Welcome, Per Gessle, fresh from the vaults, and the cupboards, and the computers. Yes, here I am. And the big clean-out. The big clean-out, yeah, almost. You've been digging around in your archives yet again, I'm tempted to say. Well, yes, I went into the vaults, and to my computers, and tried to find out what we had with Roxette, Roxette material from the past. And to my surprise, I find a lot of stuff that I forgot about. I found demos from Marie that we didn't use, and I found demos that Marie and I made in the 80s that I haven't heard for decades. I found alternative versions of familiar songs. I found a couple of unreleased tracks, actually, unfinished tracks that we recorded for the last album we ever did, Good Karma, to my surprise were pretty good. So I mean, it was a lot of stuff, and at the end of the day, we decided to make a compilation out of it called Bag of Tricks, which is four albums, four LPs, four CDs, and of course, streaming everywhere. But it's quite amazing to get four CDs out of unreleased material. I mean, it shows... It shows our age. It probably does. But could you tell us a bit more about this stuff? I mean, did you spend a lot of time in the studio recording different versions of songs and things like that? And did you record a lot more material than you used for the albums? Yeah, but most of the extra bonus tracks, so to speak, or the tracks that didn't make the albums have already been released. So this compilation is just about unreleased tracks. Or tracks that are, for instance, like three or four songs made in Spanish, which were only released in the Spanish-speaking countries, so they haven't been released anywhere else. There are a couple of songs that have been released as like a bonus track on a CD single in Japan, you know, stuff like that. But back in the days when you broke through internationally in 1989, and from then on, you know, for many years, it was like an ongoing circus, basically, where you traveled the world and you made promotions, you made albums and tours. And all that time, the company released for various markets a lot of albums, singles, CDs, singles, EPs, whatever, compilations. Did you have full check on everything that was released with Roxette back in the days? Yeah, we did. Nothing was released without our knowledge. We were totally in charge of everything, and it's just that everything went so fast. When you're in the middle of the things, of touring and recording and releasing records, it's so much material going on. In some countries, you go to Brazil and suddenly you hear, they're working I'm Sorry on the radio, which is not a single anywhere else, and then you leave Brazil, you go somewhere else and it's another song. So it's a mishmash of things. So when you're in the middle of it, you just don't think about it too much. But when you look back, you realize that it's a lot of material. It's a lot of songs. It's a lot of hours spent in the studio, which was wonderful, actually. Both Marie and I love to be in the studio, and we always had a core of people that we were working with, and together we created this sound that we're so proud of. So it's cool. Putting this collection together, is there one or maybe a couple of highlights that you think is particularly good? Yeah, I found an alternative mix, or actually an alternative version of Soul Deep. Soul Deep was a song that was recorded for our very first album, and then we re-recorded it for the Joyride album. We gave it to an American producer called Tom Lord Algy, and he put in some brass in there and saxophones and stuff, and he made it almost like a Motown, R&B track, and we never used it, because we preferred our own version at the time. But now, when I listen to his version, it knocks me out. For me, it's the highlight of the whole compilation. And also, of course, because of Marie's amazing voice. So that's just like a... And also, emotionally, I know that this is, since this was originally recorded in 1986, it was the song that made Roxette Glue together, because Marie had never been able to sing like that before, because she didn't have the material. And I was able to deliver the material, deliver the song, and she just took it and smacked it in everyone's face. It's just amazing. Yeah.