Jesper and producer Björn Pettersson also had an informal goal: to leave each studio with enough songs for an album. Albums where the band could dig deep into the music rooted in Muscle Shoals and Memphis history. Several of Jesper’s favorite albums were recorded in just two days at Royal and Muscle Shoals. “If they could do it then, why can’t we?” Jesper reasoned. “And while we’re at it—why not try to record a second album, too?”
From September 15–18, 2024, Jesper and the band did something no one had attempted before: they managed to record two albums in just four days! The result became the life-affirming and powerful love letters 3614 Jackson Highway and Royal.
Before the trip, Jesper and Björn immersed themselves in countless songs that built the mythical legacy of Memphis and Muscle Shoals. They also listened to every interview they could find with people who “were there,” and watched documentaries about the places and their musical history. All of this was to better understand the process and to get to know the songwriters, artists, musicians, and producers—the people—who created the music.
Jesper and Björn arrived in Alabama early, with the band set to come a day before recording began to ease the worst of the jet lag. But due to flight issues, the band arrived more than a day late, cutting their two full days in Muscle Shoals Sound down to just one and a half. Against all odds, once everything was set up, everything fell into place. A creative rush swept over them, fueled by pent-up energy, joy of playing, jet lag, and awe at standing in the same studio once visited by the Rolling Stones, Lynyrd Skynyrd, Duane Allman, Paul Simon, Art Garfunkel, Bob Seger, The Staple Singers, Rod Stewart, Leon Russell, Willie Nelson, Cat Stevens, and many more.
“I know some might think it’s presumptuous of us to tackle a bunch of immortal songs that already exist in exquisite versions. But to dive deep into the material, to actually play and sing the songs instead of just listening to them—that was an invaluable experience for us, one we learned a lot from. I’m grateful I got to do this and proud of the result,” says Lindell.
By the end of the second day in Muscle Shoals, nine songs were complete and approved in the control room. Time to drive overnight to Memphis to begin setup and new sessions at Royal Studios the very next morning.
In Memphis, they were welcomed by studio owner and engineer Boo Mitchell (son of the legendary founder and forever musical mayor of the city, Willie Mitchell). Exhaustion and jet lag were countered by a hefty dose of adrenaline—caused by suddenly standing in a studio that remains nearly unchanged since its glory days with Hi Records, when Al Green, Otis Clay, Ann Peebles, and Syl Johnson recorded there. Yet Royal Studios also sits in one of Memphis’ poorest, most vulnerable Black neighborhoods, where the homeless and people struggling with addiction watched suspiciously as the band unloaded their gear. It was a transformative experience none of the band had ever faced before.
Inside the studio, Jesper and the band carried on with the same energy and intensity. When, completely worn out, the band mustered one final push with their version of The Box Tops’ “The Letter,” another nine songs were finished—approved and ready to bring home to Brunnsvik.
“Looking back, I can hardly believe it happened,” says Lindell. “I listen to Boo Mitchell’s fantastic mixes and can almost not believe it’s us playing. Is it really me and The Brunnsvik Sounds guys who sound like this?”
Jesper and the band take on everything from classics like “The Letter,” “Drift Away,” “Respect Yourself,” and “I Can’t Stand the Rain” to more obscure gems like “If Love Was Money,” “Sweeter Tomorrow,” “She Ain’t Gonna Do Right,” and “King of the Cowboys.” They’ve created their own but respectful versions of songs associated with giants such as Elvis Presley, Otis Redding, The Staple Singers, Willie Nelson, The Box Tops, Ann Peebles, Rod Stewart, and Dusty Springfield. At the same time, they give just as much love to songs tied to lesser-known but equally important artists like Margie Joseph, Otis Clay, Dan Penn, Donnie Fritts, Tony Joe White, Pops Staples, and The Amazing Rhythm Aces.
“Of course, I don’t believe our versions surpass the originals. But see them as our humble tribute to some of our heroes,” says Lindell. “The experience has developed me and the band enormously. We were one band when we entered Muscle Shoals—and another when we left Royal four days later.”
All songs were recorded live in studio, but later the Royal Horns and Brunnsvik Horns added brass, and The Brunnsvik Sounds choir layered in vocals. Phil Campbell from The Temperance Movement contributed vocals on “Drift Away,” and Frazey Ford on “Trying to Live My Life Without You.” Swedish singer Michaela Holmberg joins Jesper on “Heavy Makes You Happy.“
All tracks on both albums were mixed by Boo Mitchell at Royal Studios in Memphis. The engineer at Muscle Shoals was Colin Lott. Classe Persson handled mastering. Album artwork was illustrated by Karin Widmer and designed by Elin Olsson. Producers for both albums are Björn Pettersson, Jesper Lindell, and Rasmus Fors. A TV crew led by Afshin Tahmoury joined the U.S. trip and is currently editing two 20-minute documentary episodes about the recordings. 3614 Jackson Highway and Royal will be released on CD, LP and digital platforms by Yep Roc Records.