Roxette – Joyride 30th anniversary release

The Joyride 30th anniversary box with the whole story, demos and previously unreleased material will be released on 26th November.

Already tomorrow, 8th October, the single Small Talk will be released with two previously unreleased versions of Small Talk and Hotblooded.

This year marks 30 years since Roxette released her third album Joyride, which followed up the band’s record global breakthrough with the album Look Sharp! in 1989.

Roxette had in record time turned into a global hit phenomenon thanks to the three US hits The Look, Listen To Your Heart, It Must Have Been Love and other big hits such as Dressed For Success and Dangerous.

Joyride was the album that was supposed to cement the unlikely successes of Marie Fredriksson and Per Gessle. Which indeed it did. The album not only became Roxette’s bestseller, the title track zoomed all the way up to the top of the US charts on 1st May 1991 – giving Roxette their fourth US No.1. Thus, the group set a record that no Scandinavian group or artist has managed to surpass.

Massive box with unique material

The Joyride anniversary is celebrated with a vinyl box consisting of 4 LPs and a 3-CD box, which in addition to the original edition contains lots of unreleased or hard-to-get material that paints a larger picture of a piece of Swedish music history: demos, alternative versions and leftovers.

In addition, a richly illustrated 32-page booklet is included, which in text and with unique images from Roxette’s archive tells the story of how a classic Swedish pop album came to be.

Twelve previously unreleased songs

Twelve of the songs are previously unreleased, including the first recording of Hotblooded, which for a while was intended as the album’s opening song before Joyride pushed it to second place. Interestingly enough, there are also two Gyllene Tider songs here, which in January 1990 were candidates to end up on the upcoming Roxette record.

Per Gessle remembers:

It’s about “Run Run Run” and “Another Place, Another Time”, which Gyllene released on our English album “The Heartland Café” in 1984. And when I was looking for material for the new album in the autumn of 1989, I got hooked on these two. We made new and more “Roxified” demo versions of them – and especially, “Run Run Run” I think could have been a very strong one.

However, the recordings were shelved – in the Rox HQ there was a small but strong taboo against Roxette and Gyllene Tider being mixed together, so therefore they have been collecting dust in the archive. Until now.

Candy for all Roxette fans

Other 1990 demos that can now be heard for the first time are Small Talk, Church Of Your Heart, Physical Fascination, Things Will Never Be The Same, I Remember You and especially the upcoming single B-side The Sweet Hello, The Sad Goodbye – one of the strongest songs that never managed to take a place on the album, later a big favourite among many Roxette fans and recorded by several other artists, including American singer Laura Branigan.

Sweet Thing is also one of many candidates which never managed to elbow its way onto the Joyride album, but which now sees the light of day for the first time.

In addition to the LP box with four vinyl albums, the original album is also released for the first time with a gatefold cover and pressed in marbled or black vinyl.

Joyride 30th Anniversary Edition tracklists

4LP box

LP #1 

A
1 Joyride
2 Hotblooded
3 Fading Like A Flower (Every Time You Leave)
4 Knockin’ On Every Door
5 Spending My Time
6 Watercolours In The Rain

B
1 The Big L.
2 (Do You Get) Excited?
3 Small Talk
4 Physical Fascination
5 Things Will Never Be The Same
6 Perfect Day

LP #2 

A
1 Soul Deep
2 I Remember You
3 Church Of Your Heart
4 The Sweet Hello, The Sad Goodbye
5 Fading Like A Flower (US single version, Humberto Gatica mix)*

B
1 Joyride (US single version, Brian Malouf mix)
2 Soul Deep (Tom Lord-Alge mix)
3 Church Of Your Heart (US adult contemporary mix)*
4 Hotblooded (Live Sydney Dec 1991)
5 Fading Like A Flower (Every Time You Leave) (Live Sydney Dec 1991)

LP #3 

A
1 Joyride (T&A Demo – May 23, 1990)
2 Hotblooded (T&A Demo – Jan 23, 1990)*
3 Fading Like A Flower (T&A Demo – Aug 31, 1990)
4 Knockin’ On Every Door (T&A Demo – Aug 15, 1989)
5 Spending My Time (T&A Demo – May 24, 1990)
6 I Remember You (T&A Demo – Apr 1, 1990)
7 Watercolours In The Rain (T&A Demo – Jan 24, 1990)

B
1 The Big L. (T&A Demo – Apr 1, 1990)
2 (Do You Get) Excited? (T&A Demo – Aug 19, 1989)
3 Small Talk (T&A Demo – aug 30, 1990)*
4 Church Of Your Heart (T&A Demo – Jan 8, 1990) *
5 Physical Fascination (T&A Demo – Jan 3, 1990)*
6 Things Will Never Be The Same (T&A Demo – Jun 17, 1989)
7 Perfect Day (T&A Demo – Aug 23, 1990)

LP #4 

A
1 Sweet Thing (T&A Demo – Oct 28, 1990)*
2 Seduce Me (T&A Demo – Aug 22, 1990)
3 Run Run Run (T&A Demo – Jan 10, 1990)*
4 Things Will Never Be The Same (T&A Demo – Sep 17, 1989)*
5 Love Spins (T&A Demo – Jan 3, 1990)
6 Come Back (Before You Leave) (T&A Demo – Apr 8, 1990)
7 The Sweet Hello, The Sad Goodbye (T&A Demo – Mar 16, 1990)*

B
1 Hotblooded (T&A Demo – Dec 13, 1990)
2 Things Will Never Be The Same (T&A Demo – Dec 13, 1990)
3 Another Place, Another Time (T&A Demo – Jan 11, 1990)*
4 I Remember You (T&A Demo – Mar 15, 1990)*
5 Queen Of Rain (T&A Demo – Jan 2, 1990
6 The Big L. (T&A Demo – Mar 29, 1990)
7 Joyrider (T&A Demo – May 22, 1990)

*Previously unreleased

CD and Digtial tracklists

CD1

  1. Joyride
  2. Hotblooded
  3. Fading Like A Flower (Every Time You Leave)
  4. Knockin’ On Every Door
  5. Spending My Time
  6. I Remember You
  7. Watercolours In The Rain
  8. The Big L.
  9. Soul Deep
  10. (Do You Get) Excited?
  11. Church Of Your Heart
  12. Small Talk
  13. Physical Fascination
  14. Things Will Never Be The Same
  15. Perfect Day
  16. The Sweet Hello, The Sad Goodbye
  17. Joyride (US Single version, Brian Malouf mix)
  18. Fading Like A Flower (US Single version, Humberto Gatica mix)*
  19. Soul Deep (Tom Lord-Alge mix)
  20. Church Of Your Heart (US adult contemporary mix)*

CD2

  1. Joyride (T&A Demo – May 23, 1990)
  2. Hotblooded (T&A Demo – Jan 23, 1990)*
  3. Fading Like A Flower (T&A Demo – Aug 31, 1990)
  4. Knockin’ On Every Door (T&A Demo – Aug 15, 1989)
  5. Spending My Time (T&A Demo – May 24, 1990)
  6. I Remember You (T&A Demo – Apr 1, 1990)
  7. Watercolours In The Rain (T&A Demo – Jan 24, 1990)
  8. The Big L. (T&A Demo – Apr 1, 1990)
  9. (Do You Get) Excited? (T&A Demo – Aug 19, 1989)
  10. Small Talk (T&A Demo – Aug 30, 1990)*
  11. Church Of Your Heart (T&A Demo – Jan 8, 1990) *
  12. Physical Fascination (T&A Demo – Jan 3, 1990)*
  13. Things Will Never Be The Same (T&A Demo – Jun 17, 1989)
  14. Perfect Day (T&A Demo – Aug 23, 1990)

CD3

  1. Sweet Thing (T&A Demo – Oct 28, 1990)*
  2. Seduce Me (T&A Demo – Aug 22, 1990)
  3. Run Run Run (T&A Demo – Jan 10, 1990)*
  4. Things Will Never Be The Same (T&A Demo – Sep 17, 1989)*
  5. Love Spins (T&A Demo – Jan 3, 1990)
  6. Come Back (Before You Leave) (T&A Demo – Apr 8, 1990)
  7. The Sweet Hello, The Sad Goodbye (T&A Demo – Mar 16, 1990)*
  8. Hotblooded (T&A Demo – Dec 13, 1990)
  9. Things Will Never Be The Same (T&A Demo – Dec 13, 1990)
  10. Another Place, Another Time (T&A Demo – Jan 11, 1990)*
  11. I Remember You (T&A Demo – Mar 15, 1990)*
  12. Queen Of Rain (T&A Demo – Jan 2, 1990
  13. The Big L. (T&A Demo – Mar 29, 1990)
  14. Joyrider (T&A Demo – May 22, 1990)
  15. Hotblooded (Live Sydney Dec 1991)
  16. Fading Like A Flower (Every Time You Leave) (Live Sydney Dec 1991)

*Previously unreleased

Listening links to the Small Talk single (released on 8th October): Spotify, Apple Music, YouTube (1; 2), Deezer.

Per says:

The “Small Talk”-demo was made by MP and me at the old Tits&Ass Studio on August 30, 1990. It was written two days earlier. “Hotblooded” was recorded by Marie, MP and me the day after Marie and I wrote it in my tiny penthouse apartment in Halmstad in January 1990.

You can already pre-order all the Joyride 30th anniversary goodies that will be released on 26th November (black vinyl, marbled vinyl, 4LP box, 3CD set) on Bengans, Ginza and other well-known places, as well as in your local record stores / online record shops.

Click for the PRESS RELEASE in Swedish.

Promo video can be found HERE!

 

Per Gessle on Nordic Rox – June 2021 – Joyride 30

Per Gessle and Sven Lindström celebrated Joyride’s 30th anniversary in Per’s kitchen in Stockholm in the June episode of Nordic Rox on Sirius XM last night.

There are pictures of Per’s icons in the kitchen. Sven mentions there is a John Lennon poster behind him, Per adds there is a signed poster from Sir Paul McCartney which he got as a birthday present a couple of years ago. There is also a great Anton Corbijn photography of Pete Townshend sitting in a London cab. Sven tells John is above Paul and asks Per if it’s a sign for something. Mr. G tells it’s just because John was already hanging there and when he got Paul’s poster, he just put it under John’s.

Sven tells Per has been around for more than 40 years and kicked off at the age of 20 or so. He asks Mr. G if it means he is getting old. PG tells it means he is getting experienced. Sven tells anniversaries come closer and closer and Per’s reaction is that every time he realizes it, he thinks ”oh, we have to make an anniversary edition!” Now it’s 30 years since Roxette released their 3rd album, Joyride. It will get a 4-LP box set and a 3-CD set anniversary release in autumn. It will contain demos, outtakes and alternative versions as well.

The guys now zoom back to 1991, but besides Joyride, they also play other songs on the show.

The first one they play is Adiam Dymott’s Pizza. Her first, self-titled album in 2009 was produced by Thomas Rusiak from the Teddybears (Swedish band).

The next song is Santa Monica Blue Waves by Chris Linn. Per would say it’s a one hit wonder, but it’s not even a hit. It was a semi-hit when it came out in 1981. Per bought it on a 7-inch vinyl and still has it and likes it. It’s produced by Ulf Wahlberg, who used to produce and be part of the Secret Service (Swedish band). They had lots of hits, especially in Europe. According to Per, it sounds so 80’s and he loves that.

Unseen Footage from a Forthcoming Funeral by Nicole Sabouné is next, released in 2012. It’s power synth pop and Per loves it too.

Sven asks if Mr. G remembers his plans when he was thinking about making Joyride. Sven adds Per came from being big in Sweden and then breaking through in the world with The Look, so this album was the first for them to be international stars. Mr. G tells it was difficult in a way, because Look Sharp! had 4 huge songs on it, Listen To Your Heart, Dangerous, Dressed For Success and The Look, and then It Must Have Been Love happened from the Pretty Woman movie. In 1990, when they started recording Joyride, they were a very big band all over the world, so of course there was a certain amount of pressure to come up with some more goodies. Per always felt they were on a roll. Their style of music was special, they had a certain sound created in Stockholm by Swedish musicians. Per wrote maybe 30 songs for this album and they recorded 15-16. They took it step by step. Having all the success gives a lot of energy, says PG. It was fun days in the studio. They didn’t have any budgets, because they were big, so they were just hanging out in the studio for 6 months and the record label paid for it.

Sven tells there was no time for chilling. When they were not in the studio, they did promotion trips all over the world. For 8 years they were living like that, Per says. They were either in the studio or did tours or promo tours. On those few days when they didn’t work, Per went back home and wrote songs and made demos. So there was a constant flow of creativity, which he loved more than Marie did. She needed a little bit more space outside of Roxette. Per liked to be in that Roxette bubble 24/7. Sven jokes that for Per life outside of Roxette was overrated. Per laughs and agrees.

Mr. G had an apartment in Halmstad and one day he found a note on the piano from his wife, Åsa. It said ”Hej, din tok, jag älskar dig”, which translates into ”Hello, you fool, I love you”. He thought it was such a great phrase, he had to use that in a song. So he started working on Joyride. The expression ”joyride” comes from an interview with Paul McCartney in which he said writing songs with John Lennon was like being on a long joyride. At the time Per didn’t know what a joyride was, that you steal and crash a car and just leave it. For him it was like a very positive journey. So he came up with ”join the joyride” and that became a slogan for the whole project.

The guys play Joyride in the Brian Malouf mix, which was customized for the American radio. The difference between the album version and this is that the mix got more drums and there is a different groove to it, it’s a little faster.

Joyride became Roxette’s 4th US No. 1. The follow up song was Fading Like A Flower, which peaked at No. 2. It’s probably Per’s favourite track from the album. Marie was outstanding when she was singing this one. It’s just custom-made for her. Per doesn’t really consider it a ballad, it’s a mid-tempo song. He can’t remember writing it, but he has the demo which includes the piano intro, so he wrote the piano intro. Normally, when he wrote songs for Roxette those days he didn’t really write the intros, because he knew they would be going to change them anyway.

Sven asks Per if he heard Marie on his mind when he was writing a song, how Marie would deliver it. Per says he did and he also tried to write the lyrics from a female perspective (he laughs and says it sometimes didn’t go that well), as Marie was supposed to sing it. Per thinks if a song is written from a guy’s point of view and it’s sung by a girl, it gets a different meaning. It’s interesting in duets, e.g. in Paint. He thought FLAF becomes a stronger lyric when it’s sung by a girl. Joyride was meant to be sung by Per. The Look was sung by Per but it was intended for Marie. She didn’t feel comfortable singing that dadadadada. Sven tells Per had no problem doing that. Mr. G laughs and says that was his limit. Haha. PG thinks a love song, like IMHBL, becomes stronger when it’s sung by a girl. It becomes a little bit more fragile. Using this female-male trick Per thinks was one of the reasons why Roxette became so successful.

The guys play FLAF here. Bryan Adams blocked it from the top position on the Billboard.

Sven asks Per about the drama during recordings of the Joyride video. Per says they were sitting on the hood of a fake Ferrari in which there was a hidden driver lying on the floor, so you couldn’t see him. That was a big mess and Marie and Per sometimes just fell off. He thinks it was fun though in the desert somewhere in California. It was in the MTV days and they spent a lot on making video clips.

The FLAF video they did in Stockholm, at the City Hall, in the very beautiful golden room. The video became an homage to Stockholm.

Per picked Spending My Time as the next song to be played. He says it felt like it was going to be the big song from the album, probably because IMHBL and LTYH were so big. SMT felt like a natural follow up to those ballads. Mr. G thinks it’s a great song. He co-wrote it with Mats MP Persson. Marie is doing an amazing job on it, as always. Sven says it sounds really tailor-made for her with this melancholic touch to it.

Per had the idea to write a lyric that starts in the morning and ends at night. He says Marie delivered it so well. It became a big song for them. When they did live shows, it was always a show stopper.

Sven tells he and Per started knowing each other in 1987, when Sven beat Per severely in a pop quiz contest. The guys are laughing. Sven mentions it because he remembers they met at a pop quiz contest in the summer of 1990, when Roxette was recording Joyride and Per was really ecstatic about having written a song. When Per arrived he said he wrote a song including a line ”I leave a kiss on your answering machine”. Per thinks it’s beautiful and very romantic. He says the end melody of SMT was written as the intro of the song. Then when they recorded it, they didn’t have an intro, just Marie starting the song. (Here Per sings ”What’s the time?”.) It’s probably because all the intros, especially to LTYH was so famous, so they tried to do something different.

That concludes the Joyride special and the guys are back to Nordic Rox ”normality”. So here comes a song from The Beathovens from 1966, Summer Sun. Per thinks it’s an amazing track, beautiful noise from the 60’s.

James by Ex Cops is next from Denmark. Per likes them a lot. Sven tells they were based in Brooklyn, but the singer, Amalie Bruun qualifies them for being on Nordic Rox. They broke up in 2015. It’s a trend of this kind of music disappearing up in thin air, Sven adds.

It’s time for some Swedish garage rock – one chord, one riff, what more can you ask for, as Sven says. They play Something Wicked by The Teenage Idols.

At the end of the June epsiode, Sven tells they will celebrate another anniversary in the next one, the 20th of Room Service. Per picks the opening track from the album, Real Sugar as a teaser. He always loved that one.

The guys thank everyone for listening and Anita Lindblom’s Cigarettes is closing the show.

Still is from the 4K anniversary version of the Joyride video.

Thanks for the technical support to János Tóth!

Per Gessle invites you to a Joyride 30 video Q&A

This whole year is dedicated to the celebration of the 30th anniversary of Joyride. The album was released on 28th March 30 years ago and its lead single, the title song, Joyride reached No. 1 on the US Billboard Hot 100 on 11th May 30 years ago. To celebrate it, a video Q&A is planned with Per Gessle. It will be broadcast at 3 pm CET on 11th May. The good thing is that anyone can participate in the Q&A, you just have to send in your questions in a video until tomorrow, 6th May!

More than that, an amazing restored video of the Joyride clip will also premiere the same day on YouTube!

Watch Per’s invitation video HERE!

Warner Music Sweden’s conditions of participating in the video Q&A can be read HERE and these are the criteria your video must meet:

  • Try to keep your question to around 30 seconds in duration.
  • The question should be asked in English.
  • Be aware of background noise – something like a buzzing fridge or busy road can make your audio unusable.
  • Your video should be submitted in Vertical Mode.
  • Have someone film you or put your camera on a shelf or desk to keep it steady.
  • Remember that the audience can see what’s in the background of your shot.
  • Film from your shoulders up and leave space above your head.
  • Where possible, try not to read your question.
  • Look directly into the camera.
  • An upbeat delivery is usually best, and try not to speak too slowly.
  • Please leave a pause at the end of your question before you stop recording.

When ready, submit your question by sending it to joyride@warnermusic.com!

Still is from the invitation video.

Joyride 30th anniversary – RoxBlog interview with Per Gessle – „… loved to be in this wonderful Roxette balloon with Marie”

Music-wise Joyride was the first real life-changing experience for me and I’m quite sure I’m not the only one who felt the same when first heard either the title song or the complete record. It’s been 30 years now since we joined the joyride and became magic friends. The little girl who in 1991 was sitting persistently in front of MTV to catch the video certainly wouldn’t have thought that 30 years later she would ask the guy in the world’s best power pop duo about this album. I hope you’ll enjoy the reading as much as I enjoyed doing this interview with Mr. G.

Patrícia Peres: – Hej Per! Your best selling record, „Joyride” is celebrating its 30th anniversary today! Congratulations! It’s a very important album both in your career and in Roxers’ life. How do you feel about this anniversary? Have you already popped champagne?

Per Gessle: – Hello Patricia. And thanks. No champagne yet, still on cappuccino time here!!!
Yea, well… there are so many record anniversaries going on all the time. But of course „Joyride” is special. It’s a very important album for us from every angle. Together with Warner I’m planning a beautiful box set for release later this year.

PP: – After the success of „Look Sharp!”, how much did you feel the pressure to make something bigger and better? How did it effect your songwriting?

PG: – Oh, I was always triggered by success. You have to remember we came from nowhere (spelled S-W-E-D-E-N) so we didn’t take ANYTHING for granted. The more success we got the better songs I wrote. It felt like that anyway. It was the same for Marie. The bigger she became, the better performances she made, both in the studio and on stage. It’s all about self confidence.
However, looking back and checking the drawers, I don’t really understand how I found the time to do all this writing and to record so many demos. We were travelling the world constantly! But I guess I was fairly young, highly motivated and loved to be in this wonderful Roxette balloon with Marie. No rest for the wicked.

PP: – Because of the Gulf War, you had to postpone the album release. What were your thoughts on this?

PG: – Yea, it was delayed a month or so. Maybe six weeks. I don’t know if that mattered, I don’t think so. The basic reason for Joyride’s success was the timing. It’s always the most important thing. The music we made turned out to be the perfect soundtrack to 1991 for some reason.

PP: – The album sleeve became very colourful, it has definitely more colours than the first 2 Roxette album covers. Did you also feel that your music got more colourful?

PG: – We always wanted Roxette to be a colourful band. Personally I wanted us primarily to be more pop than rock. Power pop. Pop with an edge. That was always a constant discussion between Marie, Clarence and myself. What was Roxette all about? For me it was easy. But all of us came from different musical backgrounds so the answer wasn’t easy for everyone.
When I wrote the „Joyride” album my ambition was to write only songs that were strong enough to become hit singles. I didn’t really succeed, but that was my master plan.

PP: – On the edge of the sleeve it’s written „Don’t bore us – get to the chorus”. Did you take this phrase as a guiding line during songwriting?

PG: – Hahaha, yes I did. It was something our US manager Herbie Herbert once said and I loved it and thought it made sense in our particular corner of this crazy music biz.

PP: – Different formats played an important role here. 3 tracks were not released on the original LP, but on the CD version. Were you happy for the appearance of CD format in general and in this case?

PG: – No, I never liked the CD format. I like album sleeves. They are bigger and you can present the music and the idea behind the record in a proper way. It’s a piece of art and you should treat it like that. You can’t really do that with a CD.

PP: – How long did you play with the title „Joyride”? Is there a scientific reason behind going for it without the „r” in the end that was still there in the first demo’s title?

PG: – It was called „Joyrider” to begin with. I think all of us felt „Join the joyride” was an excellent slogan for what we were doing at the time. So I guess there were probably a few hours when the song was called „Join the joyride” as well. But, following the Don’t Bore Us-mantra… we made it simple and snappy. „Joyride” it was!

PP: – How should we imagine the day you wrote „Joyride” and „Spending My Time”? You enter the room where your piano is, you see Åsa’s note there and…?

PG: – I have only vague memories of it but I’ve checked my files and it looks like I was at home in our apartment in Halmstad and started the day writing „Spending My Time” on the piano, creating the verse and the instrumental melody in the outro (which was actually written as an intro).
I think the main part of the chorus came from something MP had written. He used to present snippets he had made and sometimes I used them in my writing process. He came by for an hour or two as well.
Then I changed to acoustic guitar and wrote „Joyride” after finding Åsa’s note. It all happened very quickly. I finished writing „Joyride” the day after.
Both lyrics were written basically at the same time as the music. I changed some words along the way but not that many. It must have been a sunny weekend. May 19-20, 1990.

PP: – Were there different whistle melodies or was it this tune from the very beginning?

PG: – It was the same melody from the beginning. I got the idea to whistle from Monty Python’s „Always Look On The Bright Side Of Life”.

PP: – Is „Joyride” a perfect pop song in your book?

PG: – It’s one of my best anyway. I’m not 100% satisfied with the production though. I think it’s a little thick and meaty and the song could go a little faster. Also, I don’t sing it very well, but that was the best I could do at the time. I always feel relieved when the middle-eight comes in and Marie starts to sing… I take you on a skyride… she sounds so much better.

PP: – You have four US No. 1’s! That’s huge! When „Joyride” reached the top, did you feel the same excitement as with the first three No.1’s?

PG: – Yes, I did. It was unbelievable. I was in Paris that day with Åsa, Clarence and Anna, his girlfriend at the time. We all went to La Coupole in the evening to celebrate. I remember staying at the Raphael Hotel. Åsa woke up in the middle of night seeing a ghost (it wasn’t me!) so we moved out. That’s Paris for you! Hahaha, I should write a book!

PP: – „Ghosts of Paris”, would be a bestseller! Haha. Your career was soaring in the US and one would have thought that nothing could go wrong. Then shit happened with EMI. Do you think if „Spending My Time” had been released much earlier, maybe even as the lead single, it could have also reached a No. 1 spot on the Billboard?

PG: – I think the new 1992-regime at EMI USA, led by Charles Koppelman, definitely weakened us in that market. The „new” EMI showed no interest in us whatsoever and certainly didn’t know what to do with two foreigners speaking a strange language even though we’ve had so much success in their country. So they basically just let everything slide.
With the support from the people at the „old” EMI I’m pretty sure „Spending My Time” would have been a Top 5 single. It was climbing fast on the Billboard Hot 100 when the take-over at EMI took place. Then it just stopped.
The whole marketing campaign set up for the „Joyride” album in the US was supposed to peak with „Spending My Time” being released in the winter/spring of 1992. It was regarded as „the big one” on the album. The natural follow-up to „Listen To Your Heart” and „It Must Have Been Love”.

PP: – You wrote the lyrics to „Watercolours In The Rain” several years before „Joyride” was in sight. What project did you write it for originally?

PG: – I don’t know. I wrote so much all the time. Poems, lyrics, phrases. I always liked that title, it makes your imagination tick. As you know, there’s a Swedish song with the same title I wrote back in 1982 (for Gyllene Tider), „Som regn på en akvarell”. Maybe I should have another go in French?

PP: – „Aquarelles sous la pluie”? Hm. It’s the only song Marie wrote the music to. Back then how motivated was she to maybe write more for Roxette?

PG: – Roxette’s fundamental idea was me being the main writer and Marie being the main singer. Marie never really wrote Top 40 songs in those days and Roxette’s only chance initially to go abroad was via „hit records”.
Over the years Marie presented a little bit more material for Roxette, but at this particular time she focused primarily on her Swedish stuff. The main reason was probably that she felt she couldn’t express herself lyrically that well in English.
Also, generally speaking, she didn’t write as much as I did. When we had time off I spent basically every day in the studio, writing and demoing new songs. I was ALWAYS working!
Marie needed much more space outside of Roxette than I did. We were different.

PP: – Music to „Hotblooded” you co-wrote with Marie. It was one of the last demos recorded for „Joyride”. Was it written together to make a difference vs. other songs on the album?

PG: – No, „Hotblooded” was written in January 1990 when Marie came down to the westcoast for a couple of days. We wrote and demoed „Hotblooded” and „Watercolours In The Rain” during those sessions.

PP: – You’re so right! The date of the „Bag Of Trix” demo fooled me, but even in the previous interview I did with you you mentioned that there is an earlier demo of „Hotblooded” with guitars + bass + drums.

PG: – For „Hotblooded” Marie wanted something really simple and sexy to sing so we used basically just one chord in the verse. Marie improvised a bluesy melody to a lyric that I had and it sounded really cool. I think I wrote that Jimmy Page-style guitar riff on the spot, but it was definitely MP who played it on the demo. Too tricky for me.
Later in January and early February Marie, Clarence and Anders joined MP and me at the T&A temple to start the real production of the album. The first song we cut was „(Do You Get) Excited?”. I remember that clearly because the electricity in the studio went down. A total blackout. Tiny village.
We had so many songs floating around the „Joyride” album at the time. Anders and Clarence programmed, for instance, a version of „Shelter From The Storm” („Segla på ett moln”) for Marie to sing. We even demoed two old Gyllene Tider-songs; „Run Run Run” and „Another Place, Another Time”. But we had better stuff coming.

PP: – „Knockin’ On Every Door” started out as „Rocket” in 1987. How can you keep distance from your songs to be able to rewrite them to an extent that even Clarence wouldn’t realize it’s the same song?

PG: – Hahaha, he’s pretty easy to fool! Nah, he’s a tough one. I really loved „Rocket” when it was written, but I had a hard time convincing Clarence and Marie to use it for „Look Sharp!”. So I re-did it (= put a shuffle-beat to it + wrote new lyrics). I think Clarence started to like it when Jonas played that guitar riff in the studio. It was a monster hook!

PP: – Why did you decide to remix „Soul Deep” and include it on „Joyride” instead of a totally new song from the many you had written for this album?

PG: – Because it was Marie’s big showstopper live and we were heading for a huge world tour! It was an amazing song to play in concert, Marie loved it. So did the crowd.

PP: – One can never know when it comes to you: is there any song on the album that has a Swedish lyric too? Except for „Soul Deep”, of course.

PG: – No. Sorry. All custom made.

PP: – I think „Small Talk” is the song you talked about the least. Any confessions that have to be heard?

PG: – All of us felt it was a little bit too similar to „Dressed For Success” stylewise. But not as good. I think it found its place on the album because we needed uptempo songs to get the right balance.

PP: – We are lucky to have „The Making of Joyride” docu where we can follow the process of recordings through „The Big L.”. It’s the only single that wasn’t released in the US. Why wasn’t it considered?

PG: – Because EMI USA wasn’t interested in us anymore.

PP: – „Perfect Day” is a difficult song vocally. Is there a demo that you sing?

PG: – No, thank God! I have a T&A-demo with Marie singing made in August 1990. Haven’t you heard it? MP plays hillbilly accordion!

PP: – The demo you released on „Bag Of Trix” is definitely a fab one. Regarding „Perfect Day”, Marie said it was a song she had dreamed about. Do you remember her first reactions to it?

PG: – She adored it immediately and I knew she would. It’s a tough one to sing and she loved that challenge. She didn’t even use her falsetto voice on the recording. She sang it „au naturel”. Outstanding!

PP: – Once this song was in sight, it kicked away „Queen Of Rain” from its album closer position on „Joyride”. Then there were songs you gave easily away to other artists (e.g. „The Sweet Hello, The Sad Goodbye), while you didn’t give „Queen Of Rain” to anyone even if they asked for it. How did you decide which ones could go and which ones to keep?

PG: – Since I’ve always been an artist as well as a songwriter I’ve obviously saved the best material for my own projects. It’s a big difference compared to being solely a professional songwriter. Then you’re a „hired gun” and have to compromise a bit more to please „the customer”. My priorities have always been Roxette, GT and my solo career. And Mono Mind and The Lonely Boys, of course.
Laura Branigan got hold of both „The Sweet Hello, The Sad Goodbye” and „Queen Of Rain”. I can’t remember how. She wanted to record both of them, but Marie wanted us to keep „Queen Of Rain” for Roxette. So we did.
Phil Ramone produced Laura Branigan at the time. He liked my songwriting and I was really flattered that someone like him took interest in my work. He produced, as you probably know, superb records by Paul Simon and Billy Joel and did some amazing stuff over a long period of time.

PP: – „Church Of Your Heart” was suggested to be a single by the American record company. Did it make sense to release a single that was not on the original album (LP), only on the CD version?

PG: – No, we never understood that. It was a leftover from the LP. Clarence hated it. Jonas loved it, though. I thought it was kinda nice, but I don’t think Marie liked it very much. It wasn’t really her cup of tea. It was more me pretending to be Halmstad’s Tom Petty.

PP: – You wrote so many songs for „Joyride” that it could have easily been a double album. Weren’t you thinking about it back in the days?

PG: – No, we were in the Top 40 game. No double albums allowed. Thank you very much.

PP: – You had quite produced demos, knowing exactly how you wanted the songs to sound. Still if we watch „The Making of Joyride”, we can see there was creativity on the sessions and changes were added here and there, even if the final songs sound quite like your demos. How did that work with the team?

PG: – Well, the more comfortable I felt in the studio the more advanced demos I made together with MP. But the whole Roxette thing was a collaboration and a teamwork and I was always very open to that.
If Jonas presented a guitar sound or a riff we took it seriously, listened closely and had an opinion. The same went for everyone. Marie changed some of the melodies sometimes, Clarence sneaked in a new chord here and there. Or a different modulation. Maybe Anders changed the beat or the tempo to a song. I loved that. It all made the songs better and created that glimmering Roxette Universe.

PP: – Which of your lyrics on „Joyride” do you think is the best still today?

PG: – I don’t know. „Spending My Time” is pretty good. „Excited” is OK. „Joyride” is a good idea.

PP: – Which song was the trickiest to write?

PG: – There were no big hickups with these songs. You start with an idea and go from there. If you get stuck you throw it away and start something new.
I’m a pretty restless person, so I don’t like to spend weeks and weeks on a song. It has to grab my attention very quickly and keep it there until it’s finished. It’s always been like that.

PP: – Which song title do you find the most exciting on „Joyride” and which one you wouldn’t use as a title today?

PG: – Hahaha, I’ve always been a sucker for good song titles!! I actually think all of them are pretty good. The title is often the very first impression you get from a song, so it’s important that it grabs your attention and makes you curious.

PP: – Which song on „Joyride” has the best chorus / best verse / best melody that you are the most proud of?

PG: – Oh no Patricia, so very tricky questions this time! Joyride’s got a great chorus, but so does „Fading Like A Flower”. I still love the chorus in „Perfect Day”. It’s really beautiful. I like most of „Things Will Never Be The Same”. „Excited” stands out because of all the modulations. It opens up new doors all the time. I like „The Sweet Hello, The Sad Goodbye” (great title!), but I don’t know if that counts!

PP: – What’s your best rhyme on „Joyride”?

PG: – Well, „lady” and „baby” in „Joyride” isn’t that good, is it?

PP: – Haha! 4 songs from „Joyride” were later released in Spanish too. Do you remember which of them Marie liked the most to sing in Spanish? And which is your favourite?

PG: – Marie loved to sing „Un dia sin ti” („Spending My Time”). It was HER song. Even in Spanish!

PP: – Actually, it was 30 years ago when you changed my life forever for the first time. After we got access to satellite TV and I first saw the „Joyride” video and heard the song on MTV, I became an instant Roxer at the age of 11. Once a Joyrider, always a Joyrider. How do you see MTV’s role in Roxette’s career?

PG: – MTV was very important for Roxette. The videos made us come alive and become real persons to so many people. It was a new tool, very fresh and we loved it. We spent enormous amounts of money creating all those clips. It was a very exciting era in pop music. Anything was possible.

PP: – You had 6 videos shot for songs off „Joyride”. Which one did you find the most challenging to shoot and which was the most fun?

PG: – „Joyride” was fun, it felt like everyone was waiting for it! The hype around that song was huge even before people had heard it. It was certainly a thrill to go to the desert shooting the video. Even though the Ferrari Dino was fake!
„Fading Like A Flower” was a beautiful one paying homage to Stockholm. We had a great time freezing in the cold. Guess we were used to that.
„Spending My Time” was also nice, sensitive and intimate. Fit the song perfectly.
„Excited” was wonderful. It was entirely Marie’s show. Outstanding and really beautiful. It was supposed to be a single but never happened.
„The Big L” was hilarious and totally over the top. Big crazy production staged in Stockholm.
„Church Of Your Heart” I can’t remember. Was I involved?

PP: – Well, if it’s not you boogieing around that Sydney church, I don’t know who that guy is. Haha. Marie loved acting, so shooting for her must have been a fab experience. How about you?

PG: – Oh, I liked it as well! The first big ones, „The Look” and „Dressed For Success” were amazing to be part of. It felt like we had landed on Mars. Buying clothes at Trash & Vaudeville in New York City late 80’s was definitely science fiction.

PP: – Did you get scripts in advance for the videos? Were there different scripts vs. the end results in any of the videos’ case?

PG: – No, not really. We had meetings discussing the general idea, the direction, the location, the budget and so on.

PP: – Getting back to MTV, you won the International Viewers Choice Awards with „Joyride” in 1991. How did it feel to win this award for the second time?

PG: – Amazing, of course. To get an award based on the exquisite taste of the audience is always the finest achievement.

PP: – Which video did you like the most in the sense of standing out from the mass of music videos at the time?

PG: – Of all our videos „Crash! Boom! Bang!” felt very innovative at the time. I still think it looks great. And „The Look” is really cool. Always loved that one.

PP: – „Things Will Never Be The Same” has always been an amazing song, but after Marie left us, it has a different meaning to all of us. If you did a video to the song back in the days, how would it have been?

PG: – Who knows? I can’t answer that.

PP: – „Join The Joyride!” was your first ever world tour. How did you prepare for it and how was the rehearsal period with the band?

PG: – Everyone was really triggered by the success. We knew we were gonna play big arenas, maybe even moving to stadiums later on. It’s easy to work when you’re on a roll.

PP: – Of course you already had great hits, but the Roxette catalogue back then wasn’t as big as today. How did you decide what to include in the setlist?

PG: – First of all, we wanted to please the fans playing the songs they wanted to hear. Then we wanted to show the world what a great band we were. People, and media in particular, didn’t expect that from a Top 40-act.
Jonas was amazing. That’s why we did those long intros and solos on „Soul Deep” and „Cry”. Clarence and Anders were world class players. Pelle solid as a rock as well as Vicki and Staffan. I was the weakest musician in this gang, but I did my best to put my fingers on the right frets. Like always, I spent most of my time „directing”, changing the setlist, suggesting different visual things etc.

PP: – Songs on tour sounded more like the album versions back then. How was it with the arrangements? Would it have been too early to change it live (e.g. do an acoustic version of „Spending My Time”)?

PG: – We had a very distinct sound on the records and we tried to duplicate that live as well. It was hard to do sometimes. Some songs had pre-recorded tracks, like the bass sequencer on „The Look” and „Dressed For Success”, but we tried as much as possible to avoid technology. We didn’t really need it since everyone (not counting myself…) were superb musicians.

PP: – You were supposed to start your tour in the US, but because of the Gulf War the American part was postponed and became reality only in 1992. Do you think Roxette’s American history would have been different if you could have started touring there already in 1991?

PG: – We will never know. Doesn’t matter now. Things turned out amazing the way they did.

PP: – I think you have a definite main act character, but was it ever an option to be the support act to a big American band to make Roxette more known among US people?

PG: – No. We never did any support act gigs. It’s always gonna be a compromise, so we never bothered.

PP: – You experienced a kind of hysteria with Gyllene Tider in Sweden earlier, but how different was the worldwide hype of fans around Roxette those days?

PG: – The same but much bigger. I was ten years younger when the GT frenzy started. I think that experience helped me focus on the most important thing for me in Roxette, which was the songwriting and the guiding.

PP: – Already back then the age group of the crowd at your concerts was very wide from kids to grandparents. What do you think made all generations interested in hearing you live?

PG: – I don’t know. It just happened. What we did appealed to a lot of different people for some reason.

PP: – Marie definitely stole the show on tour. She was an amazing perfomer and perfectly owned the stage and the crowd too. How did you feel about it?

PG: – It was never an issue. I was used to be the front figure in Gyllene Tider, but most of the songs in Roxette were sung by Marie, so it came natural that she stepped up and became the leader on stage. She did an amazing job. I think those hours performing was what she loved the most.

PP: – Even if pyrotechnics were used, as a backdrop you only had some playing with the lights and screening some words. Was that minimalism on purpose or was it rather budget-related?

PG: – Oh, I thought we had a big production even back in 1991!

PP: – You didn’t have a big guitar pick holder on your stand like you have nowadays. How did you manage with only a few picks during a whole show?

PG: – The big guitar pick holder wasn’t invented in those days! I think I had my picks gaffa-taped close to the lukewarm water beside my amp.

PP: – Marie also got a guitar on „The Look” and „Joyride”. Did she use your picks or did she have her own?

PG: – Can’t remember. She probably stole mine. Everyone did.

PP: – Both you and Marie wrote songs during the tour. Yours were rather bright, while Marie wrote the darkest album of hers to date. How do you look back on this busy touring period from a songwriter’s point of view?

PG: – I think I enjoyed the touring part more than Marie. It’s sooooo much more than just the two hours you spend on stage. We were different people. In the end of the day that’s what made Roxette special.

PP: – Back in the days there was no iPhone and sound recording apps. What device did you use to record your song ideas while on tour?

PG: – Oh I had my gadgets. My favorite one was a dictation machine that made me feel like a Hollywood-lawyer. Still have it. Two tapes still exist with sketches and rough demos on them.

PP: – You know how to tease! Haha. Now 30 years later what advice would you have for yourselves in the „Joyride” era?

PG: – Looking back I’m pretty pleased with the whole ride. It was a remarkable thing to be part of. I feel truly blessed to have experienced it. I know Marie felt the same.

PP: – As a last question, you talked about a 30th anniversary „Joyride” release and we can see from your updates that you are digging deep in your drawers again. Could you share some more details with us? What can we expect? And of course: when?

PG: – We have a few ideas to stimulate your eyes and ears. I guess the boxes will be out early autumn. 4 LP’s and 3 CD’s. Including unreleased stuff, demos and a fab booklet with lots of hidden secrets and shameless hairstyles revealed. I hope we can release some unseen footage as well. Maybe some of the old videos in HQ? And a „Joyride” live album would be nice. There’s no set date yet. But hey, who’s in a hurry?

PP: – We’ll give it a warm welcome anytime! Thank you so much for your time, Per! Congrats once again on the anniversary and please, let it be a BIG FAT box!

PG: – Fat is my middle name!

 

Joyride turns 30! Roxette celebrates classic Swedish album!

Now on Sunday, 28th March, it’s 30 years since Roxette released their third album “Joyride”, the follow-up to the band’s spectacular global breakthrough with the album “Look Sharp!” 1989.

The three US No.1’s “The Look”, “Listen To Your Heart” and “It Must Have Been Love” and other big hits such as “Dressed For Success” and “Dangerous” had transformed a local Swedish act into an international musical phenomenon in the 90’s.

“Joyride” was the album that was supposed to cement the unlikely success of Marie Fredriksson and Per Gessle. Many artists would have probably failed under the pressure of all expectations, but Roxette delivered. Or as Per Gessle remembers:

Björn Ulveaus once said that ABBA felt right on target when they did ‘Mamma Mia’. They had had many hits, everyone was waiting for a new album – but despite the pressure, they could easily deliver. And that’s exactly how I felt about Joyride. I came home one day and saw a note from my wife Åsa, which said: ‘Hej, din tok – jag älskar dig’. I took the guitar, changed it to ‘Hello, you fool, I love you’ and wrote the song. I knew right away that it was going to be a hit. All the parts matched. With the song ‘Joyride’, the whole record was in the can.

The world, however, was hardly on a joyride when the album was released. On the contrary. At the same time as the United States launched Operation “Desert Storm” in Kuwait, releasing an album called “Joyride” and flying around the world on promotional trips didn’t feel like an optimal timing.

But in the spring of 1991, most things went Roxette’s way. The title track soon rushed up the charts and became the band’s fourth US No.1 – an almost impregnable record for a Swedish artist even today –  while single hits such as “Fading Like A Flower”, “Spending My Time” and “Church Of Your Heart” were waiting for their turn. Soon the album sold eleven million copies in total.

Per says:

One of the main reasons why Roxette – and not least our biggest album ‘Joyride’ – became such a colossal success is of course that Marie’s singing was second to none. She was able to make great works of my songs and the album contains several of her tops. In addition to the big hits, there are, for example, ‘Perfect Day’, ‘Hotblooded’, ‘(Do You Get) Excited?’ and not least ‘Watercolours In The Rain’, a song that Marie had written wonderful music to the lyric I already had lying around and it turned out to fit perfectly.

The “Joyride” anniversary is celebrated this autumn with a 4-LP vinyl box, as well as a 3-CD set, which in addition to the original album will contain lots of unreleased or hard to find materials that paints a larger picture of a piece of Swedish music history.

Read the original Swedish press release HERE.