of the songs I wrote as a young man I couldn’t write today. But it’s awesome to be able to interpret them now with a new group of musicians. A pop song is never finished; it just stops at different stages.

 

Thanx a lot for keeping your eyes open and sharing your pictures of the magazine with us, Erina Kuznitsyna!

Per Gessle to tour Europe in autumn

Here is the press release announcing Per’s tour in Europe. Ticket sales start on Friday, with presales for various shows. Check your local ticket websites for more information!

Good news for European fans of Swedish super group and classic hit makers Roxette—the duo’s songwriter Per Gessle is embarking on a European tour focusing on the mighty Roxette song catalogue this autumn.

The group’s charismatic singer, Marie Fredriksson, announced her withdrawal from touring due to health problems in the spring of 2016, shortly before the release of the group’s tenth studio album, “Good Karma”.

When faced with this situation, Gessle decided to channel his energy into writing material for a Swedish solo project recorded in Nashville later that year. The recordings were made with long-time Swedish musical partners Christoffer Lundquist, Clarence Öfwerman, Anders Herrlin and Helena Josefsson, coupled with a long list of top-league American session players.

Mixing parts of the Roxette touring band with new musicians, Gessle in the summer of 2017 toured Sweden in support of the first of two mini albums from the Nashville sessions, “En vacker natt” (“A Beautiful Night”).

Violin and mandolin player Malin-My Wall, drummer Andreas Dahlbäck and Ola Gustafsson on pedal steel, mandolin and guitar added a fresh touch of Americana, which merged seamlessly with the seasoned Roxette musicians Christoffer Lundquist (guitar), Clarence Öfwerman (keyboards), Magnus Börjeson (bass) and Helena Josefsson (backing vocals).

Both the tour and the Nashville recorded album were enthusiastically received for adding new perspective and depth to Gessle’s music.

– I loved playing with this band, and then it hit me—what if we could do a similar thing dedicated to Roxette music. With Marie unable to perform, all those songs would just gather dust and I was thrilled by the idea of hearing this band performing them, Per Gessle says.

– Marie of course is irreplaceable, he adds. But she sends her blessings, and we both think that this could be a great way to keep the songs fresh by playing them with a slightly different twist in front of all those wonderful people that has been following us through the years.

Gessle emphasizes that the band is able to cover all aspects of Roxette music; from the hook-laden power-pop hits to the mighty ballads that still gets heavy rotation on classic pop radio all over the world. And he promises to dig deep in his song-vault for some surprises as well.

– Yeah, that’s really the fun part of it—I love playing the big hits like “The Look”, “Listen To Your Heart”, “It Must Have Been Love”, “Joyride” and “How Do You Do!”, but a tour like this is also a great opportunity to rediscover some of the great, but lesser played, songs and find out what we can make of them. Just wait and see…

Dubbed “Per Gessle’s Roxette”, a European tour covering ten countries kicks off in Hamburg, Germany, on October 11. An English album -“Small Town Talk”- featuring material from the Nashville sessions (including a duet with British pop maestro Nick Lowe) as well as new recordings with the touring band, will be released internationally to coincide with the tour.

The tour will include the following stops:
11.10 Hamburg, Laeiszhalle (GER)
12.10 Bryssel, Ancienne Belgique (BEL)
15.10 London, Hammersmith Apollo (GBR)
16.10 Manchester, Apollo (GBR)
18.10 Wien, Stadthalle F (AUT)
19.10 Zurich, Halle 622 (SUI)
21.10 Warszawa, Stodola (POL)
22.10 Berlin, Admiralspalast (GER)
23.10 Köln, E-Werk (GER)
25.10 Utrecht, Muziekcentrum Vredenburg (NED)
27.10 Halmstad, Halmstad Arena
3.11 Espoo, Metro Areena (FIN)
5.11 Stockholm, Waterfront
9.11 Karlstad, Löfbergs Arena
10.11 Linköping, Saab Arena
15.11 Oslo, Sentrum Scene (NOR)
16.11 Göteborg, Scandinavium.

More gigs to come!

Official song for the World Table Tennis Championship by Per Gessle

Per Gessle’s new song, Name You Beautiful is the official song for the World Table Tennis Championship in Halmstad. The song premiered on February 27th during the European Championships qualification match between Sweden and Denmark (3-1). The game was played in Halmstad Arena.

We thought this really catchy hit song would be available digitally right after its premiere, but it seems we have to wait a bit more for being able to listen to it on the usual digital platforms. The good news is that it won’t be released digitally only, but as Per informed today, there will be 500 copies of 7″ vinyl singles. Woohoo! Can’t wait for the release date! Update on 1st March: there will be 500 blue copies & 500 yellow copies. How cool is that!

Official press release in English:

Per Gessle from Roxette writes official song for the World Table Tennis Championship in Halmstad

Halmstad native Per Gessle, with a track record of 80 million albums sold worldwide, is supporting the World Table Tennis Championship in Halmstad with a song composed especially for the event that will be seen by 350 million viewers all over the world.

Over 100 nations from all corners of the globe will visit the coastal city when the LIEBHERR World Team Table Tennis Championships descends upon Halmstad Arena between April 29th and May 6th 2018. On top of experiencing world class table tennis, visitors will also be able to enjoy world famous artist Per Gessle’s music, as he is behind the official WTTC-song “Name You Beautiful”, performed together with Helena Josefsson.

– When I was asked to write the official song for the tournament I didn’t hesitate. I was really up for the challenge. I wrote it together with some other local Halmstad-musicians, namely the guys from Galavant (Sebastian Atas and Victor Sjöström). Their super talented friend Viktor Broberg also contributed. We had lots of fun, says Gessle in a statement, adding:
– The song isn’t really a net ball, more like a killer smash in the backhand corner!

Johnny Ewerstein, project manager of the 2018 WTTC, is happy and pleased that Gessle chose to contribute a song to Sweden’s biggest sporting event 2018:
– This is absolutely fantastic! Gessle is a world renowned artist, and the fact that he stems from Halmstad makes it all the more special and an honor for us as hosts. We’re very glad and grateful for this song, which fits in excellently with a sporting event of this scope and importance.

The WTTC-song will be played publicly for the first time during the European Championships qualification match between Sweden and Denmark. The game is played in Halmstad Arena on February 27th at 18.30. Entry is free of charge, so don’t miss this opportunity to combine world-class table tennis with a brand new song from Per Gessle. The song will be available shortly on both Spotify and iTunes.

LIEBHERR World Team Table Tennis Championships 2018 is held between April 29th and May 6th in Halmstad Arena. The championship will be followed by 350 million viewers from around the globe, and will be monitored from approximately 350 journalists on location. 72 men’s and 72 women’s teams from around 100 nations are participating. Hosts are the International Table Tennis Federation, the Swedish Table Tennis Association and Destination Halmstad.

Photo: Anders Roos

Per Gessle podcast interview in Framgångspodden

Alexander Pärleros wanted to do a podcast interview with Per Gessle since 3 years. Now it was time for Per to say yes and they did the interview on 21st November 2017. The whole conversation is very easy-going, Alexander is well-prepared with questions and Mr. G is as down-to-earth as usual. Hardcores will hear some new anecdotes and have to wait until the very end to get some real news – about the new album which is out in May. You can listen to the podcast HERE (no. 160 is the interview with Per) or HERE or on iTunes.

Here is my summary of the interview in English.

First there is a 2.5-minute-long talk about the podcast itself. The PG-related talk starts after it, with a mix of Per-penned song fragments and an intro about Per’s career. Per joins in at appr. 4:50 in the podcast.

Alexander asks Per how he is and Mr. G says he is a bit tired because he just came back from the US. He tells he changed publishing company, so he had a lot of work meetings, also with his American record label, as well as Sirius XM. Per tells he saw Bruce Springsteen on Broadway. Alexander asks Mr. G what he likes the most in the US. Per tells he likes New York a lot, he gets energy there; Los Angeles, Florida, Miami, South Beach. Alexander asks Per if he has ever been to Michael Jackson’s house. Per says thank God he hasn’t. Alexander asks if Per doesn’t like Michael Jackson. Mr. G says he met a lot of people who love Michael Jackson and think that he was the most important person in the world of music, but he was not the most important in Per’s world. However, he was of course fantastic, but he is not in Mr. G’s Top10.

Alexander asks who Per’s Top3 most important artists are. The Beatles are No. 1, because the music they represented is reflecting the times when Per became interested in music and their music formed Per a lot. Then there is Tom Petty, who he probably listened to the most and with Gyllene Tider they kind of became the Swedish Tom Petty and the Heartbreakers in the 70’s. Here Per mentions the story when Marie and Per were doing a TV thing in the Netherlands and Tom Petty shouted out to them from the second floor that he loved their record. Per says that after Tom Petty passed away, he got a video link from a friend in Los Angeles where Tom Petty at the end of the video mentioned the weirdest cover he had ever heard was the Swedish version of I Need To Know. It was Vill ha ett svar by Gyllene Tider. Mr. G says Tom Petty was an awesome artist, songwriter, singer and guitar player.

The third place is shared between Joni Mitchell and Leonard Cohen. They also formed Mr. G a lot with their singer-songwriter tradition and listened to them a lot in the 70’s. When Per was 13-14 years old he started writing lyrics by translating Leonard Cohen into Swedish. Per couldn’t play the guitar back then, but the first songs he learned to play on the guitar which he got from his mother were Leonard Cohen songs: Famous Blue Raincoat, Suzanne, etc. Per thinks Joni Mitchell wrote the best lyrics. She is totally fantastic.

Alexander asks Per how a typical day is for him. Mr. G says there isn’t really a typical day for him. E.g. on a day like today (when the interview was done), he has almost nothing else to do just to talk with Alexander. He woke up at 9. He has a son who goes to school so sometimes he also wakes up at 7. If they are talking about a typical year for Per, he can tell that for a third year he is in Halmstad, for a third year he is in Stockholm and for a third year he is on tour or travelling. Alexander mentions it’s interesting that Per sets an alarm clock. On a normal day Per sets the alarm clock not to sleep for so long, but when they are working in the studio it can last until 2-3 am, then one can feel he should sleep more.

Alexander asks Per what he eats for breakfast. It’s boring, he always eats the same thing: coffee with milk and 2 sandwiches. One with apricot marmalade & cheese (he starts with this one), and one with ham & mustard & chives. Then he drinks a little vitamin C, lemon flavour. Alexander asks if there is any routine for the evening. Not really, but when he is free and is at home then he shuts down the computer at 6-6.30 pm, then it’s rather family time. They eat dinner together or with friends, watch a movie.

Alexander says Per and he has a common friend, Erik Bergman and Alexander asked him what to ask from Per Gessle. He said ask him about Halloween. So Alexander is curious if Per is interested in Halloween. Per says he is not interested in it at all. Once he was there in Los Angeles when it was Halloween. There was a bizarre parade on Lincoln Road with appr. 100.000 people. Everyone went there and Per dressed as Sony Bono with a thick mustache and Åsa dressed as a police woman, she looked very cool.

Alexander asks what the difference between the everyday Per and the Per on stage is. On stage Per leaves himself out in a way, he kind of becomes someone else. It’s like there is an official and unofficial Per Gessle. Many think that what he is writing the songs about is something he went through, but it’s usually not the case. Bruce Springsteen told on his Broadway show that he became the working class voice of America, however, what he writes about is not always something he experienced. Per feels the same. He always tries to write the lyrics in a way that those who are listening think it’s trustworthy. It doesn’t mean that the text is true, just that you believe it is. Everyone interprets the songs in different ways. For example, how he interprets Leonard Cohen’s Hallelujah is different to how someone else interprets it. This is the magic of music and texts that you always find something in common with your own personality in it. Per always hears stories that people get married to his songs or get divorced to his songs (laughs) and they feel the songs are about their lives.

When Per is writing songs he tries to write as little as he can. He plays the piano or the guitar, checks the computer, but writing always depends on how he feels. When he really wants to write something, then it goes quite easy. Sometimes when he has a little music idea or a chord or a melody on his mind, he tries to find a word or a phrase that harmonizes with it. Then he starts writing the lyrics based on that one word or phrase. It’s like when you start painting a paint. You start with something little and there is more and more in the picture, maybe an environment or an abstract stuff, different colors that harmonize or not. There is no rule.

The guys are talking about Per’s childhood. Mr. G tells he was rather a lonely boy. His mother was a teacher in porcelain painting and worked a lot at home and when she was working she was quiet for hours while creating. Per liked it, the peacefulness in this process. He and Åsa are very different when it comes to listening to music. Åsa likes music being played anytime, but Per doesn’t put on music unless he listens to it actively. He likes silence otherwise, being in his own bubble. Per likes old Amercian country music more, Åsa likes dance bands more. When they are driving, Åsa always turns the radio on, Per turns the radio off. When they are in the same car, Åsa always wins.

Alexander asks Per what he thinks the secret of their long and happy relationship with Åsa is. Per says they have been on the journey always together. Åsa was working in the travel industry, so when Roxette broke through she organized everything related to their travelling. She was always there with him during Roxette’s busiest years, 1988-1995. They couldn’t really meet if it weren’t so. They have a lot of experience together and they are each other’s best friends. Åsa and Per met in a disco in Halmstad. Per was there to date with another girl who was going out with another guy back then. Åsa knew that girl and tried to help that girl and Per meet in secret, so organized a date for them in her house. Per in the middle of the date got more interested in Åsa. Per was 24-25 years old then, Åsa was 23. It was during the times when Gyllene Tider was over and Mr. G’s career was down. He had no record contract, he was writing songs for others. He had no money at all. Actually, he and the guys came from the 70’s, everyone was unemployed and they didn’t earn that much money. If they earned 10.000 SEK a month they felt like Scrooge McDuck, it was much, because otherwise they didn’t earn anything.

Per tells he left his mother’s house quite late, when he was 21-22 years old. He bought an apartment and his mother’s old car, an orange Passat. After they broke through with Gyllene Tider he started buying stuff for the apartment, 2 Andy Warhol paintings on Mick Jagger (it cost nothing back then and he still has them). He bought instruments, guitars and stuff. He bought a Prophet-5 synth that cost 34.000 SEK. It was a lot of money, but its value went up and now it’s vintage so it is worth probably even more.

Mr. G tells the story of getting thousands of letters when they broke through with GT and that fans stole the laundry on dry. They stole everything movable as a souvenir. It was the same when Roxette broke through. It was even bigger in a way, because it was international. When they played in Buenos Aires for example, in 1991 there were 1000-1500 people in front of the hotel and they were singing Roxette songs all night long. It was Formula-1 season and there was a Grand Prix at the same weekend. The drivers stayed at the same hotel and Per met David Coulthard who said they couldn’t sleep because of the singing. Those times were hysterical, mainly in South America.

Per tells there weren’t any extreme problems, they always had very good security teams. What he remembers being an extreme weird thing was when Gabriel was born in Karolinska Institute in Stockholm and one of the tabloids that wanted to have the first pictures of Gabriel went in to the floor where Åsa was. The woman had flowers and told he was a relative. The same tabloid hired a helicopter and was doing rounds above Per’s house in Halmstad, to be able to take pictures. It was in 1997.

Per says if you work in the music business, one of the keys to success is that you become famous. That people can listen to your music and buy tickets for your concerts. When he is talking about the above mentioned things he is not whining. These are facts that go along with being famous. One learns to live with that.

Alexander mentions that Per wrote a song while he was weighing mushrooms and asks if it’s a success tip to weigh mushrooms to be able to write a song. Per says he actually wrote that song, (Dansar inte lika bra som) Sjömän while he was waiting for being able to weigh mushrooms. They had 45-minute-long breaks. Per says there is a good idiom, that you have to sleep on it, so you don’t finish things spontaneously. He thinks it’s a good rule. It’s good to write a song and then get back to it a bit later after you were doing something else. So there are different stages of creating. When Per sits down and writes, he has his phone at hand and he records what he plays. So later he can check where he did a mistake. Maybe that mistake becomes the hook of a song. Same when he is writing lyrics. He sits in his own creative bubble, he is writing and writing and then gets back to the text some time later. Writing a song is a long process, it takes time until a song becomes something that people listen to, there are a lot of filters before it gets ready. When you want to record an album you maybe have 30 songs, but in the end it’s only 14 that makes it into the album. You say bye to some songs because they might be too identical or similar to others you recorded before or the lyrics aren’t good enough.

Alexander asks how Per met Marie. Per tells they met in a rehearsal studio in Halmstad in the 70’s. Gyllene Tider and Marie’s band, Strul were rehearsing at the same place. Marie was singing in that band and played piano and his boyfriend, Martin was also in the band. Marie was fantastic. They became good friends. Marie was singing on Gyllene Tider’s song Ingenting av vad du behöver on Schlager’s new year’s single in 1981 and then on TV, Vandrar i ett sommarregn in 1982. She went on tour with GT in 1984 and was doing backing vocals with another girl. They were always thinking of doing something together and make it international. Per’s career was down, but Marie’s was on a high. She got an EMI record contract and made a second solo album. Then they decided to make a song in English. It was Neverending Love. Per wrote it originally for Pernilla Wahlgren, it was called Svarta glas in Swedish. Pernilla never recorded it and Rolf Nygren, the boss at EMI suggested Per to write English lyrics to it and record it with Marie, because it was a fantastic song. So they did. It became a big summer hit in 1986 in Sweden. No one wanted to have it abroad. As Per didn’t have a record contract and he had written songs for a solo album, he started translating the lyrics into English and that became Roxette’s first album, Pearls of Passion. Alexander asks if Per felt he was good at English texts. Per says he doesn’t know, but he was growing up with English lyrics and he learned English via pop music and English music magazines. Maybe they could have won more if they had a better lyricist, but they didn’t know anyone who was better. He also tells that Roxette’s peculiarity vs. any other international artist back then was that everything was homegrown, they did everything in their own way. It was Per’s songs, Marie’s singing, recorded in Stockholm with Swedish musicians. Even if they went to the US quite some times, they never wanted to move there. Their first US No. 1 happened in April 1989. Alexander asks Per when he really felt that they broke through. Mr. G says it was when Tom Petty shouted. Haha. Alexander asks when he felt for the first time that it can really become something global. Per says there wasn’t an exact occasion when he felt so. One of the last songs they recorded for Look Sharp! was The Look. They felt it was awesome and the whole album was very strong. He remembers he told Marie if they succeed with one of the songs on that album then they would have some good years. There are The Look, Listen To Your Heart, Dangerous and Dressed For Success on that album, 4 huge hits.

The guys start talking about It Must Have Been Love and Pretty Woman. Their German record label told them to record a Christmas song, so Per wrote It Must Have Been Love (Christmas for the Broken Hearted). It became a Christmas hit in Sweden 1987, but the Germans didn’t want it. Marie released Efter stormen, Per started writing songs which later were recorded for Look Sharp! Then they broke through in the US and were having lunch with their record company in Los Angeles. The record label said they signed a contract for a soundtrack to a movie then called 3000 Dollars. Julia Roberts was to debute in that movie and it was a comeback for Richard Gere. They said it was a low budget movie. They also signed David Bowie and a new version of Fame was to appear in the soundtrack. They also wanted Per to write a song for that movie. They were travelling a lot with Roxette, so he didn’t have the time to write a song, but he said he has a Christmas song that Marie sings beautifully and he can re-write the text and take away the Christmas reference in it. So Christmas day became winter’s day. Then they partly re-recorded the song and sent it to Garry Marshall, director of the movie. Per and Marie were already working on the Joyride album when they got a call in the studio in Stockholm. It was Garry Marshall himself who called Per to tell him he loved the song so much he even re-edited the movie, because he didn’t want any dialogue during the song being played. He wanted the song to speak for itself. Some months later they screened the movie for Marie and Per in Burbank. Per says he never met Julia Roberts or Richard Gere though. Mr. G tells thanks to It Must Have Been Love’s success they won half a year before Joyride was released. Someone told Per he could have won an Oscar with IMHBL, but it couldn’t have happened, because the song wasn’t originally written for the movie.

Alexander and Per talk about Roxette’s record label. Per says they had a mediocre record label in the US. EMI was very good in Germany, Australia and Canada. Later EMI got sold and the new company was more into grunge music, like Nirvana in 1993. Mr. G says one can’t do such a journey as theirs without fuck-ups.

Per says he always liked working under pressure, with deadlines and such, but when he is looking at his old books and sees what life they lived, he is surprised how it could work. Alexander asks if they drank a lot. Per says no, they have never been that much of party animals in that sense. They were quite job-oriented and civilized. They were travelling a lot, touring a lot, doing hundreds of interviews. On tour the name of the city they did the show in was always written in front of them to know what to say to the crowd, where they performed. But sometimes shit happened and for example when they were in Santiago they read San Diego.

Alexander mentions that a listener asked a question. The guy worked at MegaStore, a record shop in Sergles torg, Stockholm. He says Per went there often and bought a lot of things, but wanted a discount of 15%. Per says it’s not true at all. He has never bought records there and why should he get a discount. It’s so much not him.

Alexander asks which Per thinks are the 3 best Roxette songs. Per says it’s difficult to say, but he likes Queen of Rain, The Look, What’s She Like? on which Marie sings fantastically. She always sings fantastically, but here she is outstanding. The 3 best GT songs are Juni, juli, augusti, (Dansar inte lika bra som) Sjömän, Honung och guld.

The guys are talking about the fact that Per’s mother, sister and brother passed away in 3 years. It was tough. His brother died of lung cancer, his mother got a heart attack and his sister died of cancer too. Alexander mentions Per’s father also died of cancer. Per says he doesn’t think too much about death, but of course he is aware that time goes by and the older you get the more important time becomes. Alexander asks what tips Per would have for a 20-year-old, like his son or anyone else. Per says if he looks back at himself at that age, his father died when he was 19, but he got a lot of support from his mum. She always let him follow his gut feeling. Mr. G says he tries to help Gabriel find out who he is, what he is motivated by. The worst thing parents can do is to force their children what to become: you’ll be a doctor, you’ll be this or that. It’s clear that not everyone can become Zlatan for example, but you have to start a discussion and support them. Per says he is very lucky that he can do what he loves. Alexander asks what’s the key to success to release hit after hit. Per says he doesn’t think about it, that there is a key. He is often asked how to write a hit, but there is no trick in it. He has this musical capacity, which doesn’t mean he is a good musician or singer. He thinks he is very good at finding the right people to work with and via them he becomes better. He is also good at motivating them so those who he works with become better too. Per thinks for example that Marie gives her best when she is working with him, but it’s subjective. Most of the relationships, even in Per’s working life last long. He’s been  working with Clarence Öfwerman since 1986, he has the same business management since 1980, same management since 1985, Live Nation since 1982. He is proud that both the people around him and he himself still have the motivation to work together after so long years. But how the songs become hits, he doesn’t know. Mr. G says he always wants to maximize the potential of everything. Why should one be satisfied with being great in Halmstad if he can become the greatest in Sweden? Or in the world. Per doesn’t rate himself being nearly as good songwriter as Lennon-McCartney or Tom Petty or Burt Bacharach, but it’s not a contest anyway. It’s about maximizing what you can do.

In the interview Per tells he is about to release a live album before Christmas and a tour photo book (photographed by Anders Roos) as well. Mr. G says he released 2 Swedish albums in 2017, En vacker natt and En vacker dag. Now he has finished translating on of the albums into English. It will be released in spring 2018. For that album he recorded 3 new songs. There are other plans too, but he can’t talk about them yet. It will be busy, busy, busy.

The last questions are coming. Alexander asks Per if he could recommend a good documentary. Mr. G says he has just seen a good one on Netflix, Danny Says about Danny Fields. He worked for Elektra Records when it was an exciting period in the music industry. He worked with The Ramones. Regarding a good book, Per says he is reading mainly biographies. Now he is reading Robbie Robertson, a book about albums recorded in 1971. For a nerd like him, it’s a great book about a fascinating year in music.

Alexander asks Per to tell a tip to become successful. One should follow his gut feeling as much as possible, but it is also important to find what you are really burning for. Once you find it, you will succeed. Regarding money, Per says if you are working in a creative process, you always have to prioritize creativity. If money comes along, it’s an extra.

Alexander asks Per who he thinks he should do an interview with. Per says it’s a difficult question. It’s always fun to hear Ulf Lundell in an interview, so good luck with catching up with him.

At the end of the interview Alexander asks how someone can get into contact with Per. Mr. G says one can follow him on Twitter or on Facebook and listen to him on Spotify.

 

Pictures of Alexander and Per during the interview: 1; 2;

 

Per Gessle at the Nordic Choice Hotels Award Dinner

Nordic Choice Hotels had their Award Dinner at Globen in Stockholm last night (21st January, 2018). It was a huge corporate event and the artists performing were chosen from the 1990s. After Dr. Alban and Snap, the main act was Per Gessle with his summer tour band. They performed Gå & fiska!, It Must Have Been Love, Joyride, The Look and Sommartider (maybe other songs too, but so far these are the songs we know about). Hopefully, it won’t be a year of corporate gigs only. 😉 At least THIS corporate show had a party hard, dancing crowd, consisting of 3000 people.

Instapics from the event: 1; 2; 3; 4;

Instavids:
Gå & fiska!: 1; 2; 3;
It Must Have Been Love: 1;
Joyride: 1; 2;
The Look: 1; 2; 3; 4; 5; 6; 7; 8;
Sommartider: 1;

Video still is from Susanne Ekroth’s instavideo

 

Charla K to compete with a song co-written with Per Gessle

Charla K’s name probably sounds familiar to Per Gessle’s fans, because she was signed by Per’s record label, Space Station 12 and together with Alex Shield she also performed as support act to Per Gessle on Mr. G’s summer tour last year.

Now she is among the ten finalists competing in the Norwegian national selection for the Eurovision Song Contest. Charlotte Kjær (29) is from Tønsberg and currently lives in Stockholm, Sweden. In 2009, she participated in X Factor Norway as part of the group Shackles. In 2013 the group participated in Melodi Grand Prix as a duo. Charla K’s first single was “Should’a Let Me Go“, written together with Alex Shield and Sharon Vaughn. This year, she co-wrote Stamina for Anastacia’s new album.

In 2018, Charla K competes with a song written together with Alex Shield and none other than Per Gessle. “Charlotte is a natural talent who has that unique skill that you listen to her whatever she is singing!” says Per in today’s press release. “Charla K writes songs as well, Stop The Music is a fantastic creation she composed together with Alex Shield. I’m both proud and happy to have written the text. And suddenly we all ended up in Norway. And on Melodifestivalen. Life is full of surprises! Incredibly fun,” says Per.

Charla K is excited to stand on the scene of Oslo Spektrum and perform the song “Stop The Music” on March 10, 2018. “It’s great for me to be one of ten selected artists who get the chance to participate in one of the year’s greatest , most important and most influential music contests – MGP,” she says.

Stop The Music” was chosen out of almost 1200 songs and that is a record for the competition in Norway.

In the 1980’s, Per Gessle already took part in Melodifestivalen as a songwriter. First in 1980, when Lasse Lindbom performed “För dina bruna ögons skull”, the song ended up at the 10th position. In 1986 Lena Philipsson competed with “Kärleken är evig” (lyrics written by PG) and ended up at the second place.

Fingers crossed for Charla K that she wins the contest in Norway, so we can all support her on the ESC later! Listen to the song HERE!

Photos by Karin Törnblom taken at Space Station 12’s anniversary party 2017

 

Gessle enligt Gessle – the English summary – Part 2

Part 2 of TV4’s documentary, Gessle enligt Gessle contains a lot of talking about Roxette, footage of Per’s Nashville adventure, including the photo session with Anton Corbijn and also the funniest anecdote of Per and Åsa’s first meeting with Paul McCartney. Of course, Part 2 also contains footage from the Halmstad gig of Per’s En vacker kväll tour.

In case you missed the summary of Part 1, check it out HERE! Watch Part 1 and Part 2 on TV4’s website if you are in Sweden or Part 1 and Part 2 on YouTube if you are anywhere else in the world.

Here is my summary in English of Part 2. All stills are from Part 2.

In the intro Niklas tells that so far he got to know a lot about Per’s upbringing, his guitars, how to wake up a patient in coma, the break-up and if he helps in the kitchen. But he still had many questions. How could he manage being world famous? How low can one hold a guitar? Who has the firmest ass, Per or Paul McCartney? Will there be anything with Roxette again?

STUDIO (Skärmarbrink)

Niklas says he was about 30 when he came by “The Look” and he starts playing the riff. Per immediately says Jonas Isacsson. When they recorded the song, it was built very much on Per’s demo with the sequencer base and all, but they didn’t have the riff then. They asked Jonas to play something George Harrisonish on the guitar. Something in “Taxman” style or “I Want To Tell You”. The Revolver-George Harrison. Jonas came up with different suggestions including this riff.

Niklas starts reading the Swedish translation of the lyrics of “The Look”: Eld i isen, naken intill T-benet, en älskares förklädnad, banka på huvudtrumman, skaka som en galen tjur, hon har utseendet.

Per laughs and Niklas asks if he can recognize it. He states it wouldn’t have been too easy to come up with this text in Swedish. Niklas says he would probably change the last line to hon har ett lok instead of hon har utseendet. The lyrics are very special. It’s a nonsense text. Per wrote “The Look” to learn how to program his new synth, an Ensoniq ESQ-1. The first song he wrote on it was “The Look”. A 3-chord hit inspired by ZZ Top. They were big then. Then Per came to that half-rapping text.  “Walking like a man, hitting like a hammer, she’s a juvenile scam.” That rhythm became the whole song in some way. Mr. G put together a nonsense text to remember the rhythm. When he tried to write a real text, he felt he could not. He swapped out some words in the nonsense text and gave it some kind of logic. Niklas asks if there is any logic in the text. Per says there is, some kind of tumultuous experience of love. He thought there was a certain “I Am The Walrus” feeling about it. Like “Goo goo g’joob”. There is almost no real logic, but that’s what makes it exciting. When “The Look” became a hit all over the world, it was said in the English-speaking countries that no English-speaking person would have been able to write that text. But it was to Roxette’s advantage and to the advantage of the song. It stands out.

Per’s demo to “The Look” is called “He’s Got The Look”. It was supposed to be sung by Marie, but when she started singing, she felt that it was not for her. She couldn’t identify with it. Almost all the songs Per has written for Roxette he had written for Marie to sing them. The songs Per sings are those Marie didn’t want to sing. At the same time there were more regular duets like “The Big L” written for two to sing.

Niklas says the first real Roxette hit was a coincidence, it wasn’t meant for Roxette. Per says it’s true. There was an ambition that Marie and Per had talked about for many years, to do something together. But what that would be, they didn’t know. Per had written a song to Pernilla Wahlgren called “Svarta glas”. But she never recorded it. Per’s demo circulated a bit and then one day Per bumped into the head of EMI, Roffe Nygren at the EMI office and then he said how good “Svarta glas” is. “Write an English text and record it with Marie, so you have the song you’ve been talking about to do with Marie for all these years.” So Per did it and presented it to Marie. They made a duet that became the summer hit in 1986.

Per had started talking about making his third Swedish solo album, but EMI was not interested, so he had no record company. But Per had met Clarence Öfwerman who would produce the “possible” record. So he produced “Neverending Love”. It became such a big success that they recorded the first Roxette album.

Niklas has 11 questions about when “The Look” became No. 1 in the US. First of all, he is interested in how Per found it out. Mr. G says he was in Halmstad and someone called. Probably Thomas Erdtman as they worked with him since a few months. He jokes he has so many No. 1s, that’s why he can’t remember exactly. Marie Dimberg and someone from EMI went to Café Opera and celebrated in the evening but Per wasn’t there.

Niklas asks if Per remembers what he was wearing. Per says of course not. But Hallandsposten took pictures and on the photos he is wearing an ugly dotted shirt.

Next question is whom Per called first. Per says probably Marie. Niklas says it must have been totally crazy. What did Per do in the evening? He was sitting at home and watched Rapport (the news) on TV. As usual. Niklas asks what happened the next evening, where did they go. Per says there was a big press conference in Grand Hotel. Niklas asks what they were drinking. Per replies he doesn’t know, but probably champagne. Niklas asks who paid the bill. Per doesn’t know, but it was certainly their record company. Niklas asks if they stayed there long. Per says certainly and asks Niklas if he was there too. Niklas thinks he wasn’t there.

Per tells Marie and he were never together when any of their songs became No. 1. “Listen To Your Heart” was the second one. Then Per was in Halmstad again and they talked on the phone. When the third song, “It Must Have Been Love” became No. 1, Per sat with Jonathan Green at EMI in England. Per called and checked if they stayed No. 1 for one more week. They did. When “Joyride” became No. 1, Mr. G was in Paris.

Per asks who has come up with these smart questions. Niklas replies it was him.

Niklas is sitting and talking to Per Gessle in the old EMI studio in Skärmarbrink, outside of Stockholm. They are talking about Roxette’s huge success. Niklas is curious about how one can handle this success. Per says they were of course a bit shocked by the success. At the same time, they were a bit older. Marie was 30 and Per 29 when it happened. They already had some experience, but they had no classical management that guided them. They did a lot of weird stuff. E.g. they went around and sang playback for radio stations and their guests. Playback in the radio is fun, haha. They didn’t know how it worked and they felt it was not what they wanted. Eventually, their experience and being good live were something that differentiated them from their competitors at the time. Milli Vanilli, for example. Niklas asks if Milli Vanilli was their worst competitor. Per says there was Paula Abdul, Richard Marx and The Bangles. They were quite OK live too, but Marie was a wonderful singer. Roxette’s record company abroad, also in the United States, was convinced that Roxette was a one-hit-wonder. A Swedish band in 1989. But when they came with their third single the record company loved it. It was “Listen To Your Heart”, which also became No. 1. Then the door was open. Then came “Dangerous” that was 2nd on the charts. Then came “It Must Have Been Love”.

Per tells a story when he was in New York at the Apollo Theater. He got the invitation from his friend, Scott Greenstein who is the head of Sirius XM satellite radio in the US, having 70 million subscribers. Sirius had a concert for Paul McCartney. Åsa and Per went there since Scott had fixed tickets and only celebrities were there. Per sat here, Åsa, Keith Richards, Ronnie Wood, Tony Bennett, Jerry Seinfeld and Paul Simon. Then Scott asked if they wanted to meet Paul. “Sure. I’ve never met Paul McCartney, it would be fun”, said Per. He, Åsa and DJ Howard Stern, who also worked with Sirius, they went in the greenroom to greet Paul McCartney. They walked in and talked a bit and suddenly Paul appeared in his Beatles suit, with his thumbs up. “Fancy a picture, anyone?” Sure. Per stood there, Åsa stood in the middle, Paul on the other side and there was a photographer too. Suddenly, Per felt a hand on his ass. He thought, huh? “Hope it’s Åsa.” Then there was nothing more about it. “Break a leg”. Good to see you. And when they left, Per asked Åsa: “Did you put your hand on my ass?” “Yes. I put my hand on your ass and my other hand on Paul’s to see who had the coolest ass.” Paul had it. Haha. Per says: “Isn’t that cute? My wife in a nutshell. His ass was much firmer, she said.”

 

Niklas introduces the next part by telling in September 2002, Roxette was booked for a press conference before “Night of the Proms”. A huge music event that was going to become a European tour. Roxette would have been the main act. Per was on his way to the airport when their manager, Marie Dimberg called him and said that Marie Fredriksson had collapsed at home in the bathroom. It turned out she suffered from a brain tumor and that was the beginning of a long break for Roxette. Marie eventually became healthy and Roxette came back. In 2011, Per and Marie went on a successful  world tour seen by 1.5 million people in 46 countries. From June 2016, the duo was booked for a major European tour, but Marie had to cancel it for health reasons just two months before the premiere gig. Niklas asks Per how did it feel. Per says Marie made the right decision. She felt it was time to quit and Per respects it to 110%. But at the same time it felt like an end.

Niklas asks if there will be more records or tours with Roxette. Per says tours for sure not, but records… he doesn’t know. He doesn’t think so. It’s hard to make records. There must be a reason for it. Per tries to think positively though. They have had so many amazing things with Roxette. Songs, recordings and concerts. It feels great to carry it in your luggage.

Niklas says when Roxette was put on ice, Per started writing in Swedish again. Something that was originally thought to be a project for Gyllene Tider, but became Per’s solo album, “Mazarin”. Per says in the ‘80s he felt he had reached as far as he could and then it was really nice to start working in English. When he went back to Swedish and wrote “Mazarin” in 2002 it was an incredible kick, because he had not done it for so long.

Including hits like “Tycker om när du tar på mig” and “Här kommer alla känslorna på en och samma gång”, the album became a big success in Sweden. Per says he didn’t want to release any singles from the album. He had worked so long with singles in mind regarding Roxette. Ironically, one of his biggest singles ever was “Här kommer alla känslorna på en och samma gång”. For a while, he wouldn’t even want to have it on the album. It was too much pastiche and it had no real refrain.

Roxette’s career is full of success, No. 1’s, world tours and strange interviews. Niklas is curious about how Per looks back on those times. Per says one of the biggest kicks was when they were doing a TV thing in the Netherlands. There was a guy who stood and screamed from the second floor of a courtyard of a hotel. He shouted: “I love your record!” It was Tom Petty. Then Per thought: “Shit, this is…” Niklas says it must have been awesome and asks for more stories.

Per talks about their tour in South America 1991, no it was 1992. Nobody wanted to play in South America. There was recession and no one was paid. Everyone cancelled their shows, Madonna, Guns N’ Roses, Michael Jackson. If you go to South America, you do it because it’s fun. Roxette thought it’s much fun, so they went there and played. They were planned to play in not too big venues, for 4-5000 people, but when they got there everything exploded for them. They played in 16 football stadiums instead. For 65000 people in São Paulo, 55000 in Santiago and 50000 twice in Buenos Aires. Niklas says they are still crazy in Argentina. Per says it has always been a great place for Roxette. Niklas says probably because they didn’t cancel their shows. Per says they really show what they feel. It’s much fun to play there. They don’t care that Roxette is not from England or the US, they are just music for them.

Niklas tells Per’s inspiration and motivation must have been on top mainly after the first US No. 1. Per says it’s clear that you get a huge self-confidence of success. They knew that it was a very good album. There were many songs on it and Per told Marie: “If we are lucky to get through with one of the songs, we have a good future because we have so many songs that are good.” Per was triggered by success. That was something very different between Marie and Per. Marie was often quite happy with their success, but Per never was. He always wanted more. When it was the worst in the ’90s, they did 1800 interviews in 8 months, around the world. At the same time Per wrote the “Joyride” album. It sounds like it was very hard but it was easy because Per was so terribly motivated. He just wanted to move forward. Niklas asks Per if he ever stopeed. Per says he is not that type. He always wants it to work and get as big as possible. Niklas says Per also wants to decide, he wants to control. Per says indeed, sometimes. Niklas asks if it has ever been a problem in Roxette. Per says it’s hard for him to answer. He has never experienced it as a problem. He’s always been interested in the music industry, how it works and all the craziness that goes on while Marie has never really been into it. She loves to be on stage, sing and develop her musicality. So Per always got more space in a Roxette project.

Niklas says he can get tired of his music. He can feel he is so predictable playing his usual chords, G, C, D, E minor, C and then Am7 like some kind of Italian salad spice. He is curious if Per ever gets tired of his own melodies. Mr. G says that’s why he tries to write as little as possible. If he gets an idea that he thinks is exciting, he can sit at the piano and play in a tone that he doesn’t feel comfortable with. For example, E flat minor or something, so he knows he’ll make a mistake. Within 10 seconds he makes a fool of himself. He is fooling his own mind and he records it, because it often happens that he can’t repeat it if it’s not on tape.

Niklas says his theory is that the best songs are written very fast. Per says the best songs are in A. All Motörhead songs are in A. Niklas says AC / DC songs are in A too. Per says the best ideas, the essence of a good song come fast. Often there is something that is the soul of a song. It can be the hook, or a rhythm that is the essence of the song. It usually comes very fast, but everything else doesn’t have to go fast. If Per is stuck or if he doesn’t think it’s good enough, he’ll leave it or throw it away.

Here comes a little footage from the photo session with Anton Corbijn in Nashville and then Niklas asks Per about being on stage. Per says he has never really felt comfortable on stage until the last few years. It has always been difficult to be on stage, because he is not good at it. They should have had more time for that with Gyllene Tider, but they had done six gigs in front of people before they became No. 1 on the charts. Per has learned it the hard way, doing hundreds of gigs to see what works and what doesn’t. Today he feels comfortable on stage. One should think as little as possible and try to be as natural as possible. Now that he is getting close to 60, it has been a long journey, maybe now he starts to understand how it works.

Niklas asks Per how low can he have a guitar hanging and if it goes up with the age. Per says it does. In his case, he started holding it higher in 1996 when he had a slipped disc because his whole body was crooked. The doctor said Mr. G should raise the guitar 10 centimeters higher. I was doing this on my head.

Niklas asks Per how good he is as a guitarist. Per says on a 10-point scale he is still only 3. He says he sounds best on acoustic guitar and when he plays alone, without a plectrum, with his fingers. He shows how it goes and starts playing “Småstadsprat”.

The guys are talking about titles. Per says a title he likes triggers his imagination to become a story. Niklas asks how Per finds the titles. Mr. G says it can be something a taxi driver says, an article in a newspaper… “Flickan i en Cole Porter-sång” is from a movie. “I want that girl in a Cole Porter song”, says Jack Lemmon in “Save the Tiger”. Per has always had an archive of titles. Everything from “How Do You Do!” or “Small Talk” to “Listen To Your Heart”. All those songs started with a title. Mr. G says if you look at the song titles on Spotify’s top 50 list, it’s all bad titles. They don’t give anything. Per always tries to avoid the anonymous. In pop or rock music format, anonymity is the worst to be used. You only have three minutes to be ready with a song. You need to make it packed so it grabs attention all the time. A catchy refrain, great production, the intro… It shouldn’t be too tedious, nor too ineffective.

Here comes a little Nashville footage again.

HOTEL TYLÖSAND

Niklas asks Per if he can feel that kind of strong emotion in the studio when what they record becomes so good so that you start crying. Per says it happens. Those are the moments you are in the studio for. The creative process must have a goal and a purpose. It’s to feel that what you’re recording is good. Sometimes when Per has written a song or text and it’s been a while, and then he reads it or listens to it again, he can’t remember that he has written it. He can’t understand how it became the result. It’s recorded, it’s there in the song or the music, but he doesn’t really know how it all resulted in it. It lives its own life.

Here comes a little Nashville footage again. Niklas says, for many years, Per has recorded his solo albums in Christoffer Lundquist’s studio in Skåne. When it was about to record again a year ago, it became Nashville instead. It resulted in two new albums, “En vacker natt” and “En vacker dag”. Niklas asks Per if it was as much fun in Nashville as one could think it is. Per says  there is very much music. The first week they concentrated a lot on the recordings. The second week they started to go out to have dinner and go to clubs. There are so many. Acoustic clubs where three undiscovered talents play every night and everyone sits there and they think and drink beer. Of course, the music culture characterizes the whole town. Per wanted it to be a very personal record. His heart was heavy and maybe it was partly because his whole family died. His mother, brother and sister.

TYLÖSAND BEACH

Niklas asks how Per handles his loss, losing his mother, brother and sister in a very short time. Mr. G thinks it’s a tough question. In both his mother’s and sister’s case, they were sick for a very long time, so he had kind of time to prepare himself. But it’s hard of course, when it suddenly happens. Shit, they are no longer there. But time is healing.

HOTEL TYLÖSAND

Per wanted to make a record about how he felt at that time. The album is not really about it, but it has put a color and a tone on the entire recording. Per wanted to go somewhere else and they talked about England and France. But then someone came up with Nashville and it wasn’t a stupid idea after all. He liked it. He thought then he could make an even bigger change using local musicians. The Nashville sound fit him pretty well with pedal steel and violin and so on. It’s close to the singer / songwriter tradition Per has always loved.

Niklas asks if the American musicians thought it was good. Per thinks so. He was afraid they would think he came in with some kind of division 2 country songs. But it wasn’t the case. They were there for a few days, so they became friends. Then Per told them he was a bit afraid, since they had worked with Dolly Parton, Linda Ronstadt, Willie Nelson and all the amazing people. They liked it very much. It is noticeable on their part. Stuart Duncan is dancing ballet on his violin. Stuart Duncan, what a guy!

STUDIO (Skärmarbrink)

Niklas tells Per worked together with Lars Winnerbäck, who is both there on the album and was a guest artist on Per’s tour. Niklas is curious about why it became Lars Winnerbäck. Per says he met Lasse at a concert he played. He is a nice guy. Then Mr. G saw him in Niklas’ program on TV where he played a Gyllene Tider song. They became friends, he is really a lovely guy. Per immediately thought of him.

Per is so used to writing either for Marie or for singing duets with her. You usually interpret a duet like a guy and a girl singing to each other. Per didn’t write “Småstadsprat” as a duet. But when two guys sing a duet, then they don’t sing to each other. They are singing about the same thing. Lyrically, it becomes quite exciting when two guys are singing.

TYLÖSAND BEACH

Everything Per has done has made him a different person. Sometimes it feels like he has just begun. He wants to do more stuff, he is always looking for something, he always has stuff going on. It’s very much him in a way.

 

 

Thanx a lot for the technical support, János Tóth!

Gessle enligt Gessle – the English summary – Part 1

Gessle enligt Gessle (Gessle according to Gessle) is a 2-part documentary on Per Gessle, covering the story of his early life, musical career including Gyllene Tider, Roxette, solo, songwriting and his En vacker kväll tour. The docu was recorded during the summer tour and in September and it was broadcast on 18th-19th December on TV4.

Why this documentary is different to most of those we could see in the Roxette World is that it’s Niklas Strömstedt, well-known musician and a good old friend to Per who is doing a long interview with Mr. G. Niklas and Per know each other since long and Niklas has always respected Per, his creativity and ability to write music. You can feel this admiration during the whole docu. The program is very natural, 2 friends talking about their passion, i.e. music. Per said Niklas asked questions in the documentary as a friend, as another musician, so it was indeed different vs. previous docus.

After seeing this documentary, recorded by Grumpy Productions (the same company that recorded the latest GT DVD), covering a lot from the summer tour as well, one doesn’t really need a separate tour DVD. But if a decision is made to release the Halmstad concert one day, we will of course be very happy about it.

A real hardcore fan won’t hear too much new information, but there are a few new anecdotes and the structure and the mood of the whole docu is just perfect. The interview is nicely interrupted by footage from the EVK concert in Halmstad. All in all, it’s very enjoyable and a real delight to all fans.

Watch Part 1 and Part 2 on TV4’s website if you are in Sweden or Part 1 and Part 2 on YouTube if you are anywhere else in the world.

Here is my summary in English of Part 1. You’ll see the ”chapters” according to the places where the actual scenes were recorded. (Part 2 summary comes soon.) All stills are from Part 1.

TYLÖSAND BEACH

After a short tour scene, we can see beautiful Tylösand, Per and Niklas are walking along the beach and Per starts talking. He says he likes Halmstad, he likes being there. He has been travelling a lot ever since Roxette broke through, but he always has to come back to Halmstad to breathe out. It’s a special feeling. Besides that, his mum was there, MP’s studio is there. He just belongs to Halmstad and Halmstad belongs to him.

Niklas tells he has known Per Gessle since appr. 40 years. First time they met was on a chilly Tuesday in August 1979 at the EMI studio in Stockholm. They have occasionally written songs and played together. Niklas has a great respect for Per’s creativity, artistry and his ability to create hits.

They talk after Per came back from Nashville and was on a successful tour from Piteå to Helsingborg.

While walking at the beach, Per says the first thing he is thinking of when he wakes up in the morning is having the job done. And it’s music. Niklas is kidding and says not like others of their age to be thinking: “It doesn’t hurt so much today.” Per takes it for granted that it doesn’t hurt, fortunately. He says you look at the emails and what has happened during the night, there are always things to do and it always has to do with music in some way.

Niklas feels it’s time to dig deeper in Per’s upbringing and amazing career. It’s more than 40 years since Per conquered Sweden and a bit later the world with his music. Niklas knows for example that Per sold 85 million albums, but he still has tons of questions. E.g. how he celebrated his first Billboard No. 1, if he helps at home, how he felt when Gyllene Tider split, what happens inside when one loses his closest.

Niklas asks Per if he ever rests. Per says he does. He doesn’t work as much as it seems. He is not sitting at the piano between 10 and 12 each day. He doesn’t write every day, but he always has his antennas out. If he hears or reads something he likes, he takes notes and later either he uses it or not. Niklas asks if it’s hard to have the antennas always out. Mr. G says it’s hard, but probably harder for those around him than for himself. He just works like this. He can’t switch it off.

A WALK IN HALMSTAD

Niklas starts the next chapter by talking a bit about Per’s family. Per was born on 12th January 1959 in an incredibly cold Halmstad. His sister, Gunilla was 14 and his brother, Bengt was 7 when Mr. G was born. Per’s father, Kurt was a plumber and his mother, Elisabeth was painting porcelain.

The guys are taking a walk along the river, Nissan in Halmstad. Niklas asks Per about how he remembers the Halmstad he grew up in. Per says it didn’t look like this. There are many new buildings. He grew up in Furet district by the way. It was a ’50s-’60s villa area. It was a little idyllic in its way, but Per didn’t like it. He liked most his record player back then too.

Niklas asks Per if they played a lot of music at home and what Per’s parents were listening to. Per says his parents weren’t really interested in music, but his brother was. He was born in 1951 and grew up with The Beatles and The Rolling Stones, in the middle of the ’60s. His sister grew up with Elvis and Tommy Steele. So it was a lot of pop and rock music in the house. Per liked them all. He bought Melody Maker and New Musical Express magazines as a 12-13-year-old and was following the charts. In the ’60s he liked almost everything. The Monkees, Herman’s Hermits, The Beatles, The Rolling Stones and Tages. The first LP he bought was King Controversy. He bought it from his brother who needed money for cigarette. It cost 5 crowns from his pocket money.

Niklas asks Per what is his first ever memory. Per says he remembers having all his toy cars in the pantry in the kitchen. It’s a good memory. He was laying there and crawling. He had a little Goldfinger and an Aston Martin.

HOTEL TYLÖSAND

Niklas asks Per in what way he was mommy’s boy. Per says his mum always supported him. She bought his first guitar. She said: “If you want a guitar, we will buy a really good one.” There was an old steel-string guitar in the house which couldn’t be played. So his mum bought a Bjärton nylon-string guitar.

Niklas asks which was the first song Per wrote himself. It was “Symbol of the autumn”, a song in English. Niklas is curious if Per has all his old demos. Per thinks so, but he can’t remember if he threw them out or just ignored them. He then tells the story of he and his friend being Sweden’s first troubadours employed by the city council. For 3 months they were playing at nursing homes for old people and so. He had his little Bjärton guitar and they played “Drömmen om Elin”, “Svarte Rudolf” and “Så skimrande var aldrig havet”. Niklas asks if Per could play “Drömmen om Elin”, but Per isn’t sure about it, so he chooses “Svarte Rudolf” instead. He says he played it for a radio a long time ago. Niklas gives the guitar to Per, but keeps the plectrum for himself. Per starts playing the song, but he can’t remember the text.

Mr. G says they got a schedule for each week and he has lots of stories from those times. One of them is when they had to go to the long-term care at the hospital in Halmstad. They had never been there and when they got in, there was no one who greeted them. They just entered a hall where there were two patients on the two sides so they sat in the middle and played. The patients didn’t move, they were just lying there. Per and his friend played “Man borde inte sova” or “Streets of London”. Suddenly the staff came and wondered what they were doing there. Just then, one of the two guys woke up, it was a young guy. It was a big thing, because he had been in coma. He woke up when Per and his friend played. Maybe they played “Proud Mary” or something he recognized. Then came like 20 doctors and staff and asked “Can you come and play here too?” It was a big deal because the guy woke up from coma. During those three minutes Per and his friend managed to wake him up… Fate is strange.

Per tells another story. It’s about Tilda, 91 and Agnes, 97 in a nursing home. The ladies were sitting and eating lunch at a table. Per had a small capo for the guitar. Per and his friend Peter sat there and Per put his capo on the table. They played some songs and when he wanted to pick up his capo, it was gone. Eskil, 101 years old, was sitting there and had it in his mouth. He had dipped it in the soup. He thought it was cracking bread or something. Such things always happened. Haha.

Niklas and Per start talking about clothes. Per says he wasn’t interested in clothes when he was a kid. He was quite overweight and looked pretty grotesque in all clothes. It was only later, in his late teens, in the ’70s when he tried to get some sort of look. He remembers the punk outfit and the new wave look. Narrow ties. A little bit like what Gyllene Tider looked back then.

The guys move on to the school topic. Per says he regrets he didn’t spend much time and energy on school. It was horrible. Where he went to school they didn’t learn anything. It has always been easy for him to learn things. If you had a good result on a high school test, you were booed in the class. Per thinks it was chemistry. They didn’t enter the classroom for a whole semester. The whole class sat outside the classroom. The teacher came out and tried to get them in, but it didn’t work. Everyone received an approved grade, even though they had not had a single lesson.

There is a concert cut from Halmstad where Per tells when he started writing songs in the ’70s he wrote in English. He learned English by listening to pop music. You didn’t learn anything at school, but on the records you found your own language.

STUDIO (Skärmarbrink)

Niklas remembers that one day when he was at EMI’s office in Solna, Gyllene Tider came straight from the studio to record “Sommartider”. Lasse and Kjell had told Per he should write a hit. Per says “Sommartider” and “Sleeping In My Car” are the only songs he has written for those to become hits. He hesitated for a long time if the title should be “Sommartider”, because Magnus Uggla had a song called “Sommartid”. Niklas asks if Per knew it already then that it would become a hit. Per says no. He remembers that they were sitting in Anders’ car in Halmstad and the song was played on the radio and the host said it would be that summer’s hit. They were just screaming in the car: Yes!

HOTEL TYLÖSAND

Niklas asks Per if he cooks. Per says he doesn’t really, but it’s fun to help in the kitchen. With the meat sauce. Or most of the times, to lay the table. Niklas asks if Per would like to have some signature dishes. Per says it would be fun. He thinks cooking is a creative job too and it’s strange he doesn’t cook. But with his traveling lifestyle he eats a lot in restaurants and hotels. He met his wife quite early and she loves to cook. So it became her role to cook. Per is doing the dishes. Niklas jokes and asks if it means Per takes the washed-up dishes out of the dishwasher. Per says something like that.

STUDIO (Skärmarbrink)

Before the guys enter the studio in Desperado style, Niklas talks a bit about Gyllene Tider that started out as Grape Rock, established by Per and Mats MP Persson in 1977. Despite MP’s musical talent and Per’s sharp songwriting skills they realized that they can’t have a band if they are only 2. So they established Gyllene Tider together with bassist Janne Carlsson, Göran Fritzon on keyboards and drummer Micke Andersson, whose name back then didn’t include Syd. The bassist had been changed quite early to Anders Herrlin and GT became the band they still are. GT became local celebrities in Halmstad. They released an EP in 900 copies and the songs of the EP reached music producer Kjell Andersson. He offered the band a contract with the record company EMI.

MP was fond of writing Status Quo boogie songs. “Arabiska nätter” is a bit like that, with the world’s strangest guitar riff. The guys are playing a bit of the song here. Per says it was a little controversial, but very much 1977. Niklas asks why it hasn’t been released. Per says when they got the record contract, Kjell liked some stuff they had, the lyrics and that certain pop style that fit those times. It didn’t include the Status Quo-boogie.

Niklas asks how it went on, if it was easy to bring new songs to the rehearsals. Per says it was. As soon as they got response to what they did, everyone was so enthusiastic. Everyone wanted to move forward. As soon as they had a song idea, they recorded it and sent it to Kjell at EMI. Then they got response. It went like that until 1984. It was only Mats and Per who wrote songs. It’s different if you are Fleetwood Mac where everyone writes songs. Or The Beatles where several wrote songs. Regarding texts, it was only Per who wrote lyrics. Niklas asks how many songs Per has written. Per jokes first and says 4, but in the end he says 800-900.

Niklas says Per has always been very clever and intelligent in his Swedish texts. Talking about “Här kommer alla känslorna på en och samma gång” there are so many words rhyming to “gång”. Per found good words there. Betong, ballong, perrong.

The guys play a bit of “Tycker om när du tar på mig” here.

Niklas says Per makes a lot of effort and asks him if he is fiddling a lot with the lyrics. Per replies Jesus Christ, a lot. It takes a very long time to write texts. The older you get it takes even longer. One tries to come up with a simple and strong feeling in a text. But you usually try to describe it as beautifully as possible. It’s easy to write a love text but to write an intelligent love text that no one has heard before is very difficult. People often ask if Per “goes to work” and writes songs all day long. He doesn’t do it at all. He does the opposite. He writes as little as he can. But when he has an idea, he wants it to go fast and focused. You can’t construct a damn good melody track if it doesn’t help itself. When Per started playing music, it was the punk and the new wave movement era. Before that, one had to be very good at playing. Per wasn’t. The idea of punk was that everyone could play. It was appealing to Per. It made you dare to start writing songs and put together a band. When GT got a record contract a few years later, they had no thought of reaching anything special.

Niklas says GT were very cute. It was everyone’s perception around the guys. They started promoting milk and Jordache jeans. Niklas asks how they got there. Per says it was a way of earning money. Jordache jeans wanted to enter the market and Gyllene Tider was the biggest. They got a lot of money after each sold pair of jeans. It was a good deal. Per says imagine if Jordache jeans had become rocky and tough. Then they would have been rocky and tough guys too. But it didn’t happen.

Niklas says you have to be careful regarding what you are promoting. You don’t advertise just anything. Per says he is right and there are a few things he can’t imagine promoting. Political things for example. And another thing is that the advertisement shouldn’t be crap. You don’t want “Queen of Rain” or “Listen To Your Heart” in a context that downgrades the song. Per can imagine advertising strawberry milk or cars. But it depends a bit on how it’s done.

HOTEL TYLÖSAND

They guys perform a bit of “På promenad genom stan” on one of the suites’ balcony in Hotel Tylösand.

Per tells his first real electric guitar was very expensive. He bought it in England. MP, Per and Janne (first bassist in GT) went to England in 1978. The pound was down and he bought a wine-red Gibson Les Paul Custom. Dave Davies in The Kinks had one like that. MP bought a black Telecaster, Per bought his Gibson and Janne bought a left-handed bass. He was left-handed. Besides these, they bought speakers or amplifiers. Marshall stuff. Per says they had the guitars with them on their way back home and it turned out they should pay VAT. It was before the EU. They had no idea about it. So either they had to smuggle the guitars or pay the VAT. They had no money so they decided to smuggle, but they got caught. Per wrote a letter of apology to the customs and police by hand. He told the whole story and that it wasn’t their intention to break the law. They made the wrong decision, sorry. So they got back their instruments, but they got a fine of 2000 crowns. Niklas asks if it was worth it. Per says absolutely.

The guys had no money so they worked. Per thinks MP worked with his dad who had a construction company. Per worked at Fammarps mushrooms and weighed mushrooms. Mr. G worked there for two summers. All the money went on buying guitars, strings and new capo. Here they laugh remembering the nursing home incident where the capo got eaten.

Per says the only thing that existed was music. That wonderful, parallel universe called pop. It was better living in that world than in your own.

Niklas says Gyllene Tider reunited every now and then and asks why. Per says it’s fun to play together. It’s a fantastic little pop band. There is some timelessness in what they have done. There is this magic that occurs when an artist has fun with the audience. It differs very much from anything else Per does. It’s a lovely time trip every time they play together.

Per says when they start rehearsing with the band they can’t really rehearse the songs. They just know them. It’s an awesome band. Per hopes there will be more Gyllene Tider, as long as everyone is alive. It’s them 5 who can do it. Per plays some songs on his own tours and it’s also good, but it’s not Gyllene Tider. Niklas asks how is it playing those songs with others. Per says in summer he played some greatest hits from his catalogue and of all the songs it was the GT hits that were the hardest to play.

STUDIO (Skärmarbrink)

In 1985 Anders Herrlin decided to leave Gyllene Tider. It was the end of the band, at least then. At a meeting Anders told GT wasn’t fun anymore. Niklas asks Per how he reacted on it. Per says MP and he were driving home in the same car and they were sitting silently during the whole way. They were wondering about what happened. They just felt it was over in a way. Per went home and started thinking about the next step. It was obvious to him to make a solo album. Which he later did, including songs like “Blå december” or “Galning”. The latter was actually recorded by GT.

Niklas asks Per if he wrote about this break-up, if he used this feeling of being disappointed and sad in his songwriting. Per can hardly remember, but that album is quite sad. The last thing Gyllene Tider did before that was the English album and a rather half-good tour. It felt a bit like it might not be so stupid to quit, after all. Niklas says as it may be in relationships. It just happens. Per jokes “it’s not my fault.” Niklas says he means “it’s not your fault.” Per says “Vi passar så bra isär” (we’re so good apart). Haha. Niklas asks if it was Per who wrote that song. Per says it was Hasse Alfredson.

Per continues his story-telling. He made another solo album that didn’t go well and he tried to find his place in the music industry. He started writing songs with Torgny Söderberg, “Kärleken är evig” and something else.

Per’s solo album, “Scener” didn’t work at all. Niklas is curious how he felt back then, if it was a tough period. Per says it was horrible. When you are successful, when things work, it’s easy to make decisions and new steps. But when things are not going well, you’re stuck. You simply make wrong decisions. Per felt very confused, especially musically. “What do I want to do?”, asked himself. Niklas asks if he ever thought about doing something else. Per says no, it never went so far. One has to survive in a way. He remembers he was asked to form a band and play in a pub in Halmstad over a summer. He thanked no and the question went on to The Husbands. It didn’t fit Per. He didn’t want to play in such a band. He wanted to write songs and develop his way of writing. He has always prioritized songwriting. So it’s really tough when it doesn’t work. Those years, 1984 and 1985 were tough.

Then there was the opportunity to start working with Marie. Niklas asks how it happened. Per says it was back in the ’70s. Gyllene Tider and Marie’s band shared a rehearsal studio. Marie and Per have always been very good friends. They have always talked about doing something together. Marie sang on some Gyllene Tider songs, she was on TV with GT. “Vandrar i ett sommarregn.” And she eventually ended up on the same record label as Per. They have always supported each other’s careers. In 1985 Marie broke through as a solo artist. It wasn’t obvious for her to work with Per. What attracted her to cooperate with Per was that it was in English and maybe to go abroad. Niklas says Per must have been thrilled that Marie wanted to work with him. Per says he was happy for every song they recorded. He knew that tomorrow it could be over. All the time it was like that. They released their first LP “Pearls of Passion”, which was Per’s third unpublished solo album that he basically translated from Swedish into English. So all the first Roxette songs, e.g. “So Far Away” was called “Som i en dröm”,  “Soul Deep” was called “Dansa nerför ett stup i rekordfart”. Per wrote English lyrics and Marie sang. Mr. G had never heard Marie singing that way. She was also a singer / songwriter. “Sjunde vågen”, “Het vind” and “Ännu doftar kärlek”. But now there was another Marie. Per was proud and happy about that he could get it out of her via his songs. She got another type of material, which was exciting. Per thinks that was the driver why she sticked to Roxette.

The guys play a bit of “Dansa nerför ett stup i rekordfart” here.

Per says it sounded pretty bad with him, but when Marie sings it… Per always had the feeling that Roxette was a bit on loan, that it wasn’t that important to Marie. But Per had nothing else. After the first album, which became a big success in Sweden, Marie went back to her Swedish career and released “Efter stormen”. But then they had such success with “Pearls of Passion” that they decided to make another album and focus even more on abroad. Then Per wrote what became “Look Sharp!”.

Despite the huge success in Sweden, there was no real interest in Roxette abroad. But on Sparregatan in Borås, the band had a big fan, American exchange student Dean Cushman. He brought the “Look Sharp!” album to Minneapolis, where it got in the hands of Brian Philips, head of the local KDWB radio station. Philips loved “The Look”, which quickly became a monster hit across the United States.

To be continued… (in Part 2)

Thanx a lot for the technical support, János Tóth!

CONTEST: Per Gessle – En vacker bok

Anders Roos, photographer and publisher of Per Gessle’s tour photo book, En vacker bok offered us 3 copies for a contest. All 3 copies are signed by Mr. G! So here is your great chance to get hold of it if you don’t have it yet!

In order to participate, answer the following questions correctly:

  1. How many gigs were there on the En vacker kväll tour (except for the pre-premiere show at Leif’s Lounge)? – 21
  2. How many different opening songs did the tour setlists have and which of them was played as an opening song most often? – 2, På promenad genom stan
  3. In which town was the front cover photo of the book taken? – Grebbestad
  4. Each En vacker bok contains a print-out photo. How many different print-out pictures exist? – 4

Send an e-mail with your name, address and the correct answers to the questions to rxbcontests@gmail.com until 23:59 CET, 30th December 2017. The lucky winners will be announced shortly after. Answers to all questions can be found on RoxetteBlog. 😉 Good luck!

Contest terms and conditions:
– In order to participate, you have to send an e-mail to rxbcontests@gmail.com with name, address and correct answers to the
4 questions. We will consider all e-mails we receive until 23:59 CET on 30th December 2017.
3 winners will be picked randomly among those who have participated and sent the correct answers.
– You can only participate once, any attempt to participate twice or more times will lead to your disqualification.
– Prizes won’t be paid out in cash. Prizes will be sent by registered
mail only once.
– Winners will be announced on this website, on our Facebook page and will also be notified per e-mail. You’ll be required to answer the e-mail confirming your address.
– RoxetteBlog.com will not enter into any correspondence regarding the result of the contest and is not liable for any damages, loss or expenses that may result in connection to the prizes.
– All submitted data will only be used for the purpose of the contest and in case you are among the lucky winners, to send you the prize.

Update on 1st January 2018: The 3 winners are: Guy Nir, Ilya Volkov and Andreas Christodoulou. They were notified via e-mail as well.

Per Gessle – En vacker bok – the tour photo book

It seems there won’t be any tour without an official tour photo book being published after. And I love this fact! When Per Gessle’s En vacker kväll tour started we could already see photographer Anders Roos being around and I met him at several concerts, so it was quite obvious there would be hundreds of thousands of photos taken and I was already hoping for a fat photo book. Why I love when Anders is in charge of taking pictures is because, I think I already mentioned it in my RoXXXette On The Road review, is that he sees with the fans’ eyes. I mean Per and Co. appear in the pictures exactly how we see them. Anders grabs the perfect moments and provides all of us with an everlasting memory of a beloved tour.

The book comes in soft cover with folded tabs and it has 1 print-out picture inside, between the cover and the first page. There are 4 different print-outs existing. The book consists of 160 unnumbered pages and includes tons of cool shots. The only text appearing in the book is Per’s Gessleish intro in Swedish. He writes about how it all started with the rehearsals, about the band members and Anders Roos, as well as the lovely memory of the tour. The intro was written in November 2017.

The cover photo is an action pic taken in Grebbestad. Even if it was more of a ”ballads tour”, which is well reflected on the live CD, you’ll see quite some action pics in the book. I was a bit sad that Tittar på dej när du dansar didn’t make it many times on the setlist, but at least the dancing PG pic from the soundcheck in Dalhalla made it into the book. Woohoo!

My favourite pics in the book are especially the ones taken from above the stage and of course the backstage or travelling shots. Places where a fan can never really get access to. There is a good ratio of Mr. G photos, band members, crew, crowd, stage set, gear and also Good Harvest and Lars Winnerbäck were caught by Anders’ camera.

There is no PG book without PG drawings. As he says, those popping up in the book were drawn when it was raining. Among some new art and tussilagos, the ”fake guitarist in an 80’s band” drawing pops up here too.

A funny part of the book is a drawing of Per with a guide by make-up artist Åsa Elmgren of how to tape Mr. G’s in-ear system on the man himself. The one who has to do it doesn’t have an easy job, I must say. Haha.

How the photos and drawings appear in the book is designed by Pär Wickholm.

I must mention the paper quality of the book as well. The pages are not as shiny as in the RoXXXette On The Road or the Att vara Per Gessle books, so you don’t really need to wear gloves to turn the pages. Thank God! Haha.

All in all, just like the live CD, the tour photo book is also a great souvenir from this summer for all who were there at any of the gigs and there is also a lot to see for those who didn’t have the chance to attend the EVK tour.

If you pre-ordered or had the chance to go to NK in Stockholm today, you could get your copy signed. If not, then you can still order the book at Bengans (they still offer signed copies) or Bokus (signed copies are sold out there) or CDON (no signed copies there).