Rep: I think we have sound now… Good morning, Per Gessle! You think that, too, right?
Per: Yes, of course. There is always something you should believe in.
Rep: Indeed. I have to say who are the members in your band, excepting you, there is Clarence Öfwerman, at drums and piano, Magnus Börjeson at bas, Jonas Isacsson at guitar and Helena Josefsson in chorus. Helena…what does she mean?
Per: Wow… I started to work with her at Mazarin album, 2003, and I have chosen her since then. She is a fantastic singer, she is… Well, sometimes you think that it is good to choose a bit worse co-operators (laughs), it is better because you feel comfortable, but she is really great.
Rep: So, in a way, even if it is not good to compare them, but she reminds a little bit of Marie Fredriksson, I think, when I listen to her albums. Can you try to analyse their different voices?
Rep: What does Per Gessle have so that everything that he does, functions? If you understand what I mean…
Christoffer: I think it his handicapped vocal cords J) (laughs) It is something special with his voice. Anyway, the songs, the texts are fantastic altogether. But his voice transmits you something special, it is his voice that all in the world want to hear, no matter what language he talks. He can sing in Spanish, it doesn’t matter, he will sell over one million albums anyway.
Clarence: Yes, it is a combination of a teen-ager and an adult. But he is that type of person who doesn’t have a rest, just do this and do that all the time! He should always have something to do, write a new song, write something, make a new album…
Per: Super! This was an early idea of the album, it was, in a way, the key. It wanted to be good to dance on. You listen to old songs from Bee Gees and you think: what is that thing that turns you to dance? Then you try to take that idea and you have also your own ideas… like ABBA did Dancing Queen from Rock Your Baby, with George McCrae.
Rep: Can you take your guitar and show it? Which guitar shall I take?
Christoffer: You can choose by yourself. You can loan one if you want J
Per: We have tried to take away the boundaries as much as we could, but sometimes it is… well, one of the conditions is to believe by yourself that the song is good. There are many songs that have become more classical, but it’s great because you like them.
Rep: So, Helena, what do you think…so you have started to sing a lot here, it is not the first time when you do it…
Helena: Yes, that’s right.
Per: In the program “Dom kallar oss artister” of this evening you will follow me, Per Gessle, into the studio.
Rep: Åsa, congratulations, welcome to the studio.
Åsa: Thank you.
An airplane has arrived at Bromma Airport in Stockholm. One weekend at the end of January a lot of people came to the airport, as they were planning to record a music video.
Per Gessle is very good at putting songs together, a handy man, we can say. It is also the name of his latest album. But how handy is he when it comes about tools?
Per: I don’t know the name of this. I don’t know what it can be, it looks like a hexagon used by the strange guys to make a sign on their forehead.
Reporter: Such a key is used when you change the tires.
Per: Really? When you change tires? Aha… No, I haven’t done this, but it looks very difficult. I think I can manage this. (…) All say that this is a parmesan knife; you can put this into parmesan and get perfect balls that you can put on brochutto.
Reporter: That instrument is used when you change a door, so that it is straight.