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Nice choice, you Dialies! /P.


Tycker om när du tar på mej

Per's 60 for 60. This is #5 of TDR's hand-picked list of songs from Per Gessle's career.

Per's 60 for 60. #5 Tycker om när du tar på mej (I Like It When You're Touching Me). Badabam! The top 5 and the 3rd "Mazarin" song in a row! Another killer track. One of Per's favorites, as well as wife Åsa's. Gabriel wasn't too keen on "I like your breasts in the morning light" but hey... This is what Per has to say about it: "'Tycker om...' was born October 1st in 2002. It had a very special vibe throughout the whole writing process. It’s very rare. Great guitar-riff, a classic but wonderful chorus, quite personal lyrics. It all made sense. Also, it was the first song we recorded for 'Mazarin' and it took forever. I think we did six or seven versions and arrangements before I was happy and could sleep properly. We spent two weeks on this song alone. Clarence and Christoffer wanted to kill me. I think they tried to put poison in my food. But it was worth it." It certainly was. Chris also commented in one of our interviews a few years ago that Per was not happy with the first six versions of it. "You're ruining my favorite song!!" Oh well, it turned out more than fine! #per60


Tycker om när du tar på mej

Per's 60 for 60. This is #5 of TDR's hand-picked list of songs from Per Gessle's career.

A great day!


Per Gessle & John Holm - Det är vi tillsammans

Having some fun w/ John Holm + the neighbourhood. En vacker kväll. Filmed by Awesome.

Yep, missing the tour. However, more to come! /P.


Per Gessle's Roxette: The Big L - Live Brussels Oct 12, 2018.

Per Gessle's Roxette: The Big L - Live Brussels Oct 12, 2018 Follow Per Gessle: Website https://www.gessle.com Facebook https://www.facebook.com/RealPerGessl...

Per's 60 for 60. #6 Spegelboll (Disco Ball) Here it is, the hit of all hits! A great groove, the keyboards, the bass, the guitar, the drums, you name it! Per's personal comment: "Written for the 'Mazarin' album and was first named 'Jimmys gitarr' but it didn't really fit the concept. I made a new version with new lyrics and it suddenly felt a lot better. The album was in desperate need of an uptempo track and 'Spegelboll' fit the bill perfectly. It also became a killer track live." It was released as a 12" DJ single in clear vinyl, but it was never released as a proper single. That was a bad mistake guys... Another mistake was to let the Estonian band Vanilla Ninja destroy it in English! Dear god! Find "Crashing Through the Doors" and cringe a little... Anyway, a great #6, don't you think? #per60

Per's 60 for 60. #7 Om du bara vill (If You Just Want to). From "Mazarin" and a lovely song indeed. Today Per himself comments the track: Probably my favorite song off "Mazarin" (together with "Tycker om när du tar på mej".) I started writing it in February of 2002 but didn't finish until August the same year. It was originally called "Det bor en sorg." ("A Sorrow Lives") That's how verse two starts. The recordings down in AGM in Skåne were magical. Christoffer's slide guitar, Clarence's piano, Jens's soft drums and Helena's unimaginable voice put a very special touch to this song. #per60


Om du bara vill

Per's 60 for 60. This is #7 of TDR's hand-picked list of songs from Per Gessle's career.

Sundsvall 2010, the comeback!


Photos from The Daily Roxette's post

The Daily Roxette is certainly on a roll! Check this out. /P.


I Like It Like That

Per's 60 for 60. This is #8 of TDR's hand-picked list of songs from Per Gessle's career.

Per's 60 for 60. #8 I Like It Like That. Per wrote this in January 2002, for the upcoming two Roxette compilation albums of hits. They needed some new singles and Per thought this could be a killer track with Marie in charge. It never happened. Again Roxette never recorded it, this time due to the fact that Marie became ill. Time went by and a couple of years later Per had a go at it himself, and he included it on the SOAP album. Still one of Per's favorites. And ours. The song was also released as the last single from SOAP, even though a sticker on the sleeve noted that "Substitute" also was slated for release. #per60


I Like It Like That

Per's 60 for 60. This is #8 of TDR's hand-picked list of songs from Per Gessle's career.

Per's 60 for 60. #9 I'll Be Alright. Per wrote this in the summer of 1994 for Roxette, but they never had the chance to record it. It made perfect sense to Per to include it on "The World" a couple of years later. The original idea was to have Agnetha Fältskog from ABBA sing the female vocals. They spent an hour on the phone talking about it, but it eventually never happened. That would have been nice, right? Very sweet lyrics about someone who's been left but thinks the world of the girl who dumped him. Gracious indeed. A great #9. Which song would you take on an everlasting road trip? #9 or #10? #per60

Per's 60 for 60. #10 A Girl Like You. With this fairly unknown gem we're cracking the top 10! Another bonus track from Son of a Plumber, but also released as a demo in the PG Archives. The lyrics are fairly generic, but very positive. Who wouldn't want to find the girl you'd been waiting for? Now, the SOAP version is not available on Spotify, while the demo is, so we added that. Nine more mindblowers to come! Oh I’ve been waitin’ such a long time/There’s been so many things on my mind/I’m really pleased I finally could find/A girl like you... #per60


A Girl Like You

Per's 60 for 60. This is #10 of TDR's hand-picked list of songs from Per Gessle's career.

Hello 2019! Hope you've all had some fab days off! New dice coming up! Cheers, P.


Hello 2019! Hope you've all had some fab days off! New dice coming up! Cheers, P.


We're entering the Top 10 of our #Per60 list tonight. Which songs would you like to see there? In case you forgot which songs have already made it in the TDR charts, here's an overview for you: http://www.dailyroxette.com/?s=%23per60

Per's 60 for 60. #11 Här kommer alla känslorna (på en och samma gång) (Here Come All the Feelings (All at Once.)) Well. Here it is, the long awaited song. A major hit in Sweden in 2003. So big it created the whole summer tour in fact. The only problem the radio stations had with this song is that it's so short, only about 2.5 minutes. Radio Rix solved it their own way - they played it three times in a row! It's a happy song, while it in its own way isn't. It is about a guy who feels really down after a breakup, rather being dumped, but he sees the future coming anyway. "It's time to tie a knot. Open the gate because now I'm walking out." Good for you! Oh and one last thing - Per did not believe in this song whatsoever, it was his team at EMI which said "this is the first single, dammit!" and it was... the rest is as you say, history. #per60 http://www.dailyroxette.com/har-kommer-alla-kanslorna-pa-en-och-samma-gang-2/

Per's 60 for 60. #12 Reporter. Happy New Year! We start 2019 off with another epic track from "The World..." Nothing much to say here, but the lyrics are nice and Per's fit Per and Marie in there nicely. The demo was called "Writer" but is basically the same. Enjoy 2019! #per60


Reporter

Per's 60 for 60. This is #12 of TDR's hand-picked list of songs from Per Gessle's career.

Hej, we wish all TDR readers a very Happy New Year 2019! We are very sure we'll meet you this year again more than once. Keep your eyes, ears and hearts open. No matter what Per has up his sleeve, we do have a couple of ideas to keep you well entertained. For starters, we began falling in love with tour books, really exclusive interviews and more song countdowns, hope so do you! All the very best from Visa, Thomas, Paul, Colin, Kai and even Stevo!

HAPPY NEW YEAR ALL YOU ROXERS OUT THERE! HAVE FUN TONITE! SEE Y'ALL NEXT YEAR! /P.


Per's 60 for 60. #13 Smakar på ett regn (Tasting a Rain). OK, here we are, the last song of the year. And a good song at that. The year? Not too shabby either. "Smakar" is from "Mazarin" and can be described as a Kent song. The Swedish pop band Kent that is. The harmonies and the production reeks Kent. One of the stories behind this song, can't vouch for its validity, goes like this: Per came tumbling down the stairs to the T&A studio asking if they had any Kent albums. They did not so MP went to the store and got some. Per got into the vocal booth and sat there for a few hours listening and writing. When he came out he had written this song. However, the story about this song in the book "Sketches" is not the same. Who know? #per60


Smakar på ett regn

Per's 60 for 60. This is #13 of TDR's hand-picked list of songs from Per Gessle's career.

Sunday groove! /P.


Roxette - Travelling

Make sure to Subscribe: https://www.youtube.com/user/roxetteofficial?sub_confirmation=1 Join a Swedish Midsummer party with Roxette in Neckarsulm. See Helena...

Per's 60 for 60. #14 Stupid. Another great one from "The World." Per comments "...is the kind of song I write after a bucketful of red wine on a Friday night. I really love Friday nights. I also love red wine. And I do love those three chords." Nothing more really needs to be said, right? This was also branded a Roxette song after having been featured in the Jonas Åkerlund movie "Spun." It's too long ago to remember if the mixes were any different at all, but we're sure you readers will tell us! #per60


Stupid

Per's 60 for 60. This is #14 of TDR's hand-picked list of songs from Per Gessle's career.

Forgot about this. Per interviewing Gessle. What a splendid idea. What can go wrong? Everything! /P.


The Daily Roxette

From the 1997 press release. Roxette-man stands on own two feet. Records quintessential solo album. Stirs up media interest with own interview. After four US #1's, two US #2's, over 100 gold and platinum records and more than 45.000.000 recorded units sold all over the world, you'd think Per Gessle of Roxette had heard just about every question in the fine art of pop interviewing. Not so. Recently he sat down with a tape recorder, a note book and a lot of irksome bloody questions about his upcoming solo venture from the real man in the know - himself. So, here it is. Per vs. Gessle One side of the coin walks a mile in its own shoes. Sort of. Per: What's up? Gessle: A lot. I've just finished the record. Been mixing and mastering and retouching the album pictures. It's been a lot of work. Per: Retouching your pictures? Gessle: Yeah....no...I mean, the songwriting, recording and mixing took some time too. Per: But you're not the cable kind of guy are you? Gessle: No, I'm a lost case when it comes to technology. I've done some of the mixing together with the invaluable Michael Ilbert and Clarence …Öfwerman, who helped me produce the thing. As P.J. O'Rourke says; to them goes the credit - I'll take the money. We've been recording in Benny Andersson's superb studio in Stockholm. Per: The Benny Andersson? Of ABBA fame? Gessle: Yep. But the mastering was done by Michael Ilbert and George Marino in New York. I asked if I could contribute something and they said they'd phone me. Per: Why a solo album now? Gessle: I needed the money. Per: Surely you must be joking. Gessle: I'm deadly serious and don't call me Shirley. Or was it to make a detour from the Roxette path? Yeah, that's it. After the "Crash!" album and tour I started writing new material in this direction. You know, "Sleeping In My Car", that was the last song recorded for "Crash!" and it became the first single. It was written in desperation more or less. I felt that we had perfected ourselves a bit too much, that the energy level was dropping with every month we spent in the studio polishing details in the sound picture. I'm a pop addict and I wasn't getting enough. Per: So that's when you started thinking about making a pop album? Gessle: Yeah, candy-coated, loud and un-bluesy. Per: But it's not the first time, is it? Gessle: Well, I've done two Swedish solo albums before, in 1983 and 1985, and Marie has done five. So I figured it was about time to catch up. Per: So how did you approach the whole thing? Gessle: I wrote some songs and then got in the best pop band in Sweden - Brainpool - to help me kick some butt. Mine, that is. But I also used my former band Gyllene Tider. We were teenage heroes in Scandinavia shortly after the heydays of punk, but re-formed for Scandinavia's biggest tour ever in the summer of 1996. And I figured it was a good idea to tap that well of energy and creativity right after the tour finished in August. So I've been lucky to record with two of my favourite bands. Per: What did Marie say when you told her you were going solo? Gessle: I guess she knew it was coming after the "Crash!" tour. We'd been working together almost non-stop since 1988 and had tremendous success. Sooner or later you have to do something else to get new inspiration, to avoid getting stuck in the rut. Marie never gave up her Swedish solo career, but I've always focused everything on Roxette. So I figured it was time to take some time off and just see what I could do on my own. Per: Why do it in English? Gessle: Stupid question coming from you. I wanna go world-wide of course. Wouldn't you? Per: If Roxette had released an album 1997, would it have sounded like "The World According To Gessle"? Gessle: "The World According To Roxette"? I don't know. This is how I want a pop record to sound today, anyway. Marie may have another vision. It takes more than one to tango, you know. Per: Does it - we're tangoing alone right now? Gessle: Everything's possible in pop interviewing. But Marie likes the record. She sings on one of the songs too. Per: Why? Gessle: Because she's the best. Per: Speaking about pop. Do you listen to new stuff as much as you used to? Gessle: As you might remember I started collecting pop records early. I had 100 LP's when I as 10. A manic collector and chart-follower from day one, which must be when "I Feel Fine" was released. And so it went on until Roxette broke through. But five-six years ago, during the "Joyride"-days, so much time was spent on writing, touring, recording and promoting that I hardly had the time to listen to anything new at all. At the end of 1995 I started buying new records and today I'm reasonably hip again. But time passes, one gets older and gets new hobbies. I've built a beach house, got me a canary bird, discovered vintage port and bought a Ferrari. Spoiled brat, you know. Per: How does success change a person? Do you change friends? Is there a club for millionaries? How can you keep up when you don't have to? Gessle: I'm surprised to hear such an intellligent question from you. Of course you change. Everything changes. The way you see things, the way other people see you. But pop music isn't my job; it's my life. You probably have to be that obsessed to survive in this business. Success and money is a kick, but the greatest reward is the boost your confidence gets. Success makes it easier to know what you want and to get things done the way you want it. Per: Now, that's what I call a good answer. But your music isn't always pure pop. Looking back it seems you've been all over the place. And there are tendencies to that on your solo album as well, even if it's a more...coherent noise. Why's that? Gessle: I listen to a lot. I like a lot. And so I do a lot. That may blur the overall identity, but f**k that. I'd rather have fun and skip the format-thinking. The unifying thing is probably that I generally write potential singles with distinct verses and choruses. I've never liked "album tracks". Leave them to Pink Floyd. Per: Yes, please. Did you hear that Monty Python will reform next year? Gessle: Great. And in Las Vegas too. Brilliant. Must go there. But it probably collides with some Formula 1-race. Per: (yawning): Tell us more about the songs on the album. Gessle: Well, it kicks off with "Stupid", which is the kind of song I write after a bucketful of red wine on a Friday night. I really love Friday nights. I also love red wine. And I do love those three chords. We went for a "home studio atmosphere" on this one and then Christoffer and Jens from Brainpool came on and helped me nail it. Isn't it a gorgeous opener? Per: Well, it's good but I don't know if gorgeous is the right wo... Gessle:... and then there's the first single, "Do You Wanna Be My Baby?". I like the drum sound. Stolen from Jeff Lynne, probably. I like that. And I like the intro with only drums and vocals. And I really like the "double choruses". Right after the chorus something else hits you. Learned that from Desmond Child when we wrote "You Don't Understand Me". An American trick. You always reach a point in your life where nothing but an American trick can help you out. Per: Somebody at your record company said you were playing a lot of guitars on this album. But this can't possibly be you, can it? Gessle: What do you mean? Of course it can. But it's Mats Persson getting low-down and funky. Per: Funky? Gessle: Sort of. "Saturday" is written around a drum loop I found in our demo studio in Halmstad. And it's my guitars you hear gently weeping all over the track. Per: Touching. Have you ever bent a note? Gessle: I don't believe in note-bending. I don't believe in bending whatsoever. I do believe in "Bend It", though. Per: That's Dave Dee, Dozy, Beaky, Mick & Tich. Gessle: What a great memory you've got. Almost too good. If you can remember the 60's you weren't there. Per: Let's move on. "Kix" is... Gessle: ...bringing some groove to the record. Every pop album needs a touch of Frankie Goes To Hollywood. Per: Would you describe the song as dance-oriented? Gessle: I don't know, I gave up dancing in 1982. I'd be happy if people tap their fingers on the steering wheel. Per: Someone said your mother liked "I Want You To Know". Gessle: Yeah, I said that. She does. We allowed ourselves to drift into a non-chemical haze with flutes and distored drums. The band, that is - not my mother and I. "Tomorrow Never Knows" meets "Itchycoo Park", if you know what I mean. Per: Au naturellement. You've got to have one red hot motherf***er of a record collection. Gessle: It's not everyone's cup of tea, though. You're more likely to find Doris Day than Luther Vandross there. Per: Are you crazy? You don't like soul? You don't like the political commentary in rap? You don't like tormented singers wailing their blues away? You like Doris Day? I bet you don't buy magazines with the Gallagher brothers on the cover either. Gessle: You've been reading my mail. I like Oasis though. Not every band gets sued by The Rutles, you know. Per: Wait 'til you hear what the Gallagher brothers have to say about your solo album. Gessle: If they have any idea of what Doris Day was all about, they'll love it. Per: How come Roxette never got acceptance from the more correct side of the British music press? Gessle: I don't know. Being Swedish didn't help in the beginning. When we broke through there hadn't been anything coming out of Sweden since ABBA, really. Today it's almost the reverse situation. And besides, our music was always regarded as being too commercial to be credible. I never understood that. Benny in ABBA once said that he was happy that the whole world had the same musical taste as he had. It's like that. You do your thing and hope for the best. And if you have a commercial element in your music, I see no sense in hiding it. Au contraire, as the French say. But we all love England here. Their football, their draught ale, their Dickens, their driving on the wrong side of the road, their MP's with their kinky sex, their music and their art. I think we love all, come to think of it. Per: As in "love all, serve all". Gessle: Something like that. Per: Back to the record. Did you write the song "Reporter" in order to get a psychological advantage with the media? Gessle:..."she's such a good reporter, working for a magazine"...yeah, maybe. Did you notice the line coming after her getting access to British Royalty..."she wants the management to tell her where she can interview Marie and Per"? Per: Yeah, I heard that. Why didn't you put that backwards? It's more fun that way. Hidden messages, you know. Gessle: I did first, but then I realised you can't play CD's backwards. Per: "B-Any-1-U-Wanna-B". It's got waves, it's got the "Good Vibrations"-organ sound, it's presented as a homage to Brian Wilson. Why? Gessle: It was a fluffy pop song that I had on acoustic demo. I asked Brainpool to arrange it and Christoffer had a field day with all the toys he could possibly find. A zither and a mini-moog, for example. Per: Let's go on. "Wish You The Best" puts an end to the record's inital hammering of guitars and distorted vocals. I think I like this one the best. Gessle: I'm so glad you do. I do too. It could easily have been a fat power-ballad, but Brainpool have never listened to that kind of music, so it turned out to be more naked and passionate instead. I'm very proud of this one. Per: OK. The next song is an old number by Wizzard... Gessle: No, it's close but... Per: "No Cigar"? Haven't heard that one. Whose song is it then? Gessle: Mine, of course. I've changed all the facts to avoid any similarity with anything. I bought a book about Elvis after the song was written and it was actually a very gloomy day when Elvis came to Germany. It rained and stormed and there was no orchestra. My version is the way it should have been, though. I first liked the lyrics better than the music, but then the saxes came along and got the balance right. Per: Astonishing. Is it true that Marie likes "T-T-T-Take It" and that Roxette almost recorded it for the "Don't Bore Us - Get To The Chorus"-collection, but that you chose "June Afternoon" instead? Gessle: It's true. Per: So that's about it, then? Gessle: No, there's three more songs. Per: I thought we were talking about a pop record, not a double album. Gessle: I don't believe in killing ones darlings. I'm a pacifist. Per: Pacifiction won't get you anywhere, boy. Anyway, Marie is making a guest appearance on "I'll Be Alright". Why? Gessle: I've already told you that she's the best. And who in his right mind would leave "There Is My Baby" to rot in the drawer? And could you possibly ask for a sweeter goodbye than "Lay Down Your Arms"? Or should I kill a song with a title like that? Per: Easy now...don't get excited...it just seemed a bit long, that's all. Gessle: It's less than an hour. 52 minutes if you count it. I've spent my whole life listening to pop music. You mean you can't spend 52 minutes listening to it? You're that busy? You sleep with a mobile phone under the pillow? I've suffered for my art - now it's your turn. Too long, my ass! Per: Don't get me wrong, I love the record. It's clearly a step forward for you as a writer and performer. It reveals your personal roots as well as being firmly rooted in today's music scene. And it's got a lot of balls and...electric guitars. Gessle: You really mean that? Per: I honestly do. But what about Roxette? Gessle: In October we'll go into the studio to start work on a new album. Per: Well, see you then. Gessle: Don't count on it. Too long, huh? Jävla grönsakshandlare.

Wow. Daring. Odd choice but the story is true. It was written for GT in 1980. There is a very cool demo with GT in the vaults somewhere. Always liked the song but the Swedish lyrics were too far out. Even by my standards. /P.


Keep the Radio On (This Is the Perfect Song)

Per's 60 for 60. This is #15 of TDR's hand-picked list of songs from Per Gessle's career.

Wow. Daring. Odd choice but the story is true. It was written for GT in 1980. There is a very cool demo with GT in the vaults somewhere. Always liked the song but the Swedish lyrics were too far out. Even by my standards. /P.


The Daily Roxette

From the 1997 press release. Roxette-man stands on own two feet. Records quintessential solo album. Stirs up media interest with own interview. After four US #1's, two US #2's, over 100 gold and platinum records and more than 45.000.000 recorded units sold all over the world, you'd think Per Gessle of Roxette had heard just about every question in the fine art of pop interviewing. Not so. Recently he sat down with a tape recorder, a note book and a lot of irksome bloody questions about his upcoming solo venture from the real man in the know - himself. So, here it is. Per vs. Gessle One side of the coin walks a mile in its own shoes. Sort of. Per: What's up? Gessle: A lot. I've just finished the record. Been mixing and mastering and retouching the album pictures. It's been a lot of work. Per: Retouching your pictures? Gessle: Yeah....no...I mean, the songwriting, recording and mixing took some time too. Per: But you're not the cable kind of guy are you? Gessle: No, I'm a lost case when it comes to technology. I've done some of the mixing together with the invaluable Michael Ilbert and Clarence …Öfwerman, who helped me produce the thing. As P.J. O'Rourke says; to them goes the credit - I'll take the money. We've been recording in Benny Andersson's superb studio in Stockholm. Per: The Benny Andersson? Of ABBA fame? Gessle: Yep. But the mastering was done by Michael Ilbert and George Marino in New York. I asked if I could contribute something and they said they'd phone me. Per: Why a solo album now? Gessle: I needed the money. Per: Surely you must be joking. Gessle: I'm deadly serious and don't call me Shirley. Or was it to make a detour from the Roxette path? Yeah, that's it. After the "Crash!" album and tour I started writing new material in this direction. You know, "Sleeping In My Car", that was the last song recorded for "Crash!" and it became the first single. It was written in desperation more or less. I felt that we had perfected ourselves a bit too much, that the energy level was dropping with every month we spent in the studio polishing details in the sound picture. I'm a pop addict and I wasn't getting enough. Per: So that's when you started thinking about making a pop album? Gessle: Yeah, candy-coated, loud and un-bluesy. Per: But it's not the first time, is it? Gessle: Well, I've done two Swedish solo albums before, in 1983 and 1985, and Marie has done five. So I figured it was about time to catch up. Per: So how did you approach the whole thing? Gessle: I wrote some songs and then got in the best pop band in Sweden - Brainpool - to help me kick some butt. Mine, that is. But I also used my former band Gyllene Tider. We were teenage heroes in Scandinavia shortly after the heydays of punk, but re-formed for Scandinavia's biggest tour ever in the summer of 1996. And I figured it was a good idea to tap that well of energy and creativity right after the tour finished in August. So I've been lucky to record with two of my favourite bands. Per: What did Marie say when you told her you were going solo? Gessle: I guess she knew it was coming after the "Crash!" tour. We'd been working together almost non-stop since 1988 and had tremendous success. Sooner or later you have to do something else to get new inspiration, to avoid getting stuck in the rut. Marie never gave up her Swedish solo career, but I've always focused everything on Roxette. So I figured it was time to take some time off and just see what I could do on my own. Per: Why do it in English? Gessle: Stupid question coming from you. I wanna go world-wide of course. Wouldn't you? Per: If Roxette had released an album 1997, would it have sounded like "The World According To Gessle"? Gessle: "The World According To Roxette"? I don't know. This is how I want a pop record to sound today, anyway. Marie may have another vision. It takes more than one to tango, you know. Per: Does it - we're tangoing alone right now? Gessle: Everything's possible in pop interviewing. But Marie likes the record. She sings on one of the songs too. Per: Why? Gessle: Because she's the best. Per: Speaking about pop. Do you listen to new stuff as much as you used to? Gessle: As you might remember I started collecting pop records early. I had 100 LP's when I as 10. A manic collector and chart-follower from day one, which must be when "I Feel Fine" was released. And so it went on until Roxette broke through. But five-six years ago, during the "Joyride"-days, so much time was spent on writing, touring, recording and promoting that I hardly had the time to listen to anything new at all. At the end of 1995 I started buying new records and today I'm reasonably hip again. But time passes, one gets older and gets new hobbies. I've built a beach house, got me a canary bird, discovered vintage port and bought a Ferrari. Spoiled brat, you know. Per: How does success change a person? Do you change friends? Is there a club for millionaries? How can you keep up when you don't have to? Gessle: I'm surprised to hear such an intellligent question from you. Of course you change. Everything changes. The way you see things, the way other people see you. But pop music isn't my job; it's my life. You probably have to be that obsessed to survive in this business. Success and money is a kick, but the greatest reward is the boost your confidence gets. Success makes it easier to know what you want and to get things done the way you want it. Per: Now, that's what I call a good answer. But your music isn't always pure pop. Looking back it seems you've been all over the place. And there are tendencies to that on your solo album as well, even if it's a more...coherent noise. Why's that? Gessle: I listen to a lot. I like a lot. And so I do a lot. That may blur the overall identity, but f**k that. I'd rather have fun and skip the format-thinking. The unifying thing is probably that I generally write potential singles with distinct verses and choruses. I've never liked "album tracks". Leave them to Pink Floyd. Per: Yes, please. Did you hear that Monty Python will reform next year? Gessle: Great. And in Las Vegas too. Brilliant. Must go there. But it probably collides with some Formula 1-race. Per: (yawning): Tell us more about the songs on the album. Gessle: Well, it kicks off with "Stupid", which is the kind of song I write after a bucketful of red wine on a Friday night. I really love Friday nights. I also love red wine. And I do love those three chords. We went for a "home studio atmosphere" on this one and then Christoffer and Jens from Brainpool came on and helped me nail it. Isn't it a gorgeous opener? Per: Well, it's good but I don't know if gorgeous is the right wo... Gessle:... and then there's the first single, "Do You Wanna Be My Baby?". I like the drum sound. Stolen from Jeff Lynne, probably. I like that. And I like the intro with only drums and vocals. And I really like the "double choruses". Right after the chorus something else hits you. Learned that from Desmond Child when we wrote "You Don't Understand Me". An American trick. You always reach a point in your life where nothing but an American trick can help you out. Per: Somebody at your record company said you were playing a lot of guitars on this album. But this can't possibly be you, can it? Gessle: What do you mean? Of course it can. But it's Mats Persson getting low-down and funky. Per: Funky? Gessle: Sort of. "Saturday" is written around a drum loop I found in our demo studio in Halmstad. And it's my guitars you hear gently weeping all over the track. Per: Touching. Have you ever bent a note? Gessle: I don't believe in note-bending. I don't believe in bending whatsoever. I do believe in "Bend It", though. Per: That's Dave Dee, Dozy, Beaky, Mick & Tich. Gessle: What a great memory you've got. Almost too good. If you can remember the 60's you weren't there. Per: Let's move on. "Kix" is... Gessle: ...bringing some groove to the record. Every pop album needs a touch of Frankie Goes To Hollywood. Per: Would you describe the song as dance-oriented? Gessle: I don't know, I gave up dancing in 1982. I'd be happy if people tap their fingers on the steering wheel. Per: Someone said your mother liked "I Want You To Know". Gessle: Yeah, I said that. She does. We allowed ourselves to drift into a non-chemical haze with flutes and distored drums. The band, that is - not my mother and I. "Tomorrow Never Knows" meets "Itchycoo Park", if you know what I mean. Per: Au naturellement. You've got to have one red hot motherf***er of a record collection. Gessle: It's not everyone's cup of tea, though. You're more likely to find Doris Day than Luther Vandross there. Per: Are you crazy? You don't like soul? You don't like the political commentary in rap? You don't like tormented singers wailing their blues away? You like Doris Day? I bet you don't buy magazines with the Gallagher brothers on the cover either. Gessle: You've been reading my mail. I like Oasis though. Not every band gets sued by The Rutles, you know. Per: Wait 'til you hear what the Gallagher brothers have to say about your solo album. Gessle: If they have any idea of what Doris Day was all about, they'll love it. Per: How come Roxette never got acceptance from the more correct side of the British music press? Gessle: I don't know. Being Swedish didn't help in the beginning. When we broke through there hadn't been anything coming out of Sweden since ABBA, really. Today it's almost the reverse situation. And besides, our music was always regarded as being too commercial to be credible. I never understood that. Benny in ABBA once said that he was happy that the whole world had the same musical taste as he had. It's like that. You do your thing and hope for the best. And if you have a commercial element in your music, I see no sense in hiding it. Au contraire, as the French say. But we all love England here. Their football, their draught ale, their Dickens, their driving on the wrong side of the road, their MP's with their kinky sex, their music and their art. I think we love all, come to think of it. Per: As in "love all, serve all". Gessle: Something like that. Per: Back to the record. Did you write the song "Reporter" in order to get a psychological advantage with the media? Gessle:..."she's such a good reporter, working for a magazine"...yeah, maybe. Did you notice the line coming after her getting access to British Royalty..."she wants the management to tell her where she can interview Marie and Per"? Per: Yeah, I heard that. Why didn't you put that backwards? It's more fun that way. Hidden messages, you know. Gessle: I did first, but then I realised you can't play CD's backwards. Per: "B-Any-1-U-Wanna-B". It's got waves, it's got the "Good Vibrations"-organ sound, it's presented as a homage to Brian Wilson. Why? Gessle: It was a fluffy pop song that I had on acoustic demo. I asked Brainpool to arrange it and Christoffer had a field day with all the toys he could possibly find. A zither and a mini-moog, for example. Per: Let's go on. "Wish You The Best" puts an end to the record's inital hammering of guitars and distorted vocals. I think I like this one the best. Gessle: I'm so glad you do. I do too. It could easily have been a fat power-ballad, but Brainpool have never listened to that kind of music, so it turned out to be more naked and passionate instead. I'm very proud of this one. Per: OK. The next song is an old number by Wizzard... Gessle: No, it's close but... Per: "No Cigar"? Haven't heard that one. Whose song is it then? Gessle: Mine, of course. I've changed all the facts to avoid any similarity with anything. I bought a book about Elvis after the song was written and it was actually a very gloomy day when Elvis came to Germany. It rained and stormed and there was no orchestra. My version is the way it should have been, though. I first liked the lyrics better than the music, but then the saxes came along and got the balance right. Per: Astonishing. Is it true that Marie likes "T-T-T-Take It" and that Roxette almost recorded it for the "Don't Bore Us - Get To The Chorus"-collection, but that you chose "June Afternoon" instead? Gessle: It's true. Per: So that's about it, then? Gessle: No, there's three more songs. Per: I thought we were talking about a pop record, not a double album. Gessle: I don't believe in killing ones darlings. I'm a pacifist. Per: Pacifiction won't get you anywhere, boy. Anyway, Marie is making a guest appearance on "I'll Be Alright". Why? Gessle: I've already told you that she's the best. And who in his right mind would leave "There Is My Baby" to rot in the drawer? And could you possibly ask for a sweeter goodbye than "Lay Down Your Arms"? Or should I kill a song with a title like that? Per: Easy now...don't get excited...it just seemed a bit long, that's all. Gessle: It's less than an hour. 52 minutes if you count it. I've spent my whole life listening to pop music. You mean you can't spend 52 minutes listening to it? You're that busy? You sleep with a mobile phone under the pillow? I've suffered for my art - now it's your turn. Too long, my ass! Per: Don't get me wrong, I love the record. It's clearly a step forward for you as a writer and performer. It reveals your personal roots as well as being firmly rooted in today's music scene. And it's got a lot of balls and...electric guitars. Gessle: You really mean that? Per: I honestly do. But what about Roxette? Gessle: In October we'll go into the studio to start work on a new album. Per: Well, see you then. Gessle: Don't count on it. Too long, huh? Jävla grönsakshandlare.

Forgot about this. Per interviewing Gessle. What a splendid idea. What can go wrong? Everything! /P.


The Daily Roxette

From the 1997 press release. Roxette-man stands on own two feet. Records quintessential solo album. Stirs up media interest with own interview. After four US #1's, two US #2's, over 100 gold and platinum records and more than 45.000.000 recorded units sold all over the world, you'd think Per Gessle of Roxette had heard just about every question in the fine art of pop interviewing. Not so. Recently he sat down with a tape recorder, a note book and a lot of irksome bloody questions about his upcoming solo venture from the real man in the know - himself. So, here it is. Per vs. Gessle One side of the coin walks a mile in its own shoes. Sort of. Per: What's up? Gessle: A lot. I've just finished the record. Been mixing and mastering and retouching the album pictures. It's been a lot of work. Per: Retouching your pictures? Gessle: Yeah....no...I mean, the songwriting, recording and mixing took some time too. Per: But you're not the cable kind of guy are you? Gessle: No, I'm a lost case when it comes to technology. I've done some of the mixing together with the invaluable Michael Ilbert and Clarence …Öfwerman, who helped me produce the thing. As P.J. O'Rourke says; to them goes the credit - I'll take the money. We've been recording in Benny Andersson's superb studio in Stockholm. Per: The Benny Andersson? Of ABBA fame? Gessle: Yep. But the mastering was done by Michael Ilbert and George Marino in New York. I asked if I could contribute something and they said they'd phone me. Per: Why a solo album now? Gessle: I needed the money. Per: Surely you must be joking. Gessle: I'm deadly serious and don't call me Shirley. Or was it to make a detour from the Roxette path? Yeah, that's it. After the "Crash!" album and tour I started writing new material in this direction. You know, "Sleeping In My Car", that was the last song recorded for "Crash!" and it became the first single. It was written in desperation more or less. I felt that we had perfected ourselves a bit too much, that the energy level was dropping with every month we spent in the studio polishing details in the sound picture. I'm a pop addict and I wasn't getting enough. Per: So that's when you started thinking about making a pop album? Gessle: Yeah, candy-coated, loud and un-bluesy. Per: But it's not the first time, is it? Gessle: Well, I've done two Swedish solo albums before, in 1983 and 1985, and Marie has done five. So I figured it was about time to catch up. Per: So how did you approach the whole thing? Gessle: I wrote some songs and then got in the best pop band in Sweden - Brainpool - to help me kick some butt. Mine, that is. But I also used my former band Gyllene Tider. We were teenage heroes in Scandinavia shortly after the heydays of punk, but re-formed for Scandinavia's biggest tour ever in the summer of 1996. And I figured it was a good idea to tap that well of energy and creativity right after the tour finished in August. So I've been lucky to record with two of my favourite bands. Per: What did Marie say when you told her you were going solo? Gessle: I guess she knew it was coming after the "Crash!" tour. We'd been working together almost non-stop since 1988 and had tremendous success. Sooner or later you have to do something else to get new inspiration, to avoid getting stuck in the rut. Marie never gave up her Swedish solo career, but I've always focused everything on Roxette. So I figured it was time to take some time off and just see what I could do on my own. Per: Why do it in English? Gessle: Stupid question coming from you. I wanna go world-wide of course. Wouldn't you? Per: If Roxette had released an album 1997, would it have sounded like "The World According To Gessle"? Gessle: "The World According To Roxette"? I don't know. This is how I want a pop record to sound today, anyway. Marie may have another vision. It takes more than one to tango, you know. Per: Does it - we're tangoing alone right now? Gessle: Everything's possible in pop interviewing. But Marie likes the record. She sings on one of the songs too. Per: Why? Gessle: Because she's the best. Per: Speaking about pop. Do you listen to new stuff as much as you used to? Gessle: As you might remember I started collecting pop records early. I had 100 LP's when I as 10. A manic collector and chart-follower from day one, which must be when "I Feel Fine" was released. And so it went on until Roxette broke through. But five-six years ago, during the "Joyride"-days, so much time was spent on writing, touring, recording and promoting that I hardly had the time to listen to anything new at all. At the end of 1995 I started buying new records and today I'm reasonably hip again. But time passes, one gets older and gets new hobbies. I've built a beach house, got me a canary bird, discovered vintage port and bought a Ferrari. Spoiled brat, you know. Per: How does success change a person? Do you change friends? Is there a club for millionaries? How can you keep up when you don't have to? Gessle: I'm surprised to hear such an intellligent question from you. Of course you change. Everything changes. The way you see things, the way other people see you. But pop music isn't my job; it's my life. You probably have to be that obsessed to survive in this business. Success and money is a kick, but the greatest reward is the boost your confidence gets. Success makes it easier to know what you want and to get things done the way you want it. Per: Now, that's what I call a good answer. But your music isn't always pure pop. Looking back it seems you've been all over the place. And there are tendencies to that on your solo album as well, even if it's a more...coherent noise. Why's that? Gessle: I listen to a lot. I like a lot. And so I do a lot. That may blur the overall identity, but f**k that. I'd rather have fun and skip the format-thinking. The unifying thing is probably that I generally write potential singles with distinct verses and choruses. I've never liked "album tracks". Leave them to Pink Floyd. Per: Yes, please. Did you hear that Monty Python will reform next year? Gessle: Great. And in Las Vegas too. Brilliant. Must go there. But it probably collides with some Formula 1-race. Per: (yawning): Tell us more about the songs on the album. Gessle: Well, it kicks off with "Stupid", which is the kind of song I write after a bucketful of red wine on a Friday night. I really love Friday nights. I also love red wine. And I do love those three chords. We went for a "home studio atmosphere" on this one and then Christoffer and Jens from Brainpool came on and helped me nail it. Isn't it a gorgeous opener? Per: Well, it's good but I don't know if gorgeous is the right wo... Gessle:... and then there's the first single, "Do You Wanna Be My Baby?". I like the drum sound. Stolen from Jeff Lynne, probably. I like that. And I like the intro with only drums and vocals. And I really like the "double choruses". Right after the chorus something else hits you. Learned that from Desmond Child when we wrote "You Don't Understand Me". An American trick. You always reach a point in your life where nothing but an American trick can help you out. Per: Somebody at your record company said you were playing a lot of guitars on this album. But this can't possibly be you, can it? Gessle: What do you mean? Of course it can. But it's Mats Persson getting low-down and funky. Per: Funky? Gessle: Sort of. "Saturday" is written around a drum loop I found in our demo studio in Halmstad. And it's my guitars you hear gently weeping all over the track. Per: Touching. Have you ever bent a note? Gessle: I don't believe in note-bending. I don't believe in bending whatsoever. I do believe in "Bend It", though. Per: That's Dave Dee, Dozy, Beaky, Mick & Tich. Gessle: What a great memory you've got. Almost too good. If you can remember the 60's you weren't there. Per: Let's move on. "Kix" is... Gessle: ...bringing some groove to the record. Every pop album needs a touch of Frankie Goes To Hollywood. Per: Would you describe the song as dance-oriented? Gessle: I don't know, I gave up dancing in 1982. I'd be happy if people tap their fingers on the steering wheel. Per: Someone said your mother liked "I Want You To Know". Gessle: Yeah, I said that. She does. We allowed ourselves to drift into a non-chemical haze with flutes and distored drums. The band, that is - not my mother and I. "Tomorrow Never Knows" meets "Itchycoo Park", if you know what I mean. Per: Au naturellement. You've got to have one red hot motherf***er of a record collection. Gessle: It's not everyone's cup of tea, though. You're more likely to find Doris Day than Luther Vandross there. Per: Are you crazy? You don't like soul? You don't like the political commentary in rap? You don't like tormented singers wailing their blues away? You like Doris Day? I bet you don't buy magazines with the Gallagher brothers on the cover either. Gessle: You've been reading my mail. I like Oasis though. Not every band gets sued by The Rutles, you know. Per: Wait 'til you hear what the Gallagher brothers have to say about your solo album. Gessle: If they have any idea of what Doris Day was all about, they'll love it. Per: How come Roxette never got acceptance from the more correct side of the British music press? Gessle: I don't know. Being Swedish didn't help in the beginning. When we broke through there hadn't been anything coming out of Sweden since ABBA, really. Today it's almost the reverse situation. And besides, our music was always regarded as being too commercial to be credible. I never understood that. Benny in ABBA once said that he was happy that the whole world had the same musical taste as he had. It's like that. You do your thing and hope for the best. And if you have a commercial element in your music, I see no sense in hiding it. Au contraire, as the French say. But we all love England here. Their football, their draught ale, their Dickens, their driving on the wrong side of the road, their MP's with their kinky sex, their music and their art. I think we love all, come to think of it. Per: As in "love all, serve all". Gessle: Something like that. Per: Back to the record. Did you write the song "Reporter" in order to get a psychological advantage with the media? Gessle:..."she's such a good reporter, working for a magazine"...yeah, maybe. Did you notice the line coming after her getting access to British Royalty..."she wants the management to tell her where she can interview Marie and Per"? Per: Yeah, I heard that. Why didn't you put that backwards? It's more fun that way. Hidden messages, you know. Gessle: I did first, but then I realised you can't play CD's backwards. Per: "B-Any-1-U-Wanna-B". It's got waves, it's got the "Good Vibrations"-organ sound, it's presented as a homage to Brian Wilson. Why? Gessle: It was a fluffy pop song that I had on acoustic demo. I asked Brainpool to arrange it and Christoffer had a field day with all the toys he could possibly find. A zither and a mini-moog, for example. Per: Let's go on. "Wish You The Best" puts an end to the record's inital hammering of guitars and distorted vocals. I think I like this one the best. Gessle: I'm so glad you do. I do too. It could easily have been a fat power-ballad, but Brainpool have never listened to that kind of music, so it turned out to be more naked and passionate instead. I'm very proud of this one. Per: OK. The next song is an old number by Wizzard... Gessle: No, it's close but... Per: "No Cigar"? Haven't heard that one. Whose song is it then? Gessle: Mine, of course. I've changed all the facts to avoid any similarity with anything. I bought a book about Elvis after the song was written and it was actually a very gloomy day when Elvis came to Germany. It rained and stormed and there was no orchestra. My version is the way it should have been, though. I first liked the lyrics better than the music, but then the saxes came along and got the balance right. Per: Astonishing. Is it true that Marie likes "T-T-T-Take It" and that Roxette almost recorded it for the "Don't Bore Us - Get To The Chorus"-collection, but that you chose "June Afternoon" instead? Gessle: It's true. Per: So that's about it, then? Gessle: No, there's three more songs. Per: I thought we were talking about a pop record, not a double album. Gessle: I don't believe in killing ones darlings. I'm a pacifist. Per: Pacifiction won't get you anywhere, boy. Anyway, Marie is making a guest appearance on "I'll Be Alright". Why? Gessle: I've already told you that she's the best. And who in his right mind would leave "There Is My Baby" to rot in the drawer? And could you possibly ask for a sweeter goodbye than "Lay Down Your Arms"? Or should I kill a song with a title like that? Per: Easy now...don't get excited...it just seemed a bit long, that's all. Gessle: It's less than an hour. 52 minutes if you count it. I've spent my whole life listening to pop music. You mean you can't spend 52 minutes listening to it? You're that busy? You sleep with a mobile phone under the pillow? I've suffered for my art - now it's your turn. Too long, my ass! Per: Don't get me wrong, I love the record. It's clearly a step forward for you as a writer and performer. It reveals your personal roots as well as being firmly rooted in today's music scene. And it's got a lot of balls and...electric guitars. Gessle: You really mean that? Per: I honestly do. But what about Roxette? Gessle: In October we'll go into the studio to start work on a new album. Per: Well, see you then. Gessle: Don't count on it. Too long, huh? Jävla grönsakshandlare.

Wow. Daring. Odd choice but the story is true. It was written for GT in 1980. There is a very cool demo with GT in the vaults somewhere. Always liked the song but the Swedish lyrics were too far out. Even by my standards. /P.


Keep the Radio On (This Is the Perfect Song)

Per's 60 for 60. This is #15 of TDR's hand-picked list of songs from Per Gessle's career.

From the 1997 press release. Roxette-man stands on own two feet. Records quintessential solo album. Stirs up media interest with own interview. After four US #1's, two US #2's, over 100 gold and platinum records and more than 45.000.000 recorded units sold all over the world, you'd think Per Gessle of Roxette had heard just about every question in the fine art of pop interviewing. Not so. Recently he sat down with a tape recorder, a note book and a lot of irksome bloody questions about his upcoming solo venture from the real man in the know - himself. So, here it is. Per vs. Gessle One side of the coin walks a mile in its own shoes. Sort of. Per: What's up? Gessle: A lot. I've just finished the record. Been mixing and mastering and retouching the album pictures. It's been a lot of work. Per: Retouching your pictures? Gessle: Yeah....no...I mean, the songwriting, recording and mixing took some time too. Per: But you're not the cable kind of guy are you? Gessle: No, I'm a lost case when it comes to technology. I've done some of the mixing together with the invaluable Michael Ilbert and Clarence …Öfwerman, who helped me produce the thing. As P.J. O'Rourke says; to them goes the credit - I'll take the money. We've been recording in Benny Andersson's superb studio in Stockholm. Per: The Benny Andersson? Of ABBA fame? Gessle: Yep. But the mastering was done by Michael Ilbert and George Marino in New York. I asked if I could contribute something and they said they'd phone me. Per: Why a solo album now? Gessle: I needed the money. Per: Surely you must be joking. Gessle: I'm deadly serious and don't call me Shirley. Or was it to make a detour from the Roxette path? Yeah, that's it. After the "Crash!" album and tour I started writing new material in this direction. You know, "Sleeping In My Car", that was the last song recorded for "Crash!" and it became the first single. It was written in desperation more or less. I felt that we had perfected ourselves a bit too much, that the energy level was dropping with every month we spent in the studio polishing details in the sound picture. I'm a pop addict and I wasn't getting enough. Per: So that's when you started thinking about making a pop album? Gessle: Yeah, candy-coated, loud and un-bluesy. Per: But it's not the first time, is it? Gessle: Well, I've done two Swedish solo albums before, in 1983 and 1985, and Marie has done five. So I figured it was about time to catch up. Per: So how did you approach the whole thing? Gessle: I wrote some songs and then got in the best pop band in Sweden - Brainpool - to help me kick some butt. Mine, that is. But I also used my former band Gyllene Tider. We were teenage heroes in Scandinavia shortly after the heydays of punk, but re-formed for Scandinavia's biggest tour ever in the summer of 1996. And I figured it was a good idea to tap that well of energy and creativity right after the tour finished in August. So I've been lucky to record with two of my favourite bands. Per: What did Marie say when you told her you were going solo? Gessle: I guess she knew it was coming after the "Crash!" tour. We'd been working together almost non-stop since 1988 and had tremendous success. Sooner or later you have to do something else to get new inspiration, to avoid getting stuck in the rut. Marie never gave up her Swedish solo career, but I've always focused everything on Roxette. So I figured it was time to take some time off and just see what I could do on my own. Per: Why do it in English? Gessle: Stupid question coming from you. I wanna go world-wide of course. Wouldn't you? Per: If Roxette had released an album 1997, would it have sounded like "The World According To Gessle"? Gessle: "The World According To Roxette"? I don't know. This is how I want a pop record to sound today, anyway. Marie may have another vision. It takes more than one to tango, you know. Per: Does it - we're tangoing alone right now? Gessle: Everything's possible in pop interviewing. But Marie likes the record. She sings on one of the songs too. Per: Why? Gessle: Because she's the best. Per: Speaking about pop. Do you listen to new stuff as much as you used to? Gessle: As you might remember I started collecting pop records early. I had 100 LP's when I as 10. A manic collector and chart-follower from day one, which must be when "I Feel Fine" was released. And so it went on until Roxette broke through. But five-six years ago, during the "Joyride"-days, so much time was spent on writing, touring, recording and promoting that I hardly had the time to listen to anything new at all. At the end of 1995 I started buying new records and today I'm reasonably hip again. But time passes, one gets older and gets new hobbies. I've built a beach house, got me a canary bird, discovered vintage port and bought a Ferrari. Spoiled brat, you know. Per: How does success change a person? Do you change friends? Is there a club for millionaries? How can you keep up when you don't have to? Gessle: I'm surprised to hear such an intellligent question from you. Of course you change. Everything changes. The way you see things, the way other people see you. But pop music isn't my job; it's my life. You probably have to be that obsessed to survive in this business. Success and money is a kick, but the greatest reward is the boost your confidence gets. Success makes it easier to know what you want and to get things done the way you want it. Per: Now, that's what I call a good answer. But your music isn't always pure pop. Looking back it seems you've been all over the place. And there are tendencies to that on your solo album as well, even if it's a more...coherent noise. Why's that? Gessle: I listen to a lot. I like a lot. And so I do a lot. That may blur the overall identity, but f**k that. I'd rather have fun and skip the format-thinking. The unifying thing is probably that I generally write potential singles with distinct verses and choruses. I've never liked "album tracks". Leave them to Pink Floyd. Per: Yes, please. Did you hear that Monty Python will reform next year? Gessle: Great. And in Las Vegas too. Brilliant. Must go there. But it probably collides with some Formula 1-race. Per: (yawning): Tell us more about the songs on the album. Gessle: Well, it kicks off with "Stupid", which is the kind of song I write after a bucketful of red wine on a Friday night. I really love Friday nights. I also love red wine. And I do love those three chords. We went for a "home studio atmosphere" on this one and then Christoffer and Jens from Brainpool came on and helped me nail it. Isn't it a gorgeous opener? Per: Well, it's good but I don't know if gorgeous is the right wo... Gessle:... and then there's the first single, "Do You Wanna Be My Baby?". I like the drum sound. Stolen from Jeff Lynne, probably. I like that. And I like the intro with only drums and vocals. And I really like the "double choruses". Right after the chorus something else hits you. Learned that from Desmond Child when we wrote "You Don't Understand Me". An American trick. You always reach a point in your life where nothing but an American trick can help you out. Per: Somebody at your record company said you were playing a lot of guitars on this album. But this can't possibly be you, can it? Gessle: What do you mean? Of course it can. But it's Mats Persson getting low-down and funky. Per: Funky? Gessle: Sort of. "Saturday" is written around a drum loop I found in our demo studio in Halmstad. And it's my guitars you hear gently weeping all over the track. Per: Touching. Have you ever bent a note? Gessle: I don't believe in note-bending. I don't believe in bending whatsoever. I do believe in "Bend It", though. Per: That's Dave Dee, Dozy, Beaky, Mick & Tich. Gessle: What a great memory you've got. Almost too good. If you can remember the 60's you weren't there. Per: Let's move on. "Kix" is... Gessle: ...bringing some groove to the record. Every pop album needs a touch of Frankie Goes To Hollywood. Per: Would you describe the song as dance-oriented? Gessle: I don't know, I gave up dancing in 1982. I'd be happy if people tap their fingers on the steering wheel. Per: Someone said your mother liked "I Want You To Know". Gessle: Yeah, I said that. She does. We allowed ourselves to drift into a non-chemical haze with flutes and distored drums. The band, that is - not my mother and I. "Tomorrow Never Knows" meets "Itchycoo Park", if you know what I mean. Per: Au naturellement. You've got to have one red hot motherf***er of a record collection. Gessle: It's not everyone's cup of tea, though. You're more likely to find Doris Day than Luther Vandross there. Per: Are you crazy? You don't like soul? You don't like the political commentary in rap? You don't like tormented singers wailing their blues away? You like Doris Day? I bet you don't buy magazines with the Gallagher brothers on the cover either. Gessle: You've been reading my mail. I like Oasis though. Not every band gets sued by The Rutles, you know. Per: Wait 'til you hear what the Gallagher brothers have to say about your solo album. Gessle: If they have any idea of what Doris Day was all about, they'll love it. Per: How come Roxette never got acceptance from the more correct side of the British music press? Gessle: I don't know. Being Swedish didn't help in the beginning. When we broke through there hadn't been anything coming out of Sweden since ABBA, really. Today it's almost the reverse situation. And besides, our music was always regarded as being too commercial to be credible. I never understood that. Benny in ABBA once said that he was happy that the whole world had the same musical taste as he had. It's like that. You do your thing and hope for the best. And if you have a commercial element in your music, I see no sense in hiding it. Au contraire, as the French say. But we all love England here. Their football, their draught ale, their Dickens, their driving on the wrong side of the road, their MP's with their kinky sex, their music and their art. I think we love all, come to think of it. Per: As in "love all, serve all". Gessle: Something like that. Per: Back to the record. Did you write the song "Reporter" in order to get a psychological advantage with the media? Gessle:..."she's such a good reporter, working for a magazine"...yeah, maybe. Did you notice the line coming after her getting access to British Royalty..."she wants the management to tell her where she can interview Marie and Per"? Per: Yeah, I heard that. Why didn't you put that backwards? It's more fun that way. Hidden messages, you know. Gessle: I did first, but then I realised you can't play CD's backwards. Per: "B-Any-1-U-Wanna-B". It's got waves, it's got the "Good Vibrations"-organ sound, it's presented as a homage to Brian Wilson. Why? Gessle: It was a fluffy pop song that I had on acoustic demo. I asked Brainpool to arrange it and Christoffer had a field day with all the toys he could possibly find. A zither and a mini-moog, for example. Per: Let's go on. "Wish You The Best" puts an end to the record's inital hammering of guitars and distorted vocals. I think I like this one the best. Gessle: I'm so glad you do. I do too. It could easily have been a fat power-ballad, but Brainpool have never listened to that kind of music, so it turned out to be more naked and passionate instead. I'm very proud of this one. Per: OK. The next song is an old number by Wizzard... Gessle: No, it's close but... Per: "No Cigar"? Haven't heard that one. Whose song is it then? Gessle: Mine, of course. I've changed all the facts to avoid any similarity with anything. I bought a book about Elvis after the song was written and it was actually a very gloomy day when Elvis came to Germany. It rained and stormed and there was no orchestra. My version is the way it should have been, though. I first liked the lyrics better than the music, but then the saxes came along and got the balance right. Per: Astonishing. Is it true that Marie likes "T-T-T-Take It" and that Roxette almost recorded it for the "Don't Bore Us - Get To The Chorus"-collection, but that you chose "June Afternoon" instead? Gessle: It's true. Per: So that's about it, then? Gessle: No, there's three more songs. Per: I thought we were talking about a pop record, not a double album. Gessle: I don't believe in killing ones darlings. I'm a pacifist. Per: Pacifiction won't get you anywhere, boy. Anyway, Marie is making a guest appearance on "I'll Be Alright". Why? Gessle: I've already told you that she's the best. And who in his right mind would leave "There Is My Baby" to rot in the drawer? And could you possibly ask for a sweeter goodbye than "Lay Down Your Arms"? Or should I kill a song with a title like that? Per: Easy now...don't get excited...it just seemed a bit long, that's all. Gessle: It's less than an hour. 52 minutes if you count it. I've spent my whole life listening to pop music. You mean you can't spend 52 minutes listening to it? You're that busy? You sleep with a mobile phone under the pillow? I've suffered for my art - now it's your turn. Too long, my ass! Per: Don't get me wrong, I love the record. It's clearly a step forward for you as a writer and performer. It reveals your personal roots as well as being firmly rooted in today's music scene. And it's got a lot of balls and...electric guitars. Gessle: You really mean that? Per: I honestly do. But what about Roxette? Gessle: In October we'll go into the studio to start work on a new album. Per: Well, see you then. Gessle: Don't count on it. Too long, huh? Jävla grönsakshandlare.


BEWARE! If you’re following me on Instagram.... there are suddenly lots of fake accounts pretending to be from me. The ONLY one that’s mine looks like this and is called pergessle. The rest is crap. Get out while you can! /P.



Roxette

BEWARE! If you’re following me on Instagram.... there are suddenly lots of fake accounts pretending to be from me. The ONLY one that’s mine looks like this and is called pergessle. The rest is crap. Get out while you can! /P.


Roxette

BEWARE! If you’re following me on Instagram.... there are suddenly lots of fake accounts pretending to be from me. The ONLY one that’s mine looks like this and is called pergessle. The rest is crap. Get out while you can! /P.

Per's 60 for 60. #15 Keep the Radio On (This is the Perfect Song). Awrite, the mighty 15! This is a good (perfect) song, so good it was released twice, once by The Lonely Boys (this) and once by Son of a Plumber, as a digital bonus track only. Rumor has it this was a Gyllene Tider song from circa 1980 called "Gå hem innan du lägger dej" ("Go Home Before You Go to Bed") which certainly is some interesting lyrics! It has so far never been released... Anyway, The Lonely Boys released it and it's certainly a deucey. Rocky, funny and it tells a story. This version is much rockier than the SOAP version, I interviewed Per about the SOAP version in '05 and he told me, twice, what kind of genre the SOAP version is called, but since he was on some tropical island somewhere, the phone line cut out both times and I didn't dare asking him again... #per60


Keep the Radio On (This Is the Perfect Song)

Per's 60 for 60. This is #15 of TDR's hand-picked list of songs from Per Gessle's career.


På promenad genom stan

Per's 60 for 60. This is #16 of TDR's hand-picked list of songs from Per Gessle's career.