While waiting for the band to enter the studio and record their 11th studio album, let’s take a look at what Joey Tempest said about each Europe album!

EUROPE (1983) – We recorded the debut album very quickly and spontaneously. Later we mixed the record, because we were not satisfied with the production. It sounded a little better,
but still not quite at its top. The album is okay, there are interesting songs like “Seven Doors Hotel”, “Paradize Bay” and I also like “In the future to come” and “The King will return”. The debut album was very progressive with many tempo changes.

WINGS OF TOMORROW (1984) – We recorded “Wing of Tomorrow” at Polar Studios during time off here and there, because we had no money. I wrote songs in the morning and took the ideas into the studio in the evening. In the studio there were original tapes of Led Zeppelin and Scorpions, which was very inspiring. The album opened doors for us in the United States and Germany. The result was that we could work with Kevin Elson (Journey, Mr Big) on the following album. Even the producer of Scorpions Dieter Dirks heard about it, just like Bruce Fairbairn (1949-1999, Bon Jovi, Aerosmith, AC/DC). Bruce heard some songs, but he declined because he did not hear any hit in “The Final Countdown”. Kind of funny.

THE FINAL COUNTDOWN (1986) – When we recorded “Wings of Tomorrow” I had borrowed Benny Andersson’s keyboards. When Mic Michaeli came along it was natural to continue to explore this new dimension in “The Final Countdown”. I listened a lot to “Tom Sawyer” by Rush and thought they used the synth very tastefully. Meanwhile good Japanese analog synthesizers had come that I started experimenting with, like Eddie Van Halen did when he wrote “Jump”. The album was important for us and for some time we became one of the biggest bands in the world. It was fascinating to be part of it and I learned a lot.

OUT OF THIS WORLD (1988) – We recorded “Out of this world” at the Olympic in London, a very good studio. I remember the producer Ron Nevison (UFO, Ozzy Osbourne, Kiss) used his own digital recorders. However, we should have used a little warmer analog approach. Digital recorders improved with time, but it was a little too early to use them on “Out of this world”. The demo for “Superstitious” sounds much warmer. Otherwise,

I think the album was an incredible sequel to “The Final Countdown”. It was a little more bluesy, more a flashback to when we used to go and check on early Whitesnake.

PRISONERS IN PARADISE (1991) – We did a session for what would become “Prisoners in Paradise”, but the people at the record company gave us more time to write more songs. Perhaps they thought that it could culminate in something that radio would want to play. The title track was the last song that came about. During that period we lived in Los Angeles, which I think colored the album. We lost the roots of Sweden and Europe in the sound. We went on tour all the time and it became more of an LA-plate, which may be both good and bad. Beau Hill produced it in a certain manner after working with Ratt and Winger. It was still quite a heavy album.


Thank you: Europe The Band, Sweden Rock Magazine, March 2015 & Europe, Joey Tempest


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