New jazz song by Marie Fredriksson

Surprise of the year is that a new jazz song will be released by Marie Fredriksson on her birthday, 30th May. It’s released on Amigo, a division of Cosmos Music under exclusive license from Amelia Music AB. The song is 4 m 31 s long and the title is ”Alone Again”. It’s featuring Max Schultz and Magnus Lindgren. Marie already worked together with these 2 musicians in the past. Max Schultz played guitar on Marie’s recordings and the latest cooperation with Magnus Lindgren was the song ”On A Sunday” on Magnus’s album ”Souls” in 2013.

Marie mentioned it earlier that she would love to make a jazz album. Let’s hope there is more to come! So exciting!

Links to the song (more to come): iTunes; Amazon; Google Play;

 

Spending My Time is the Listen To Your Heart of Joyride

Did you know? 2 extremely important Roxette songs were written on this day 27 years ago. Yeah, Per Gessle, the 8th wonder songwriter wrote Joyride and Spending My Time on the same day. Isn’t he a genius? I mean, look at these 2 songs. Both of them are masterpieces and he could just come up with the power pop song in the morning and the big ballad in the afternoon. He is second to none!

Per says about Joyride:

When I wrote this one Roxette was sitting on top of the world. Three number ones in the US already and more to come. It felt like nothing could go wrong, I was full of self-confidence and every song felt so easy to create.

My wife (then girlfriend) left a note on my piano saying in Swedish: ”Hej din tok, jag älskar dej!”, which means ”Hello you fool, I love you!” It just had to be a chorus.

The writing process went very quickly. So fast I actually wrote ”Spending My Time” together with MP Persson the same afternoon. Hallelujah!

On The Per Gessle Archives you can listen to 2 demos of Joyride: first a less produced, acoustic Joyrider recorded on 22 May 1990 at T&A and a lot more produced Joyride recorded on 23 May 1990 at T&A. Listen to Per and Sven Lindström talking about the demos HERE.

Per about Spending My Time:

The music to ”Spending My Time” was cowritten with my old chap MP Persson. We finished writing it the very same day that I wrote ”Joyride”. Must’ve been May 1990.

I liked the idea of writing a lyric that starts in the morning and ends at night. This was my humble attempt. Great vocal performance by Marie and a super production from Clarence made this one a winner for Roxette.

On The Per Gessle Archives you can listen to the demo to Spending My Time recorded on 24 May 1990 at T&A. Listen to Per and Sven talking about the demo HERE.

Per adds:

I knew we had a great song (MP and I wrote this one together) but the demo always sucked!!! I couldn’t sing it very well, I don’t know why. It was always meant for Marie. She did a tremendous job delivering it. I’m sure it would have become a Top 5 song in the US if EMI wouldn’t have scrapped the entire company and sacked 122 people in the middle of marketing this one. People loved it but radio never got the chance to catch up. The Music Business. You win some, you lose some.

Stills are from the official videos to Joyride and Spending My Time

    

Pics are from ”Songs, Sketches & Reflections”.

Per’s quotes are from his book ”Songs, Sketches & Reflections” and the demo conversations from The Per Gessle Archives, as well as the PG about songs section on RoxBlog.

Jan Gradvall’s podcast interview with Per Gessle

Jan Gradvall in his podcast tries to find out what drives Per Gessle, what his secret is and what happens if you analyze Gessle’s songs in depth. Jan is trying to do it via analyzing ”Allt gick så fort”, which is one of Per’s most personal songs he has ever written and can be found on the new album, ”En vacker natt”.

Per says it’s the central song on the album. He tells he read an interview with David Crosby who told he had five guitars in his bedroom and that all of them were tuned differently. Per thought it’s cool. Mr. G experimented a lot with traditional tunings, but then he googled David Crosby’s tunings and found out there are a lot of variants and found one which was very odd. So Per tried some new tricks, playing his old chords in a new way, creating completely new sounds.

”Allt gick så fort” is very text-oriented. It starts with an accident Per witnessed during a visit to France. Per says it’s a song that kind of writes itself. It matures through a whole life and suddenly it feels ready to be written down.

Jan asks Per what he is singing about when it’s in the lyrics that he was 8 years old. Per says the lyrics tell a whole life in a way. The text starts with an unknown person, but then suddenly, you sing about yourself, when you are a child and then it’s about when you are 18 and in love for the first time. In between there is another person seeing the whole thing from another angle, in the middle of his life, in the middle of his career and realizes it all went so fast. Per says the song was written very fast, but the guitar tuning was tricky. Jan asks how exactly that tuning is done. Per says when he wrote the song he went to Halmstad, to MP’s studio to record a demo. It went very well with all that new tuning. Then he went to Nashville to record it properly, but he had no clue how he did that in Halmstad, so they had to use his demo.

The whole Nashville project was different to whatever Per has done before and it’s not like today’s pop music when everything is done on computers. Per wanted to try something new. It became a completely organic album. It’s not an album for everybody. It’s for a certain audience. Per thinks many can identify with it, but many will think it’s too slow or the violin is too whiny. But it doesn’t matter. For him it was important to make this record. He wanted the lyrics and his voice to be in focus. The fantastic musicians in Nashville added a lot to it, Dan Dugmore with his pedal steel playing or Stuart Duncan with his violin playing.

Jan finds the expression ”I sin icke dansande generation” (= in his non-dancing generation) fantastic and he asks Per how he came up with this. Per says when you are sitting and chatting you realize that your generation is a non-dancing one. He finds the rhymes and songwriting exciting.

Jan mentions there are many returning symbols in Per’s lyrics on the new album, like sea, beaches, nature. Per says he has always used symbols like flowers, sea, winds, things you associate with images when you are listening to a song. It somehow makes the listener be part of the song. They recognize the smell, the taste, the feeling.

Jan and Per talk about Per’s family, that he has lost his mom, brother and sister during the past 3 years. When his sister, Gunilla died, her son found a box of 25-30 old diapositives from 1965-66. Even Per appeared on some of them. Mr. G chose a pic of Gunilla, standing and singing probably in Tylösand, to be on the album cover. Per thinks the colour of the diapositive fits the album very well.

Per tells Jan that Anton Corbijn was in New Orleans, shooting Arcade Fire when Per was in Nashville and so Anton came over and took some fantastic pictures of Per. First Per thought one of those should be on the cover, but after her sister’s diapositives were found he changed his mind. This way it is more personal and even more unexpected. The second album ”En vacker dag” will have a 1965 pic of Per’s mom on the cover, with a picnic table just behind the family’s Volvo Amazon.

Jan asks Per if losing his relatives has affected Mr. G in a way that it can be heard on the album. Per says yes and no. It of course has affected him, but none of the songs are directly about this. ”Allt gick så fort” might sound like that a bit, but the rest of the songs were written last spring after Roxette stopped touring. Some of the songs were left-overs and were re-written, but most of them are newly written.

Jan and Per talk about an earlier interview from the Son of a Plumber times and Jan remembers Per told him that his father died when Gyllene Tider broke through and Per wrote ”När alla vännerna gått hem” after his dad died. Per says it’s true and of course what happens in your life has its effects on you. These two albums he has made now he couldn’t have done 10 or 15 years ago. You must have a certain experience, a certain security, a certain courage to be able to do it. You have to find your style, your language, your strength to be able to do it.

Jan tells Per he feels that when Per sings on this new album, he is more ”naked” and asks if it is conscious. Per says he wanted to put the lyrics in focus.

Jan says the album sounds in a way very much Nashville, but also very much Halmstad. Per was travelling around the world, but always came back to Halmstad. Per says the older you get the more you go back to your roots, where you come from. It’s like when sometimes he is sitting and checking songs on Spotify and sees billions of them and he goes back to listen to songs he likes from 1967. And yes, there is a Nashville sound on the album, but at the same time, it’s Per’s stlye.

Mr. G says he wanted an album that is text-oriented and very simple, acoustic. First they just thought they shouldn’t record it in Sweden. They thought about studios in England and France, then Nashville popped up and Per liked the idea of a fusion between Tennesse and Halland. A little country has always been there in Per’s solo music. Neil Young’s “Harvest” stlye. They had no plans at all when they left Sweden for Nashville. First Per played the acoustic guitar and sang a bit, then they asked the studio if they could help to find local musicians. There are two world famous pedal steel players, Dan Dugmore and Paul Franklin. Dan Dugmore is the one who plays the pedal steel on Per’s album. When he listened to Per’s songs he wrote down numbers instead of chords. How Dan played changed the songs. Since they wanted to save time, they recorded 3-4 takes and then edited them later while mixing.

The same day Dan Dugmore came to the studio, Stuart Duncan came too to play the violin. When Per heard him playing he said wow. Everything became better and better, like the intro to ”Småstadsprat”. Then they needed a harmonica player, so Mickey Raphael plays on 3-4 songs.

Jan asks what Per thinks why his melodies are so special that they are attractive even to those who can’t speak Swedish. Per thinks they are beautiful, that’s why the albums are titled “En vacker natt” and “En vacker dag” (“A beatiful night” and “A beautiful day”). At least that was his ambition. Jan asks where Per’s melodies come from. They come from the ‘60s, but also from the Swedish traditional music. Here Per talks about his adventures with his friend, Peter as troubadours who played at nursing homes for old people. Per played the guitar and sang, Peter also played the guitar and the flute. They played everything they could and it included a lot of country as well. As troubadours, once they had to play at an old people’s nursing home in a new place in Halmstad. They entered a big table tennis hall and there were two men lying in there, they were not moving at all. They didn’t know what to do, there was no personnel around, so they just sat in the middle of the hall and started playing some songs, Proud Mary or something. Suddenly a nurse came and asked what the hell they were doing. They said they were just playing songs. A lot of doctors rushed in and then it turned out that one of the men there was in coma and he woke up to the sound of Per and Peter playing music. The day after it turned out that they shouldn’t even have to be there, at that place, but he will never forget that day. One can see that music makes miracles.

Pic from Jan Gradvall’s Instagram.

 

Per Gessle about the bright and dark side of life

On the release day of ”En vacker natt” (28 April), an interview with Per Gessle was published in Hallandsposten.

Jan-Owe Wikström asks Per about those great musicians (David Bowie, Leonard Cohen and Prince) who passed away last year. He asks Per if he ever met them. Mr. G met Bowie before a concert in Lyon, but they just greeted each other, never talked. Cohen he never met and Prince either, even if Roxette played on the same gala when MTV Europe opened in Berlin. But as soon as Prince moved, there were 18 people around him. Per says he was in Prince’s studio though, Paisley Park in Minneapolis shortly after R.E.M. had been there to record. Everything was white and in the middle stood a giant bird cage. They even saw Prince’s private apartment above the studio and it was just as you imagined Prince. A heart-shaped bedroom, much purple and a sliding roof over the whole apartment.

Jan-Owe asks Per if Bowie was his greatest inspiration. Mr. G replies that musically he doesn’t know, but Bowie is definitely the artist who has meant the most to him, because he came into Per’s life when he was the most influenceable, at the age of 13-14. Per says Gunilla was Elvis, Bengt The Beatles and he was Bowie.

Jan-Owe asks Per about how it has affected him, losing his brother Bengt, his mother Elisabeth and his sister Gunilla in a short time. Per says it’s clear that you get a new view of life, to appreciate the moment, to take care of your loved ones. He tells Bengt had lung cancer, but didn’t tell anyone. Per thinks he was on tour when Gunilla visited Bengt in the hospital and after leaving, she got a phone call that Bengt had died. Per says you come to a time in life when you know more people who die than who are born, which obviously makes you think.

To the question if he believes in God and a life after this, Per replied he has not really decided. Sometimes maybe. It would have been nice to have a strong faith and both his mom and Gunilla were very religious. Gunilla even educated herself to be a priest, but started working at hospice instead. Per says he doesn’t belong to anywhere yet, but who knows. He is thinking, maybe when you grow older, you become more religious.

Jan-Owe asks Per, while they are sitting in Per’s house in Halmstad, drinking coffee and eating sandwiches, if he thinks the roots become more important when such serious things, mentioned above, happen in life. Per thinks even if he is a restless soul, that’s probably the case. He travelled around the world, but still always ends up in Halmstad. And that’s nice because everything is so much easier there. It’s closer to nature, it’s calmer…

Jan-Owe asks Per if what’s happened has affected his songwriting. Mr. G tells there are no lyrics that are directly related to it. But one is certainly affected by such happenings. Per says he doesn’t believe it was better before and it doesn’t necessarily have to be negative to get older, in case you are healthy. On the contrary, he is using that experience in his writing artistically and creatively.

Jan-Owe says he saw a survey which showed that those between 60-75 are the most satisfied with life. Per agrees. He says you have your family, have peaked in your career and are hopefully happy with what you’ve done in life. You have nothing left to prove. Per is soon there and could therefore make such a record that builds more on moods than single songs. A blank paper. Acoustic, Swedish, lyrics-oriented and country-influenced without being country.

Per tells Hallandsposten he is the most proud that, after almost 40 years in the music industry, he has done something he has never done before. If people like it, he doesn’t know, therefore he wants to wait before he decides which songs to play on tour.

Song by song comments – En vacker natt

”Min plats”: It was one of two key songs on the album, because when those 2 were ready, I had the pillars. It just felt like having it as the opening song.

”Första pris”: One of the songs which weren’t written for this album but for Roxette, which we never recorded. A little blue tone in the duet together with Helena Josefsson. I almost literally translated the English text.

”Småstadsprat”: It wasn’t meant to be a duet at all. But then we started talking about how rare duets between boys are. If it’s between a girl and a boy, you sing to each other, but boy / boy – then you sing towards a common goal like here with Lasse Winnerbäck.

”Enkel resa”: A fun and odd song. Sometimes I try to encourage MP (Mats Persson) to write songs which he does amazingly well. And he does it every ten years… Here he comes with exciting basslines that I added a melody to.

”Allt gick så fort”: The other central song on the album. I read an interview with David Crosby who told he had five guitars in his bedroom and he tuned them quite oddly. So I started googling and found an odd tone with which the guitar became a completely new instrument. But when we were to record in Nashville, I couldn’t take those grips again so we had to use the demo.

”Tittar på dej när du dansar”: The most poppy song on the album. I tried to avoid having such songs, but at least one is needed for the energy. A little odd, built from two songs in one and one of the few with electric guitar.

”Några glas rosé”: The hardest song to write because it has no chorus and has a narrative text that needs much space. Something like “Billy” without chorus.

”Far Too Close”: Written for Roxette from the beginning and because we had time left, it became the ultimate homage to Nashville, letting a Nashville girl, Savannah Church sing the finale.

Photo from PG’s Nashville archives

 

En vacker RoxBlog interview with Per Gessle

After Per Gessle’s new album, ”En vacker natt” was released, several questions popped up in my mind. I was reading and watching all the interviews with him, but many questions had no answers in any of them. So it was obvious there is a need for a RoxetteBlog interview and so I put all the Qs together and sent them in hope for answers.

We all know that Mr. G is faster than a shot from a gun, but while he is in the middle of a signing session tour, doing a lot of promo stuff and other interviews, you would think it would take much more time than just 2-3 days to have the answers. Not in his case! Yesterday I had the chance to meet him in Malmö and his answers were sent back to me before the signing session started. I was already prepared to ask him not be ”angry” with me because of those many Qs, but this way it was far much better. I could thank him in person! I told him I didn’t expect him to send the answers back so fast. He said it’s incredible that there are many interviews with him, but there are still this many Qs that weren’t asked by others. I told him I thought he might have felt tortured because of this. He said no, no. It’s a long interview, but he had a long flight and at least he had something to do while flying, so all fine. You must love him!

When you will read on, you might get the feeling that the long flight was coming to an end fast towards the last questions, related to the tour. On the other hand, all ”could be”-s sound rather ”yes” or ”partly yes” in my ears. Or… let’s see what happens! 😉

I’d like to thank D&D Management for their cooperation and of course, thanx a million to Mr. G for the answers. Very much appreciated!

So, now to the interview. Besides all the detailed info about the new album and the recording sessions, you will find out what Per thinks about Roxette’s future and you’ll have some hints regarding the upcoming tour as well. You’ll even read about a y.u.m.m.y. surprise release for the first time here! What can I say? Mahi Nana! Enjoy!

Patrícia Peres: – Hej Per! First of all, thank you very much in advance for taking your time to answer all nerdish Qs coming here! In each interview and in your posts it shines through that the ”En vacker…” project is a love project for you. How does it feel that you get so much positive feedback on the first album?

Per Gessle: – Hello Patricia, hope you’re doing fine. As always I’m very flattered that people are connecting in a positive way to my songs. You can never take that for granted. As you know, it’s been ten years since I did a Swedish solo album and so many things have changed. Not only in the ”real world” but also in the music industry. It can be really hard for artists my age to cut through the enormous amount of music and information that surrounds us. It’s pretty competitive out there. But I’ve been lucky this time. Hopefully the album will grow organically, more and more people will hear it and eventually it will be a part of their lives just like Mazarin became in 2003. That would be lovely.  And I’m really proud of the records.

PP: – There were no leaks, everything seemed to be in order regarding the release and there is much promo around the album. It’s a perfectly organized release. Do you think so too?

PG: – Yes, it’s all been handled beautifully by Her Majesty Queen Marie Dimberg together with her sausage dog Harry + Josef Hermansson and Lotta Eriksson at Space Station 12 together with media mastermind Liza Berthelsen together with Sanken, Sebastian and Johanna at BMG together with Bosse-the-radioguru together with the distribution folks at Sony. So many people are involved in this release and they’re all bringing positive energy to the project. I’m a lucky guy.

PP: – The albums are released on Space Station 12 in cooperation with Sony / BMG. What is the role of SS12 and what is that of Sony / BMG?

PG: – SS12 is the home office, BMG is handling marketing and Sony is responsible for physical products, like CDs and LPs.

PP: – The first album’s title is ”En vacker natt”, then there is the summer tour, ”En vacker kväll” and in September comes the second album, ”En vacker dag”. Is it intentional that the timeline is in reverse order (instead of dag -> kväll -> natt)?

PG: – Yes, when we were mixing the records I decided that was the only way to go. Backwards. I have this song ”En vacker dag” which opens the second album and since I wanted it on album nr 2 that dictated the titles of the two records.

PP: – Does the first album contain more ”night” songs and the second more ”day” songs? Or how did you decide which songs to put on which album?

PG: – Well, there are no big differences between the albums. They basically got the same vibe. They’re all from the same sessions. Same coffee machine. As always I’ve tried to make running orders that make each album as strong and vibrant as possible and also ”easy” to get into and listen to. The tempos and keys have to be right etc.

PP: – We know you see songs in colors. Can you tell what color the album has in your mind? Does the ”color coding” in the booklet mean the color of the songs?

PG: – No, the colour coding in the booklets was done by Pär Wickholm. He did an excellent job. He’s really talented. For me the album contains lots of nuances from the 60’s and 70’s, beautiful shades, not too bright. Just like the pictures on the albums. Or like old polaroids. It’s getting pretty sentimental here and there.

PP: – The album is quite melancholic. Could you tell us which song in music history you think is the most melancholic?

PG: – Oh, there are so many songs that mesmerize you and make you slow down a bit. ”Duncan” by Paul Simon. ”Let the wind carry me” by Joni Mitchell. ”Bird on a wire” by Leonard Cohen. ”Sweetheart like you” by Bob Dylan. ”Pancho and Lefty” by Townes van Zandt. Songs that change your life forever. Powerful stuff.

PP: – You listen to the songs uncountable times during the recording, mixing etc. phases. How does it work after everything is done and the album is ready to be released and you have to say a final OK? Do you listen to the album from A to Z? In what circumstances? How did it happen with ”En vacker natt”?

PG: – For these particular records I had the running orders pretty much in place before we began to mix so we decided to start mixing song nr 1 (Min plats) and go from there. But with every mix the big picture altered a bit and in the end you have made quite a lot of changes. Sometimes songs get a different vibe in the mix. You remember it to have a certain attitude or feel but maybe it doesn’t when you’re done with it! Maybe it feels short. Or too long. It’s all about the emotion. Since I still think in terms of ”albums” it’s important for me to find the perfect spot for every track so they ”help” and assist each other. For instance, I didn’t want ”Tittar på dej när du dansar” too early on the first album since I want to give the listener four or five songs before the first classic ”pop song” occurs.

PP: – When we interviewed you after Roxette’s ”Good Karma” release, you said you think 40 minutes is a perfect length for an album. Now we got a 32-minute-long record. What’s the case with this length?

PG: – Well, there were two options. To release one album that was 64-65 minutes long or to split everything in two parts. Personally, I think an hours worth of music at once is much too much so the choice was pretty obvious.

PP: – The opening song, ”Min plats” sets the tone of the album and you say without ”Allt gick så fort” this project wouldn’t have come alive at all. Then it’s surprising a bit that the first single is not one of these 2 songs you seem to find the most important on the album, but a third one. How has ”Småstadsprat” become a single?

PG: – I told my partners-in-crime I’m not really that interested in releasing singles at all. However if they (SS12+BMG) prefer any of the songs as a ”teaser” for the album I’m open to anything. The duet with LW made sense since it was a very media-friendly choice for Sweden and Norway. Everyone got curious. And it’s a good song, I love it. But then again, I love them all!! This is not a project built on hit singles, this needs more attention than that.

PP: – The single was released digitally only and there were some promo singles issued. Why no physical release? It’s not too collector-friendly.

PG: – I know. However, there will most likely be a physical release of ”Småstadsprat” in a couple of weeks. We should have done that to begin with. Our mistake. You live and learn.

PP: – Anyway, collectors are crazy to pay an unbelievable amount of money for this promo single on Tradera. It’s sold for much more than your Peter Pop and the Helicopters single. How about that?

PG: – People are crazy. But you have to love the kings and queens of Nerdom.

PP: – You mentioned in interviews that there is no radio bomb on the album. But Swedish radio seems to play ”Småstadsprat” heavily. How does it feel?

PG: – Well, I’m very happy about this of course. I didn’t expect that at all. Maybe it’s because it stands out. Nothing on commercial radio sounds like ”Småstadsprat”.

PP: – Will there be a 2nd single off the album? If yes, can we get to know which song it is?

PG: – Yes, there will be another one and it will most likely be ”Tittar på dej när du dansar”. It’s got a great summer vibe to it, don’t you think?

PP (& Kiwein): – After listening to the album so many times, it feels that it could easily be used as a soundtrack to a movie. Are there any soundtrack plans in sight?

PG: – No, but I would love that. I would start working on it within the hour! Let’s tune the guitar!

PP: – Which song do you think has the best title on ”En vacker natt”? Which one do you think makes one curious about the album?

PG: – Titles are very important to me. It’s the first impression you get from a song. I like all of them. They make me interested and curious. ”Några glas rosé” was a title I had played around with for a while. I love that one.

PP: – Now in the digital era, in the times of streaming, it’s known that more than one third of the listeners skip a song after 30 seconds on Spotify. From this point of view, which song would you suggest to start listening to, so that the listener gets to know what the album is about and maybe decides not to skip?

PG: – You’re right and it’s totally stupid and silly and mindblowing when you think about it. I don’t want to play that game. This is not music for that type of restless audience. The whole idea with these two albums is that you have to give them time and get into the vibe and let yourself be seduced by this particular musical universe. I think you should start with ”Min plats” where you get eight seconds of waves and seagulls as a bonus!

PP: – When you start singing on ”Enkel resa”, one immediately has the feeling that he/she could sing along, because the lyrics sound familiar. Then we realize it’s a bit of ”Blåa jeans (och röda läppar)”. Haha. I love your recycling habit and the way you do that! How did these lyrics came into sight for this project?

PG: – I re-wrote that lyric from 1982 so it fit MP’s chords that eventually became ”Enkel resa”. I’ve always liked some parts of the words and the quotation-style but not until now have they made sense to me. Something was missing and I finally grabbed it. Probably thanks to MP’s weird chord progression.

PP: – One could sense it and in your ”song by song comments” you confirmed that ”Första pris” and ”Far Too Close” were originally written for Roxette. When did you write them, for which Roxette album?

PG: – Both were written for ”Good Karma” but we never worked on them for several reasons. The ”original” version of ”Första pris” is called ”The Finest Prize”.

PP: – How much did you change the lyrics of ”Första pris” when you decided to do it in Swedish? Have you recorded an English demo to it?

PG: – I tried to capture the same lyrical idea about a woman and a man living in their own universe. Content and strangely unaffected by life’s rewards. Yes, there are several English demos recorded.  Tits & Ass have been on fire with this one!

PP: – Talking about Roxette, we are happy that you mention in interviews that Marie is fine. Good to have some news about her every now and then. In interviews you say that the touring period with Roxette is 100% over, which we have known since April 2016, but you also mention here and there that you don’t think you will record together again. Why do you think it won’t happen in the future?

PG: – I don’t think it will happen because of Marie’s situation. She can’t really be involved in the process of making Roxette records anymore and without her taking a major part it’s no point for me to make those recordings. Roxette is the two of us working together, not me, Chris & Clarence making records with Marie just singing on them.

PP: – Back to the album and the songs, you said it took only 20 minutes to record Savannah Church on ”Far Too Close”, because she was singing so well. Which song took the most time to record and why?

PG: – Everything went really fast. The only song that was a little tricky was ”Några glas rosé” since it doesn’t have any obvious chorus and five verses. There’s always a chance you’ll find it tiresome and long when you have a song structure like that. But we managed to work it out, making a key change for the violin solo and edit the ending section of the song. The original recording was much longer.

PP: – Mahi Nana is the new Sha la la! ”Tittar på dej när du dansar” is probably the most liked ”En vacker natt” song by those who have always been a Per Up-(or at least Mid-)tempo Gessle fan. Sha la la and Na Na Na Na Na are well-known singing phrases, but Mahi Nana is a bit like Inganakee leo yo. One starts wondering, how does such an expression come to your mind?

PG: – On the T&A-demo I’m actually singing ”na na na na…” but in the studio I suggested that Helena-The-Wizard should sing something else so I came up with ”Mahi Nana”. It sounded weird and catchy at the same time. I googled it and I found someone somewhere with that name but I thought that was kind of nice. Glad you like it!

PP: – Which ”En vacker natt” song had the strangest or funniest working title?

PG: – I don’t do working-titles that often. But ”Tittar på dej när du dansar” was called ”Kärlek låter så här” and „Mahi Nana” for a couple of hours…

PP: – You often say you’ve been lucky enough to work together with people who you get on well with and can learn from, even musically. What’s the greatest thing you’ve learned during the Nashville project?

PG: – I was reminded of how much fun it is to play ”real” instruments together. I’ve spent so many years programming in the studio so this was a blessing just to sit down and play together. That’s where I come from and it was really refreshing to experience again.

PP: – What was the biggest compliment you got from the musicians in Nashville?

PG: – Oh, I was really flattered that they liked the songs so much. I wasn’t expecting that at all. I thought they all would come in and ”do their job” like any sessionplayer. But they told me they found my music special and beautiful and that they never played on anything like it before. That made me smile and grab another donut!

PP: – You had the chance to use Roy Orbison’s guitars on the album. It must have felt amazing. What do you think, which song Roy Orbison would like the most on ”En vacker natt”?

PG: – Oh, he could have done a wonderful version of ”Far Too Close”.

PP: – Your mom, sister and brother have passed away during the past 3 years. Does this Nashville project make it easier for you to process the loss?

PG: – Hard to say. Life goes on, doesn’t it? But, of course, you change a bit as a person when your family disappears. I’m sure I’ve changed too. I don’t know in what way but I’m sure it has happened. That’s what life does to you.

PP (& Tomasz): – ”En vacker natt” is dedicated to your sister, ”En vacker dag” to your mother. Knowing your brother introduced you to the music world, it’s a bit surprising he is not mentioned next to your sister maybe. Or are these albums more like ”dedication to women”?

PG: – No, the second album is dedicated to both my mother and my brother.

PP: – In one of the interviews you mentioned that your mother sang a lot. Did she have a nice voice? Did it ever happen that you sang together?

PG: – She had a nice voice but she always sang silly songs. Just like parents do. And no, we never really sang together.

PP: – Which is the song Åsa likes the most on the album?

PG: – Oh, I don’t know. She seems to like all of them, she plays it all the time on her iPhone and in her car.

PP: – Now you are in the middle of a signing session tour, which came a bit as a surprise to us, as you already signed 3600 CDs for those who pre-ordered the album. It’s now harder to buy an unsigned ”En vacker natt” CD than a signed one. Haha. Why did you decide to go on a 1-month-long tour with 14 stops?

PG: – I think it’s quite nice to meet all those people that are interested in what I do. And also, I think it’s a good idea to support the physical format a bit. Here in Sweden Spotify and the streaming services have got 94% of the market so someone like me should wave the flag for the LP and the CD a bit since it’s my preferred choice of presenting music. And yes, I think we’ve shipped around 20.000 physical records and I’ve signed just over 4000 of them. Phew! Could be worse. Could be that nobody was interested!

PP: – When it turned out, many fans decided on meeting you on this little tour. People come to Sweden from several countries to get their signed copies directly from you. How does it feel?

PG: – Lovely. You’ve all spoiled me!

PP: – And after all the signings, how is your hand doing? Can you still play the guitar without any problems?

PG: – Of course, the in-stores are like going to the gym for the hand!

PP: – Will there be a signing session tour in autumn too, when the second album, ”En vacker dag” is out?

PG: – I don’t know. Time will tell. It all depends on how the summer tour feels and the common reaction to the second one.

PP: – Oh and not to forget about the vinyl! Bengans informed the ”En vacker natt” vinyl had been delayed. It almost didn’t make it to the shops until the signing session started. Not the limited edition though. It’s still not on stock. What’s the problem with the vinyl production this time?

PG: – I don’t know. I think nobody expected this kind of interest in my LP. A first batch of vinyl has arrived now but the red vinyl is still a couple of weeks down the road.  It’s a shame but the good thing is that it looks (and feels) FAB!!!

PP: – The tour is getting closer and closer! I have to mention that we are grateful that the complete tour schedule was shared at once (except for the 2 concerts in Finland that were added later, in February). It makes a fan’s life a lot easier, because this way we can start planning early and add as many shows to our to-attend list as we can. So thank you very much for that!

Will you keep the tradition of having a pre-tour show at Leif’s? If yes, is there an exact date set yet?

PG: – Could be….

PP: – Our polls show it won’t be easy for you to put a setlist together. And mixing your 3 careers makes it even tougher. When do you start rehearsing? Will you have a separate session with the new band members?

PG: – We start rehearsing in June. I’m gonna decide what to play in a couple of days. It’s tricky. But lots of fun.

PP: – How Ola Gustafsson, Malin My-Wall and Andreas Dahlbäck came into sight? Did you know them before or someone suggested them to you?

PG: – No, I didn’t know them but had heard of them. I was looking for certain players and these three were my first choices. They’re amazing all of them.

PP: – You mentioned in an interview and well… we also know that you’re a fan of short concerts. You would keep the show around 100 minutes. Can we expect a varying setlist from night to night?

PG: – Could be….

PP: – Can we expect any surprise guests on tour? Besides a maybe obvious Lars Winnerbäck.

PG: – Could be…

PP: – Your support acts will be the amazing Good Harvest and Strandels. Why exactly them? Will both acts play before all your shows or will there be concerts where only one of them will play?

PG: – Both of them are great. I think they will be there every night. Hope so.

PP: – Is Micke N-S working hard on your new guitar picks yet?

PG: – Could be…

PP: – Gyllene Tider is rumored to go on tour next year. We hope it will happen. A 40th anniversary is worth celebrating! So this summer there won’t be many GT songs on tour or …?

PG: – Hmmm….

PP: – Talking about a 40th anniversary, will you see Tom Petty and the Heartbreakers on their 40th anniversary tour?

PG: – No plans yet.

PP: – Thank you very much for your time and see you on tour! Awesome that you keep us busy all year in 2017!

PG: – My pleasure. And don’t forget that a Mazarin vinyl-LP will be out just in time for the tour. I couldn’t resist…