martes, 29 de octubre de 2019

Björn: 'my ex-wife but she is still as good as new'.

 



Notes - articles

"After all, we asked Björn if it wasn't a blunder to introduce Agnetha to the audience as 'my ex-wife but she is still as good as new'. Since every divorce is a painful occasion and a remark like that can come across as rather scornful? Björn appeared to be completely surprised. "On the contrary, because with that remark we only want to show the audience that it was an amicable split," he concluded. "It's normal that our fans wonder how things are between Agnetha and myself. We'd rather tell them ourselves than that they have to read false stories in the magazines. Well, I can assure you that our divorce has been handled on the best of terms, a divorce that was inevitable because neither one of us saw any future in our marriage. We've remained the best of friends and anyone can notice that. Indeed, if we had separated as enemies, we certainly wouldn't have shared the same stage ever again."
Sunday, 21 April 2013
JOEPIE, 1979: "THE DAY THAT WE BECOME BIG-HEADED, ABBA WILL BE THROUGH!"
ABBA's visit to our country was a festive occasion for Joepie as well. We - the people from the editorial staff - met some of our best friends in the business. And the winners of our ABBA competition could finally see a unique dream wish come true. Our reader Willy van Bogaert from Brussels was given the honour to greet the ABBA quartet on behalf of our magazine. He had brought a surprise as well. He gave Agnetha and Anni-Frid a beautiful bouquet of flowers and a statue of... Manneken Pis (Little Man Pee), symbol of Europe's capital. The ice was broken immediately. Martine Cant from Kruibeke was able to watch the ABBA concert before and behind the scenes. She must have been struck by the nervous atmosphere surrounding such a superstar performance. And by the rather vigorous way wherein the 'Gods of Pop' are being protected from the outer world. She followed the concert from first row. And young Sam Jaspers could have his picture taken with his idol Björn. Obviously, the pictures have taken a first-rate spot in their living- and/or bedrooms already.

After their overwhelming concert, there was a happy reunion with Agnetha, Anni-Frid, Björn and Benny. The girls were still soaking wet and visibly tired and understandably wanted to go to bed straight away. On the other hand, it has become customary on tours that Björn and Benny stick around for a while to talk to the press about the concert and the group, while enjoying a drink and a bite to eat. They looked strikingly fresh after their marathon concert of more than two hours, during which they spend all their energy. As if they had just enjoyed a relaxed night out, simple as that.
"Simple? Well yes, because we love the music and our audience that much," Björn explained. "If you do something with love, it's actually never a difficult assignment. It's a question of mentality. Which doesn't mean that we are not doing a hard job during a concert, but you couldn't tell by looking at us."
Benny, with a neverending smile on his face, adds: "When we started, the music was our hobby and despite the success and numerous obligations, it still is. And as long as this remains this way, I can't see any problems."
So quitting tours and splitting up the group are not things to expect in the near future? They both laugh. "Why would we?" Björn asks again. "It's going really well and we love our job and our fans. Apart from that, you mustn't forget that we are never obligated to do anything. We don't have to record, we don't have to tour, we don't have to do promotion. But of course it also happens that we tell ourselves 'isn't it time to go on tour now or to invite a couple of friends from the press' and that's what we do then. And all decisions are being made unanimously by the five of us, our manager, the girls and ourselves. Of course, we are in the fortunate position that we are able to work under these unique circumstances."
So, there will be more ABBA tours, even giant world tours like this one? "I wouldn't rule it out, although I have to add that we won't question any decisions that we have made together," according to Björn. "We have decided that we don't want to perform during the summer months anymore because we want to spend time at home and be with our families. That's why we refused to perform during the opening ceremony of the Olympic Games '80 in Moskow. Perhaps we won't go on long and exhausting tours anymore either. Not only for family reasons but also because tours are in fact very unproductive artistically and we would much rather work on new compositions and other projects, like guiding and producing other artists. But concerts are certainly not ruled out. For instance, next year in March we will be on tour in Japan for three weeks."
When we asked them about the reasons for ABBA's gigantic success, they admitted honestly that they actually don't really know themselves. "There's not an exact formula to be successful in the music business," says Björn. "You create compositions that you believe in and then you hope that the audience will like them as well. A couple of reasons for our success? Obviously our sound. Our two good-looking singers as well. And for the rest I wouldn't know. Either way, we hope that this enormous success won't go to our heads, because the day that we become big-headed, ABBA will be through."

After all, we asked Björn if it wasn't a blunder to introduce Agnetha to the audience as 'my ex-wife but she is still as good as new'. Since every divorce is a painful occasion and a remark like that can come across as rather scornful? Björn appeared to be completely surprised. "On the contrary, because with that remark we only want to show the audience that it was an amicable split," he concluded. "It's normal that our fans wonder how things are between Agnetha and myself. We'd rather tell them ourselves than that they have to read false stories in the magazines. Well, I can assure you that our divorce has been handled on the best of terms, a divorce that was inevitable because neither one of us saw any future in our marriage. We've remained the best of friends and anyone can notice that. Indeed, if we had separated as enemies, we certainly wouldn't have shared the same stage ever again."
Because the financial interests have become too big? "Oh, not at all. Everyone is always talking about all the money we are making. Of course we know what happens to our bank accounts, but it stops there. Our music is our first and only important concern. We want to make the music that we love and we'd like to do that the rest of our lives!"



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►News
Something about the article published yesterday by SVD
Björn Ulvaeus ångrar sina ord om Agnetha Fältskog
Björn Ulvaeus lamenta sus palabras sobre Agnetha Fältskog...
Björn Ulvaeus regrets his words about Agnetha Fältskog...
Published Oct 13, 2019 at 11am

"I would never have said today. We behaved so damn annoyingly idiotically stupid, ”says Björn Ulvaeus in an interview with SvD.Photo: SVEN LINDWALL

During an Abba performance at Wembley in 1979, Björn Ulvaeus presented his colleague Agnetha Fältskog as “a good old friend of mine… the blonde one”.
- I would never have said today. We behaved so damn annoyingly idiotically stupid, says Björn Ulvaeus in an interview with SvD.
Björn Ulvaeus is no stranger to appearing in various social debates.
During the fall of 2017, he told me that he had begun to critically examine his previous approach to women.
In a debate article in Svenska Dagbladet, the Abba star wrote that he began to notice power imbalances in conversations with his fellow human beings.
“ I notice that I'm thinking: Am I loud? Am I spreading myself? A meeting with two women and five men. Is there a tendency for the men to interrupt the women or do they seem to agree with what they had just intended to say? ".
BJÖRN ULVAEUS REGRETS THE WORDS ABOUT AGNETA FÄLTHSKOG
In "The Women Who Shaped Pop History," written by Anna-Charlotta Gunnarson, it says about a gig Abba made at the legendary Wembley arena in the British capital London, according to SvD.
When the band members were introduced Benny Andersson first said: "Björn's old friend Agnetha, the little blond girl" about band colleague Agnetha Fältskog.
Björn Ulvaeus called her "a good old friend of mine ... the blonde one". Today, the Abba star regrets the words about her colleague.
- I would never have said today. We behaved so fucking annoyingly stupid stupid. You don't get it, but ... so there it is. You grow, you change, he says in an interview with SvD.
ULVAEUS: "IT WAS A DAMN SHAME"
The book also depicts how Agnetha Fältskog doubted herself when creating music. When asked about Björn Ulvaeus's structures in the music industry that make women do just that, he answers:
- So, both Benny and I tried: Can't you write to us? But she didn't. I never really understood why. She should have had enough confidence, for she had shown what she could, and wrote brilliant songs that had very well been placed on our records.
- But somehow she quit then. She quit altogether. It was a shame. But there was definitely nothing with Benny and me that made her feel that "Nänänä, didn't you come with yours ..." There was nothing like that, I can guarantee.
►Björn Ulvaeus lamenta sus palabras sobre Agnetha Fältskog
Publicado el 13 de octubre de 2019
Durante una actuación de Abba en Wembley en 1979, Björn Ulvaeus presentó a su colega Agnetha Fältskog como "una buena amiga mía ... la rubia".
Hoy lo lamenta
- Nunca lo habría dicho hoy. Nos comportamos de una manera tan estúpidamente molesta como idiota, dice Björn Ulvaeus en una entrevista con SvD.
Björn Ulvaeus no es ajeno a aparecer en varios debates sociales.
Durante el otoño de 2017, me dijo que había comenzado a examinar críticamente su enfoque anterior hacia las mujeres.
En un artículo de debate en Svenska Dagbladet, la estrella de Abba escribió que comenzó a notar desequilibrios de poder en las conversaciones con sus semejantes.
“ Noto que estoy pensando: ¿Soy ruidoso? ¿Me estoy extendiendo? Una reunión con dos mujeres y cinco hombres. ¿Hay una tendencia de los hombres a interrumpir a las mujeres o parecen estar de acuerdo con lo que acababan de decir? ".
BJÖRN ULVAEUS LAMENTA LAS PALABRAS SOBRE AGNETHA FÄLTSKOG
En "The Women Who Shaped Pop History", escrita por Anna-Charlotta Gunnarson, dice sobre un concierto que Abba hizo en el legendario estadio Wembley en la capital británica de Londres, según SvD.
Cuando se presentaron a los miembros de la banda, Benny Andersson dijo por primera vez: "La vieja amiga de Björn, Agnetha, la niña rubia" sobre la colega de la banda Agnetha Fältskog.
Björn Ulvaeus la llamó "una buena amiga mía ... la rubia". Hoy, la estrella de Abba lamenta las palabras sobre su colega.
- Nunca lo habría dicho hoy. Nos comportamos tan jodidamente molestamente estúpido estúpido. No lo entiendes, pero ... así que ahí está. Creces, cambias, dice en una entrevista con SvD.
ULVAEUS: "FUE UNA MALDITA VERGÜENZA"
El libro también muestra cómo Agnetha Fältskog dudaba de sí misma al crear música. Cuando se le preguntó sobre las estructuras de Björn Ulvaeus en la industria de la música que hacen que las mujeres hagan exactamente eso, responde:
- Entonces, tanto Benny como yo lo intentamos: ¿no puedes escribirnos? Pero ella no lo hizo. Realmente nunca entendí por qué. Debería haber tenido suficiente confianza, ya que había demostrado lo que podía y escribió canciones brillantes que muy bien se habían colocado en nuestros discos.
- Pero de alguna manera ella renunció entonces. Ella renunció por completo. Fue una pena. Pero definitivamente no había nada entre Benny y yo que la hiciera sentir que "Nänänä, no vengas con los tuyos ..." No había nada de eso, te lo puedo garantizar.
-----------------------------------

Björn Ulvaeus ångrar sina ord om Agnetha Fältskog

Publicerad 13 okt 2019 kl 11.00
nder ett Abba-framträdande på Wembley 1979 presenterade Björn Ulvaeus sin kollega Agnetha Fältskog som ”a good old friend of mine … the blonde one”.
I dag ångrar han orden.
– Så skulle jag aldrig ha sagt i dag. Vi betedde oss så jävla generande idiotiskt dumt, säger Björn Ulvaeus i en intervju med SvD.
Björn Ulvaeus är inte främmande för att synas i olika samhällsdebatter.
Under metoo-hösten 2017 berättade han att han kritiskt börjat granska sitt tidigare förhållningssätt gentemot kvinnor.
I en debattartikel i Svenska Dagbladet skrev Abba-stjärnan att han börjat lägga märke till maktobalanser i samtal med sina medmänniskor.
Jag märker att jag tänker efter: Är jag högljudd? Breder jag ut mig? Ett möte med två kvinnor och fem män. Finns det en tendens att männen avbryter kvinnorna eller verkar det som om de senare håller inne med det de just hade tänkt säga?”.
BJÖRN ULVAEUS ÅNGRAR ORDEN OM AGNETA FÄLTHSKOG
I ”Kvinnorna som formade pophistorien”, skriven av Anna-Charlotta Gunnarson, står det om en spelning Abba gjorde på legendariska Wembley-arenan i brittiska huvudstaden London, enligt SvD.
När bandmedlemmarna presenterades sa Benny Andersson först: ”Björn’s old friend Agnetha, ´the little blond girl” om bandkollegan Agnetha Fältskog.
Björn Ulvaeus kallade henne ”a good old friend of mine … the blonde one”. I dag ångrar Abba-stjärnan orden om kollegan.
– Så skulle jag aldrig ha sagt i dag. Vi betedde oss så jävla generande idiotiskt dumt. Man fattar det inte, men… så där är det. Man växer, man förändras, säger han i en intervju med SvD.
ULVAEUS: ”DET VAR JÄVLIGT SYND”
Boken skildrar också hur Agnetha Fältskog tvivlade på sig själv när hon skapade musik. På frågan om Björn Ulvaeus sett strukturer inom musikindustrin som gör att kvinnor gör just det, svarar han:
– Alltså, både Benny och jag försökte: Kan du inte skriva till oss? Men hon gjorde inte det. Jag förstod aldrig riktigt varför. Hon borde ha haft tillräckligt självförtroende, för hon hade ju visat vad hon kunde, och skrivit lysande låtar som mycket väl hade platsat på våra skivor.
– Men på något sätt så lade hon av då. Hon lade av helt och hållet. Det var jävligt synd. Men det fanns definitivt ingenting hos Benny och mig som gjorde att hon skulle ha känt att ”Nänänä, kom inte du med dina…” Det fanns ingenting sådant, det kan jag garantera.


lunes, 14 de octubre de 2019

The Number Ones: ABBA’s “Dancing Queen”

 article

THE NUMBER ONES
The Number Ones: ABBA’s “Dancing Queen”
Tom Breihan @tombreihan | October 14, 2019 - 10:35 am
ABBA-Dancing-Queen
In The Number Ones, I’m reviewing every single #1 single in the history of the Billboard Hot 100, starting with the chart’s beginning, in 1958, and working my way up into the present.
***
ABBA – “Dancing Queen”
HIT #1: April 9, 1977
STAYED AT #1: 1 week
You’re John McCain. When you were 21 years old, you were flying a bombing mission over Hanoi, and a missile shot your plane down. You ejected from your plane, broke two arms and a leg, then landed in a lake and almost drowned. The soldiers who took you prisoner crushed your shoulder with a rifle butt and bayoneted you in the groin.
You were interrogated, beaten, denied medical care. You spent two years in solitary confinement. When your father was named commander of all the American forces in the Vietnam war, your captors tried to send you home. But adhering to the military code of conduct, you refused release, since other soldiers had been kept prisoner longer than you. So instead, you were tortured for years, beaten at regular intervals. And after five and a half years, when the war finally ended, you returned home to a country that had fundamentally changed.
You missed the cultural upheavals of the ’60s. While they were happening, you were being tortured. You’re unmoored, not sure how to return to American life. You remain in the Navy, go through physical therapy, take command of a training squadron. You cheat on your wife, who you married before your capture.
You don’t pay a lot of attention to music. Music has changed, and you weren’t around while that was happening. But one day, you hear a song. Two Swedish women are singing, in imperfect but somehow also perfect English, about a 17-year-old girl on a dancefloor. The music is bright and effervescent, and the voices are almost rapturous with joy. But there’s an undercurrent to them, too, a sort of bone-deep melancholy. Those voices celebrate youth even as they mourn its loss. They stack melodies on top of melodies, rising on the music like currents of air. You love this song.
More than three decades later, you are running for president, and somebody from Blender magazine asks you to name your favorite songs. You oblige, and you name that song, ABBA’s “Dancing Queen,” as your favorite song of all time.
A few weeks later, the historian Walter Isaacson tries to snark-attack you about your pick. He asks you, “What were you thinking?” You’re John McCain, and you’re not going to take any of this shit from Walter Isaacson. You allow that your cultural experience is pretty particular: “If there is anything I am lacking in, I’ve got to tell you, it is taste in music and art and other great things in life. I’ve got to say that a lot of my taste in music stopped about the time I impacted a surface-to-air missile with my own airplane and never caught up again.”
But you also know that ABBA rules, and you’re happy to tell Walter Isaacson this: “Now look, everybody says, ‘I hate ABBA. Oh ABBA, how terrible! Blah blah blah.’ How come everybody goes to Mamma Mia? Huh? I mean really, seriously, huh? ‘I hate ABBA, they’re no good, you know.’ Well, everybody goes. They’ve been selling out for years.”
You’re John McCain, and you are catastrophically wrong about so many things. But you are goddamn motherfucking right about ABBA.
“Dancing Queen” is a puzzle. It’s about dancing, but it’s not really a dance song. It’s about loving rock music, but it’s not a rock song. It’s a party song and an elegy. And it’s perfect. It’s not the only perfect ABBA song. But perhaps thanks to that same sense of snobbery that John McCain encountered, it’s the only ABBA song that ever hit #1 in the US. If we had to pick one ABBA song, we picked the right one.
To be fair, nothing about ABBA’s genesis suggests that the group ever had a shot at conquering America. The four members of ABBA were all songwriters, and they’d all had Swedish hits, either solo or with their old bands, before they started the group. But they came from distinctly European musical traditions. They’d absorbed English glam and the ’60s pop of Phil Spector. But as this Guardian piece points out, they’d also absorbed Italian balladry, Swedish folk music, and the sentimental German music-hall genre known as schlager. They sang in English, but English was very clearly not their first language.
Benny Andersson and Björn Ulvaeus, ABBA’s two chief songwriters and producers, had been making hits in Sweden since they were teenagers in the ’60s — Andersson with his imitation-Beatles rock group the Hep Stars, Ulvaeus with his skiffle group the Hootenanny Singers. One singer, Agnetha Fältskog, had hit #1 in Sweden at age 18 with a schlager song that she’d written. The other, Frida Lyngstad, was also releasing schlager singles from a young age, but she didn’t have a big hit until she started working with Andersson and Ulvaeus, who’d started writing songs together.
Eventually, Fältskog married Ulvaeus, and Lyngstad married Andersson. They all got together and formed a group, naming it ABBA — the first letters of all their first names mashed together. (Abba was also a brand of pickled herring in Sweden; the group had to license the name from the company.) In 1972, ABBA entered a song called “Ring Ring” into a Swedish song competition, hoping that the song would go on to compete in the Eurovision Song Contest. The judges shot it down, but the track still went to #1 in Sweden.
The next year, ABBA entered another song, the glam-influenced “Waterloo,” into the contest, and they made it in. ABBA won the Eurovision contest, and it became a European sensation, hitting #1 in three different countries, including the Eurovision host nation of the UK. Even in America, where nobody pays attention to Eurovision, “Waterloo” was a hit, peaking at #6. (It’s a 9.) And by some grand cosmic coincidence, the same day that ABBA debuted “Waterloo” at Eurovision, their countrymen Blue Swede hit #1 in America with a cover of BJ Thomas’ “Hooked On A Feeling.” Blue Swede were the first Swedes ever to hit #1 in the US. ABBA would eventually be the second.
After “Waterloo,” ABBA became global sensations. They were huge all over Europe, of course, but they were huge elsewhere, too — Australia, South Africa, Japan. But after “Waterloo,” America was largely immune. The ABBA songs that dominated the rest of the world charted in the US, but they didn’t make the top 10. “Mamma Mia” peaked at #32. “I Do, I Do, I Do, I Do, I Do” and “SOS” both peaked at #15. “Fernando” peaked at #13. But “Dancing Queen” went all the way. “Dancing Queen” was undeniable.
“Dancing Queen” isn’t a disco song, but it has disco somewhere in its DNA. Andersson and Ulvaeus, who wrote and produced the song, were inspired by the beat of George McCrae’s “Rock Your Baby.” But where “Rock Your Baby” is thin and propulsive, “Dancing Queen” is slow and lush and dramatic. Andersson and Ulvaeus, notorious studio perfectionists, piled sound on sound, melody on melody. The first thing we hear, a finger running down a piano keyboard, is a total Elton John flourish. When the song kicks in, it’s absolutely piled with instruments — keyboards, strings, something that sounds like a choir of backing vocals even though I think it’s just a synth.
Ulvaeus and Andersson listened to that backing track again and again until they started to see the image of a girl losing herself on a dancefloor. The lyrics that they wrote are clumsy and strange. They’re words that no native English speaker would ever even think to combine: “Getting in the swing / You came to look for a king.” “With a bit of rock music, everything is fine.” “The music’s high.” “You can dance. You can jive.” But those words do their job. They conjure an image. When you close your eyes, you can see that girl, too. Maybe you can be that girl.
When Andersson played that backing track for Lyngstad, she broke down in tears. She hadn’t heard how she’d sound on the song yet. She just knew. Years later, Lyngstad told The Guardian that she cried “out of pure happiness that I would get to sing that song, which is the absolutely the best song ABBA have ever done.”
You can hear that. “Dancing Queen” only works if Lyngstad and Fältskog put everything into the song. You can’t be neutral with “Dancing Queen.” You have to belt it, and you have to put feeling into it. “Dancing Queen” isn’t a song about apocalypse, or even about romantic desolation. It’s just a night out in a nightclub. But if you’re 17, if a nightclub is the only place where you really feel at home, then the importance of that night is massive and all-consuming. It obliterates everything else.
Something similar happens on 50 Cent’s “In Da Club,” a song that will eventually appear in this column, though the dynamic is different. On “In Da Club,” there’s no urgency in the vocals. 50 is calm and casual, babbling in singsong, telling you to come give him a hug. But the beat sounds like what’s playing on a James Bond soundtrack when the train with the nuclear bomb is about to crash into the station and Bond has five seconds to defuse it. Clubbing can be epic, and the best songs about clubbing treat it as such.
Early on in “Dancing Queen,” Lyngstad and Fältskog are ebullient, dramatic, incandescent with happiness: “Friday night, and the lights are low / Looking out for a place to… gooo.” But when they hit the chorus, there’s a sort of desperate longing in their voices. They remember being that girl, and they miss being that girl. They love that girl. They want nothing but the best for her. They’re happy that the girl exists, that the nightclub exists, that the girl gets to feel like she does. But there’s a devastating sense of loss somewhere in there, too. It’s unstated, but it’s there in the way those voices soar and crash together. They need you to feel the beat from the tambourine. It it absolutely vital that you feel that beat.
“Dancing Queen” is pop music operating on its highest possible level — when everything is working in concert with everything else, when the meaning is so bold and bright and powerful that it doesn’t even have to state itself. ABBA never made another song quite like it, but a lot of people tried. This Guardian piece notes some of its echoes. Elvis Costello, who once said that “Dancing Queen” is “manna from heaven,” took the piano part and used it on his 1979 single “Oliver’s Army.” Chris Stein of Blondie, a band who will soon appear in this column, acknowledges that Blondie were trying to come up with their own “Dancing Queen” when they recorded their 1979 “Dreaming.” MGMT took the languid, dreamy “Dancing Queen” tempo and intentionally replicated it on 2008’s “Time To Pretend,” the best song they’ve ever written.
“Dancing Queen” wasn’t only huge in the US. It hit #1 in countries around the world. “Dancing Queen” was #1 in Japan, Mexico, Rhodesia, Brazil. In Australia, “Dancing Queen” was #1 for 14 weeks, tying a record set by “Hey Jude.” Queen Elizabeth II reportedly once said this about “Dancing Queen”: “I always try to dance when this song comes on. Because I am the Queen, and I like to dance.” The song was the peak of a planet-wide imperial era. Even in America, resistance was futile.
ABBA would remain massive around the planet for the rest of the group’s lifespan. In America, though, ABBA only scored two more top-10 hits. 1978’s dizzy, exploding-with-melody “Take A Chance On Me,” peaked at #3. (It’s a 10.) And the heart-struck 1980 breakup ballad “The Winner Takes It All” — released just after one of the ABBA couples divorced and just before the other one did — peaked at #8. It’s an 8.
ABBA broke up in 1983. Andersson and Ulvaeus kept making music for a while. Together with the Broadway lyricist Tim Rice, they recorded the 1984 concept album Chess, which became a Broadway musical in 1988. One of the singles from Chess was “One Night In Bangkok,” quasi-rapped by the stage actor Murray Head. “One Night In Bangkok” peaked at #3 in 1985. It’s an 8. Meanwhile, both Lyngstad and Fältskog went solo. In 1982, before ABBA even broke up, Lyngstad, recording simply as Frida, recorded the solo album Something’s Going On with producer Phil Collins, someone who will eventually appear in this column. Frida’s song “I Know There’s Something Going On” only made it up to #13 in the US, but it’s a banger.
ABBA lingered in the cultural imagination long after they broke up, and it’s entirely possible that they’re bigger in America now than they were when they were still active. Mamma Mia, a musical made from their songs, became a long-running Broadway hit that spun off two movies. The 1989 greatest-hits collection ABBA Gold sold some 30 million copies globally, and six million of those sales were right here in the US. At a certain point, it stopped being cool to act like ABBA weren’t great, though maybe Walter Isaacson didn’t get the memo.
And while American might’ve mostly resisted ABBA while the group was still active, this country would eventually embrace bright, euphoric, strange, precise Swedish pop music. In the ’90s, a group of producers centered around Stockholm’s Cheiron Studios, including people like Denniz PoP and Max Martin, would learn the lessons of ABBA and crank out an absurd string of chart-dominating monsters. Songs from the Cheiron braintrust will appear in this column many, many times.
As for ABBA themselves, the members of the group swore for years that they’d never reunite. They didn’t seem interested at all, and they’re the rare ex-bandmates who absolutely don’t need the money that a reunion would bring. But last year, out of nowhere, they announced a reunion and said that they were working on new music. On the one hand, nobody needs hologram versions of ’70s pop stars. On the other, we could be looking at a whole new frontier in ecstatic melancholy. We’ll learn if we can still feel the beat from the CGI tambourine.
GRADE: 10/10
BONUS BEATS: Here’s U2, a band that will eventually appear in this column, covering “Dancing Queen” at a 1992 Stockholm show, with Björn Ulvaeus and Benny Andersson joining in:
BONUS BONUS BEATS: Here’s “Dancing Queen” soundtracking the emotional, triumphant ending of the 1994 film Muriel’s Wedding:
BONUS BONUS BONUS BEATS: Here’s Meryl Streep, Christine Baranski, and Julie Walters singing “Dancing Queen” in the 2008 Mamma Mia movie:
BONUS BONUS BONUS BONUS BEATS: Here’s Metallica’s Kirk Hammett and and Robert Trujillo unlistenably covering “Dancing Queen” at a 2018 show in Stockholm:
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