The Brits thought Waterloo was beige, reveals new ABBA documentary
Vicky Jessop — Tiempo de lectura: 2 minutos
An exclusive look at an upcoming BBC show examines the impact ABBA’s hit single Waterloo had on the group’s lives
ABBA might be one of the best-known bands in the world, but it wasn’t always that way.
When the band scored one of Eurovision’s iconic moments with their hit single Waterloo in 1974, they initially faced an uphill battle in the charts – and in the public eye – to be taken seriously as a band, and not just a gimmick.
An exclusive clip from the upcoming documentary ABBA: Against the Odds shows the impact that the single had on their lives. It opens with the band’s manager Stikkan Anderson signing them to Polar, a Swedish record label that had ambitions of breaking into the rest of Europe.
“Stikkan believed in us from the beginning,” the group’s Björn Ulvaeus says in voiceover. “He always said, one day you’ll write a world hit.”
That they did: the clip goes onto show how Waterloo rapidly conquered the European charts, scoring number ones in the UK, Belgium, Finland, Germany and more.

BBC/Rogan Productions/Alamy
“When we won, it was just like pressing a button, and everything worked all over Europe,” Ulvaeus adds in a recorded interview from the time.
That said, it wasn’t all an plain sailing. “In England, they thought it was quite beige,” Benny Andersson says. “Even if it the song was number one... if you’re a part of Eurovision, you’re dead afterwards.” The sentiment is echoed by Ulvaeus: “It was like an agreement amongst all DJs, amongst everyone.”
Of course, ABBA did go onto conquer the charts, scoring multiple number ones and, fifty years later, opening ABBA Voyage in London.
The documentary, which was produced by Rogan Productions and directed by BAFTA winner James Rogan, tells the story of ABBA’s creation. When they won the Eurovision song contest in 1974 with Waterloo, they faced an uphill battle in the global charts (and in their home country of Sweden) to be recognised as a genuine force in pop.
But once they achieved success, that pressure threatened the relationships at the heart of the band.
ABBA: Against the Odds will be available to watch on BBC iPlayer from 6am on the 4th May, and on BBC One at 10.40pm on the 8th May
ABBA's secret to global stardom laid bare in tell-all documentary
Nicola Methven
ABBA's secret to global stardom to be laid bare in tell-all documentary with archive footage Global megastars ABBA topped the charts after winning Eurovision but fans will see a new side to the quartet in a brand new documentary using archived footage
In the 50 years since winning Eurovision, Abba have sold 385 million records but a new documentary lays bare their heartache as they struggled to get the recognition they deserved.
The musical establishment sneered at their frothy pop songs, the programme shows. It also tells how their quest to break America nearly broke them all and how they struggled as both of their marriages fell apart. Plus Agnetha and Bjorn were agonised at leaving their young daughter Linda behind for weeks on end as they toured.
In the film, which uses archive interviews from TV stations across Europe, viewers see how winning 1974’s Eurovision in Brighton was their ticket to global fame. But it also gave them a cheesy image they found impossible to shake. “In England, they thought it was quite beige,” Benny says.
“Even if the song was No1 in England if you’re a part of Eurovision, you’re dead afterwards.” But they didn’t give up, instead trying hard to find their identity in the wake of Eurovision-winning song Waterloo. Bjorn gives credit to their manager Stig Anderson, saying: “He always said ‘One day you’ll write a world hit’. “That meant a lot.” Mamma Mia was the song that turned things around.
Bjorn says: “With Mamma Mia we found we were a pop group. We found our identity.” He also says he and Benny were in awe of Agnetha and Frida’s voices, explaining: “Even if they sang very sad songs, they sound somehow jubilant.” But the press and musical establishment remained dismissive, with Swedish journalist Leif Schulman remembering: “You couldn’t be open about liking Abba.”
In 1975 Frida said she felt “very overwhelmed” by the criticism while Agnetha described the experience as “quite unpleasant”. In Australia however, they were hugely popular with songs like Fernando and during 1975-76 found themselves at the top of the charts for 42 weeks.
The song Knowing Me Knowing You meant that the UK could no longer be so dismissive of their skills. While still being dismissed as “simple and naive” they came up with 1976 global hit Dancing Queen, which Agnetha says gave her and Frida goosebumps as they recorded it.
But in other ways the cracks were already starting to show. In an interview Bjorn confesses that being in a band with his wife wasn’t always an easy ride. “Having to be together all the time can cause problems,” he admits. He and Agnetha had had a baby girl the year before Eurovision in 1973, and it was becoming hard to leave her behind in Sweden while they went away on tour.
“Everything happened at the same time,” Agnetha says in the film. Agnetha also says the endless speculation that she and Frida didn’t get on was untrue and hurtful. “So much has been written that Frida and I were not friends, it’s not very fair to do that,” she says. In 1978 Benny and Frida finally tied the knot after an engagement of more than seven years but Agnetha and Bjorn’s marriage was failing, despite the birth of their second child.
Bjorn says: “The marriage didn’t work. But we still worked very well together... so we decided to split up the marriage but not split up the band.” Agnetha says she thinks the decision was “very brave of us”. Another attempt to crack the US in 1978 ended with a terrifying flight in bad weather, which shook Agnetha so badly she became physically ill.
“After that, I got sick,” she says. “I said ‘I can’t do this’.” With Benny also finding that the touring sapped his ability to feel creative and write songs, Bjorn said it was time to give up on trying to be as popular in the US as they were in the rest of the world. Back in the UK, they were welcomed with open arms and the band finally started to feel the love.
When Abba kicked off a run of 38 concerts at Wembley, there was a clamour to get hold of tickets. Bjorn says their confidence grew. “I ran into Pete Townshend,” he recalls. “He said ‘do you know SOS is the best pop song ever written?’ I was so proud.” In 1980 they drew even more acclaim for The Winner Takes It All, which became one of the most celebrated break-up songs of all time.
Bjorn hints they put their own emotions into it and Agnetha says: “I tried to put my life experience and my feelings, everything in the song.” By the time Super Trouper came along later in 1980, to huge acclaim, they were being asked more about their difficult path to superstardom.
One interviewer asked: “You must be rich but are you happy?” and Frida admitted: “Sometimes, sometimes not.” But when it comes to being in the band, they drew strength from each other. Frida poignantly sums up their decade of domination, saying: “It wasn’t just the music, it was also love.
“It was a life lived together, somehow, all four of us.”
2 EBU broadcasters unite for new documentary: ABBA – Against The Odds
By Andreas Kalaitzis18 March 2024
This year marks 50 years since ABBA won the Eurovision Song Contest 1974 in Brighton with the song "Waterloo." This will be celebrated in a unique collaboration in a documentary titled "ABBA – Against The Odds."
The documentary will be shown in more than 15 countries in the weeks leading up to Eurovision 2024 in Malmö.
The story of the group that became one of the world's biggest and best-selling music groups of all times includes rare clips and exclusive interviews. It's directed by James Rogan and produced by Dan Hall.
Unique collaboration
The documentary was developed by Danish DR and Swedish SVT, and the concept originated from the EBU Documentary Group. It is the largest ever collaboration of EBU members on a documentary production.
Matthew Trustram, Head of Television, EBU says:
– This is something of a landmark production for European public-service broadcasters, who have pulled together their biggest collaboration to date in the documentary space, to celebrate the music and influence of ABBA, a true European cultural phenomenon. By working together, the broadcasters have been able to deliver truly ambitious and impactful storytelling to their audiences.
Anders Bruus, Commissioning Editor, DR says:
– Never have so many TV stations collaborated to unfold the story of ABBA and their cultural significance. And when an idea from DR and SVT ends up engaging so many European TV stations in telling the story of a Swedish pop group, it shows the significance of ABBA over 50 years.
Axel Arnö, Head of Documentary, SVT says:
– The documentary is not only a celebration of ABBA's iconic music but also showcases the importance of our shared cultural heritage. The collaboration between so many European TV stations demonstrates how we can be united through music, art, and storytelling. ABBA's breakthrough in the Eurovision Song Contest 50 years ago and the current collaboration between TV stations are pivotal in bringing nations together then and now.
The documentary will premiere at Copenhagen's CPH:DOX on 23 March 2024, and will be broadcast in more than 15 countries throughout Europe ahead of the Eurovision Song Contest in Malmö in May.
ABBA World in Malmö
Fans will be able to experience all the different parts of ABBA under one roof during Eurovision in Malmö, Sweden. Opening its doors on 29 April, ABBA World invites both new and old fans to explore parts of ABBA The Museum, ABBA Voyage, Mamma Mia!, Mamma Mia! The Party, and Polar Music International all at once.
Spread across two floors, this mini-exhibition and pop-up experience will create a space for ABBA fans to meet, share, and create memories together showcasing both the past and present of ABBA. Placed in the central parts of Malmö, ABBA World will be open for visitors for two weeks only at Södergatan 28 between 29 April and 12 May.
ABBA has been described as one of the world's most popular bands, and so far they've sold more than 150 million records worldwide.
The group released nine studio albums, two live albums, seven compilation albums, and 50 singles.
The major international breakthrough came in 1974 in the Eurovision Song Contest 1974 when they won with Waterloo.
As part of a season of programmes on the BBC to celebrate 50 years since Abba’s Eurovision win, BBC Two and BBC Pop Music TV have commissioned When Abba Came to Britain, a 1 x 60 minute documentary from Wise Owl Films.
When Abba Came To Britain looks at the time At the band spent in the UK from 1974 to 1982 and examines their legacy, from Eurovision to ABBA Voyage.
Featuring previously untransmitted interviews with ABBA, the documentary “takes an affectionate look at the ongoing love affair between the UK and the Swedish supergroup.” Wise Owl Films has previously produced BBC Two’s award-winning When X Came To Britain strand (Bob Marley, Nirvana, Motown, Tina Turner and Blondie) and The Hacienda: The Club That Shook Britain.
The documentary will include a wealth of BBC and non-BBC performances, as well as long forgotten news footage, which all show how ABBAmania took hold in the UK in the 1970s and 1980s. The story is brought up to date with the quartet’s return to Britain in 2022, choosing to launch their ‘comeback’ concert – ABBA Voyage – in London.
Contributors include: musicians who performed with the band; tour manager Thomas Johansson, who recalls the performance in Glasgow (1979) which inspired the hit Super Trouper; an ABBA superfan who travelled from Liverpool to London aged 14 to meet the band; staff who worked at their British-based record label; the British Eurovision judge who scored them ‘nul points’ in 1974; the producers behind ABBA Voyage; and a now-famous member of the children’s choir which accompanied ABBA at their Wembley Arena concerts in 1979. It will also feature interviews with musicians who were heavily influenced by the band, including Primal Scream’s Bobby Gillespie and Blossoms.
Through interviews with those who witnessed the ABBA story unfold, the film will cross the nations and regions, visiting locations which had a part to play in the story, including the Brighton Dome and the Birmingham Odeon where the band played their first ever British concert in 1977, hearing from those who were there.
Rachel Davies, Commissioning Editor, BBC Pop Music TV says: “When Abba came to Britain is a love letter from this country to the beloved Swedish super-group, celebrating the special relationship we have as a nation with Benny, Björn, Agnetha and Anni-Frid. We focus on the stories of individuals who were lucky to be caught up in their world. A must watch for pop fans of all ages.”
Mark Robinson of Wise Owl Films says: “There can be fewer bands, if any, who have straddled generations of British music fans in a more impressive way than ABBA. Their original fans might now be in their fifties and sixties, but their children, and even their grandchildren, will be just as familiar with their biggest hits thanks to the likes of Mamma Mia! and Voyage. This film shows the enduring and often emotional impact that ABBA have left on British fans and musicians across the decades, but we will also chart the key role that Britain played in the band’s history – from the music of groups like The Beatles to playing host to defining moments in their career”.
When Abba Came to Britain is a Wise Owl Films production for BBC Two and BBC Pop Music TV. It was commissioned by Rachel Davies, Commissioning Editor, BBC Pop Music TV and Jonathan Rothery, BBC Head of Pop Music TV. It is produced and directed by Dhivya Kate Chetty and the Executive Producer for Wise Owl Films is Mark Robinson. Leeds-based Wise Owl Films is a non-scripted label of Lime Pictures, part of All3 Media.
The BBC celebrates ABBA in April 50 years since their Eurovision win in 1974
This April, the BBC celebrates this remarkable anniversary with a range of programmes on BBC Two, Radio 2, BBC Sounds and BBC iPlayer
Published: 08:00 am, 18 March 2024
Updated: 11:00 am, 18 March 2024
When Abba came to Britain is a love letter from this country to the beloved Swedish super-group, celebrating the special relationship we have as a nation with Benny, Björn, Agnetha and Anni-Frid. We focus on the stories of individuals who were lucky to be caught up in their world. A must watch for pop fans of all ages.
This spring sees the 50th anniversary of music superstars ABBA winning the Eurovision Song Contest in 1974. Ever since they were introduced on stage at the Brighton Dome, resplendent in unforgettable platform heels and satin, they have held an enduring place in Britain’s hearts and in British pop culture.
This April, the BBC celebrates this remarkable anniversary with a range of programmes on BBC Two, Radio 2, BBC Sounds and BBC iPlayer.
BBC Two and BBC iPlayer broadcast a night of ABBA specials, including When Abba Came to Britain and More ABBA at the BBC, featuring a performance of So Long on Top of the Pops that hasn’t been broadcast since 1974
Radio 2 launches a vote to discover the listeners’ Ultimate Abba Song
BBC Radio 2 and BBC Sounds present Eras: ABBA, a brand new series of Eras dedicated to the band, Sophie Ellis-Bextor: ABBA, My Supergroup and ABBA at the BBC
BBC TV and BBC iPlayer
To celebrate ABBA’s special relationship with British music fans, BBC Two and BBC Pop Music TV present When Abba Came to Britain, a 1 x 60 minute documentary which will be broadcast in early April as part of a dedicated Saturday night of ABBA specials on BBC Two.
When Abba Came To Britain looks at the magical time Agnetha, Anni-Frid, Benny and Björn spent in the UK from 1974 to 1982 and examines their ground-breaking legacy, from Eurovision to ABBA Voyage.
Featuring previously untransmitted interviews with ABBA, this documentary takes an affectionate look at the ongoing love affair between the UK and the Swedish supergroup and is produced by Wise Owl Films - the Leeds-based team behind BBC Two’s award-winning When X Came To Britain strand (Bob Marley, Nirvana, Motown, Tina Turner and Blondie) and The Hacienda: The Club That Shook Britain.
It’s the tale of a relationship that started with the band’s fascination with British music, including The Beatles in the 1960s. After winning the Eurovision Song Contest with Waterloo in 1974, the band would eventually find global stardom, but their relationship with the UK remains unique.
The BBC was there at the beginning in Brighton - where the world first heard their name 50 years ago - and at the end of their initial chart-busting career in 1982, with what was thought to be the band’s last appearance on BBC One’s The Late, Late Breakfast Show.
The documentary will include a wealth of BBC and non-BBC performances, as well as long forgotten news footage, which all show how ABBAmania took hold in the UK in the 1970s and 1980s. The story is brought up to date with the quartet’s return to Britain in 2022, choosing to launch their ground-breaking ‘comeback’ concert - ABBA Voyage – in London.
Contributors include: musicians who performed with the band; tour manager Thomas Johansson, who recalls the performance in Glasgow (1979) which inspired the hit Super Trouper; an ABBA superfan who travelled from Liverpool to London aged 14 to meet the band; staff who worked at their British-based record label; the British Eurovision judge who scored them ‘nul points’ in 1974; the producers behind ABBA Voyage; and a now-famous member of the children’s choir which accompanied ABBA at their Wembley Arena concerts in 1979. It will also feature interviews with musicians who were heavily influenced by the band, including Primal Scream’s Bobby Gillespie and Blossoms.
Through interviews with those who witnessed the ABBA story unfold, the film will cross the nations and regions, visiting locations which had a part to play in the story, including the Brighton Dome and the Birmingham Odeon where the band played their first ever British concert in 1977, hearing from those who were there.
Rachel Davies, Commissioning Editor, BBC Pop Music TV says: “When Abba came to Britain is a love letter from this country to the beloved Swedish super-group, celebrating the special relationship we have as a nation with Benny, Björn, Agnetha and Anni-Frid. We focus on the stories of individuals who were lucky to be caught up in their world. A must watch for pop fans of all ages.”
Mark Robinson of Wise Owl Films says: “There can be fewer bands, if any, who have straddled generations of British music fans in a more impressive way than ABBA. Their original fans might now be in their fifties and sixties, but their children, and even their grandchildren, will be just as familiar with their biggest hits thanks to the likes of Mamma Mia! and Voyage. This film shows the enduring and often emotional impact that ABBA have left on British fans and musicians across the decades, but we will also chart the key role that Britain played in the band’s history – from the music of groups like The Beatles to playing host to defining moments in their career”.
When Abba Came to Britain is a Wise Owl Films production for BBC Two and BBC Pop Music TV. It was commissioned by Rachel Davies, Commissioning Editor, BBC Pop Music TV and Jonathan Rothery, BBC Head of Pop Music TV. It is produced and directed by Dhivya Kate Chetty and the Executive Producer for Wise Owl Films is Mark Robinson. Leeds-based Wise Owl Films is a non-scripted label of Lime Pictures, part of All3 Media.
Further programmes to be broadcast as part of the ABBA night on BBC Two include:
More ABBA at the BBC: BBC Two says ‘Thank You For The Music’ with another voyage into the archives for more of the Swedish supergroup’s best appearances from shows including Top of the Pops, Wogan, The Late, Late Breakfast show and The Mike Yarwood Christmas Show. Bringing viewers right up to date, the programme also captures the excitement and sounds of their recent, technologically pioneering stage shows. The compilation also features a rare performance of ABBA’s song So Long, which has not been seen on TV since it was first broadcast in 1974. The performance had been missing from the BBC Archives and thought to be lost forever, until a Top of the Pops fan unearthed a home recording, which was then restored and will be shown for the first time, 50 years on, in this programme.
ABBA at the BBC: First broadcast in 2013, there is another chance to see the first compilation of ABBA's greatest performances at the BBC, including of Waterloo, Dancing Queen, Does Your Mother Know, Thank You for the Music, SOS, Fernando, Chiquitita and more.
ABBA in Switzerland: 1979 Special: In a show originally broadcast in 1979 on BBC One, ABBA star in their first European TV special, recorded on location in the Swiss Alps and also featuring special guests, Kate Bush and Roxy Music.
The Joy of ABBA: Between 1974 and 1982, ABBA launched into the UK charts but divided critical opinion. This documentary explores how they raised the bar for pop music as a form and made us fall in love with the sound of Swedish melancholy. This programme was first broadcast in 2013.
As announced recently, BBC One will broadcast the feature documentary, ABBA: Against The Odds later in spring. The programme will be produced by multi-award winning documentary makers Rogan Productions (Freddie Mercury: The Final Act), directed by BAFTA and Emmy Award-winner James Rogan and distributed worldwide by BBC Studios.
Telling the epic story of ABBA’s greatest period of musical achievement framed between the albums Arrival (1976) and Super Trouper (1980), this is the story of ABBA’s deeply personal and perilous journey through the band’s most transformative years and rise to global fame. In the UK the film will be shown on BBC One and BBC iPlayer this May.
More information is available here.
BBC Radio 2 and BBC Sounds
On Radio 2 and BBC Sounds in April, Eras returns (following previous series on Kylie and The Beatles), telling the definitive story of ABBA in four, era-defining chapters. Using the band’s own words with extensive archive, Eras: ABBA looks at the group’s rise, revival and how they changed music along the way. Contributors include Kylie, Rylan, ABBA historian Carl Magnus Palm, session musician Janne Schaffer, Rod Stephen - creator of Björn Again, and ABBA Voyage producers, Ludvig Andersson and Svana Gisla. Plus, Sophie Ellis-Bextor shares her love for the band in ABBA, My Supergroup.
Eras: ABBA, Sophie Ellis-Bextor: ABBA, My Supergroup and ABBA at the BBC will be available on BBC Sounds from Saturday 6 April and broadcast on Radio 2 later that month.
Also in April, Radio 2 will launch a vote to discover the listeners’ Ultimate Abba Song, featuring their favourite Top 40 tracks. More details will be announced in due course.
BBC Pop Music TV highlights over the past months have included: Highlights from the BBC Radio 6 Music Festival (BBC Four); Texas Live in the Piano Room (BBC Two); RAYE at the Royal Albert Hall (BBC One); Rick Astley Rocks New Year’s Eve (BBC One); Disco: Soundtrack of a Revolution (BBC Two); Cher Meets Rylan (BBC Two); Reel Stories: Take That and Radio 2 In Concert – Take That (BBC Two); the BBC celebration of The Beatles on TV, radio, BBC iPlayer and BBC Sounds, reflecting the release of their last song ‘Now And Then’; the autumn 2023 series of Later…with Jools Holland (BBC Two); When Blondie Came To Britain (BBC Two); The Country Music Awards (BBC Four); The First Ladies of Hip-Hop (BBC Two); Kylie Minogue’s Radio 2 in the Park performance (BBC Two), highlights from Reading and Leeds festivals (BBC One); Northern Soul at The Proms (BBC Two); and BBC Glastonbury. Music fans can also watch live performances on The Graham Norton Show (BBC One), The One Show (BBC One) and Strictly Come Dancing (BBC One).
‘Lost’ Top Of The Pops ABBA footage to be shown on BBC for 1st time in 50 years ahead of Eurovision victory anniversary
The Beeb has also created a smorgasbord of other ABBA specials ahead of the big anniversary
Ellie Henman, Bizarre Editor
Published: 20:00, 17 Mar 2024
Updated: 19:05, 18 Mar 2024
ABBA will soon celebrate 50 years since the night they won Eurovision on April 6, 1974.
And ahead of this year’s contest, in the Swedish super-group’s homeland in May, there is fevered rumour that they may reunite for a special show during the final.
Meanwhile, BBC Two will join in the Take A Chance On Me stars’ celebration of that Eurovision win, in Brighton, with a series of special shows paying homage.
More Abba At The BBC will feature one particularly nostalgic moment, after the Beeb was handed a video it believed was lost in its archives a tape of the band’s 1974 performance on Top Of The Pops.
The recording, which shows them belting out 1974 hit So Long, was thought to have been lost but will now be shown in full for the first time in five decades.
Another BBC2 programme, When Abba Came To Britain, will also celebrate the success of the group, made up of Agnetha Faltskog, Bjorn Ulvaeus, Benny Andersson and Anni-Frid Lyngstad.
READ MORE ON EUROVISION
A source said: “Getting the lost Top Of The Pops recording was a real coup for the BBC and it will be part of a series of huge programmes to celebrate the 50th anniversary of Abba’s Eurovision triumph.
“As well as the Top Of The Pops footage on More Abba At The BBC, the show When Abba Came To Britain will feature never-before-seen interviews with the band, as well as musicians who have been influenced by them including Primal Scream star Bobby Gillespie and Blossoms.
“Their old tour manager Thomas Johansson will also open up about ABBA-mania in the UK.”
“Even the Eurovision judge who famously scored the hitmakers ‘nul points’ back in ’74 makes an appearance.”
Most read in Bizarre
I’m sure that will involve some begrudging backtracking by the individual in question.
When Abba Came To Britain, produced by Wise Owl Films, will air next month alongside More Abba At The BBC.
Eurovision 2024 date and host city revealed after Sweden's victory
The Beeb has also created a smorgasbord of other ABBA specials in April including Abba In Switzerland: 1979 Special and The Joy Of Abba.
Here on Biz, we’re huge fans of the band so will be cracking open the vino and sticking on our own silver boots and flares
El emotivo documental que conmemorará el 50 aniversario de la victoria de ABBA en Eurovisión
El tiempo vuela... Ya han pasado cinco décadas desde el despegue de la carrera de la banda sueca y la BBC no ha querido faltar al homenaje
19 mar. 2024 5:40Actualizado 05:40
1974, el año que cambió la vida de ABBA para siempre. Agnetha, Björn, Benny y Anni-Frid, que nombraron al grupo con un acrónimo de sus iniciales, consiguieron impactar al mundo entero con su victoria en Eurovisión y comenzaron una estelar carrera internacional. Ahora, la BBC publicará un documental sobre la banda sueca y su impacto en la música.
Hace 50 años se presentaban al Melodifestivalen, el Benidorm Fest de Suecia, con su tema 'Waterloo'. Quién se iba a imaginar el impacto de esta canción en la sociedad, tan grande fue que lograron la primera victoria de Suecia en el festival de la canción.
La BBC presentará contenido inédito de la celebración tras la victoria en el festival europeo, así como imágenes de su paso por el Reino Unido. 'When ABBA Came to Britain', la producción audiovisual de una hora de duración debutará a principios de abril durante una noche de sábado dedicada a la venta. Sumado al contenido eurovisivo, los espectadores podrán ver "entrevistas a la banda nunca antes vistas". Desde bbc.com comunican que el documental narrará "el enamoramiento entre la banda sueca y Reino Unido". Además, la película mostrará el impacto emocional en los 'fans' británicos y en los artistas a lo largo de los años.
Pero este no será el único especial que lance la empresa inglesa, sino que también veremos 'More ABBA at the BBC' y se podrá escuchar contenido en la radio relacionado con este aniversario. El primero, buceará en la hemeroteca para encontrar los mejores 'looks' y actuaciones. Además, incluirán la 'performance' de 'So Long', una puesta en escena que no se ha vuelto a ver en televisión desde su estreno en 1974. Se pensaba que estaba perdida para siempre porque se había eliminado de los archivos de la BBC, hasta que un espectador recordó tenerla grabada en casa y, gracias a él, podremos disfrutar de ella de nuevo.
Otros programas especiales que se podrán disfrutar durante ese fin de semana dedicado a ABBA son 'ABBA at the BBC', 'ABBA in Switzerland', 'The Joy of ABBA', 'ABBA Against the Odds'.
Gracias por la música
ABBA ha sido parte de nuestras vidas y cuentan con grandes temas a sus espaldas. 1976 fue el año en el que la banda se consolidó a nivel internacional. 'Fernando' fue uno de sus éxitos del momento, que alcanzó la primera posición en listas de países como Francia, Alemania o Reino Unido.
En octubre del 76, 'Fernando' formó parte de su disco 'Arrival', que incluyó otros grandes sencillos: 'Knowing Me, Knowing You', 'Money, Money, Money' o 'Dancing Queen', el primer número 1 en la lista 'Billboard Hot 100'.
Otro de sus temas más recordados es 'Chiquitita', que presentaron en el Concierto de UNICEF en 1979. Rápidamente se convirtió en un exitazo y el grupo sueco decidió ceder el 50% de los beneficios obtenidos con esa canción a UNICEF. Este pacto sigue en pie a día de hoy, es más, ahora es del 100% de los ingresos.
Saltamos a 1980, año de 'Super Trouper' y 'The Winner Takes It All'. De ahí a 2008, fecha del lanzamiento de la película musical 'Mamma Mia!'. Este proyecto audiovisual ha conseguido expandir el legado de ABBA a los grupos más jóvenes, convirtiéndose en un 'film' obligado para cualquiera.
2024 promete ya que, con el aniversario de Eurovisión, se rumorea un nuevo proyecto de la banda sueca. El último disco de ABBA salió en 2021 bajo el nombre 'Voyage'. Entre los temas aparece 'I Still Have Faith In You'.
El legado de ABBA sigue muy presente en la sociedad, tanto que la banda ha creado un espacio dedicado a su música en Londres. El 'ABBA Arena' es el estadio desmontable más grande del mundo, en el que las noches son bastante peculiares: nos brinda conciertos de hologramas de ABBA que nos hacen pensar que son ellos de verdad.
BBC Studios secure distribution rights for feature documentary ABBA: Against the OddsBBC Studios secure distribution rights for feature documentary ABBA: Against the Odds
Ahead of BBC Studios Showcase 2024, worldwide deal announced for feature documentary produced by multi-award winning documentary makers Rogan Productions.
Published: 14 February 2024
ABBA are a truly international phenomenon, and we are honoured to be working with Rogan Productions on what will be another global hit with our clients.”
As 2024 marks the 50th anniversary of ABBA’s iconic victory at Eurovision and the contest once again taking place in Sweden, BBC Studios have today announced it has secured worldwide distribution rights for feature documentary ‘ABBA: Against The Odds’, produced by multi-award winning documentary makers Rogan Productions (Freddie Mercury The Final Act,).
Telling the epic story of ABBA’s greatest period of musical achievement framed between the albums ‘Arrival’ (1976) and ‘Super Trooper’ (1980), this is the story of ABBA’s deeply personal and perilous journey through the band’s most transformative years and rise to global fame. In the UK the film will be shown on BBC One and iPlayer this May.
ABBA: Against The Odds will see a host of European broadcasters including BBC, ARD/WDR, France Télévisions, SVT and DR unite and come together to fund the feature film detailing the incredible story of the renowned group featuring re-discovered archive, exclusive never-before-seen stills and previously unheard stories. The film is set to be a roller-coaster journey of love, struggle, fame and – of course – epic songs.
With unprecedented access to SVT (Swedish public television) archives including rare footage that capture the band’s rise to fame and the intense negativity they faced at home. With privileged insights from sources close to the band complete with exclusive photographic memories, rare footage, deleted and unreleased audio, unique band archive from behind the Iron Curtain and several exclusive access interviews that have either never aired or were thought lost since transmission. This is the untold story of ABBA.
Tom Young, Head of Indie Partnerships, Factual at BBC Studios said: “ABBA are a truly international phenomenon, and we are honoured to be working with Rogan Productions on what will be another global hit with our clients, following on from highly successful collaboration on Freddie Mercury: The Final Act, both a commercial and critical hit.”
James Rogan, Director, Rogan Productions said: “To be able, as a director, to dive into the ABBA story through the extraordinary archive of their voyage through the tumultuous 70s has been a jaw-dropping experience. The sheer joy of working on a documentary about ABBA cannot be understated, as their bitter-sweet songs remain as resonant in our confused times as they did when they were first recorded. This film will capture the scale of the challenge they faced as a Swedish band gaining success and respect on the global stage, and how the unique combination of four talents produced music that defined the decade and changed pop music forever. “
Michael Jochnowitz, BBC Commissioning Editor, Factual Entertainment & Events says: “ABBA: Against All Odds is a truly special documentary, formed by a unique collaboration of broadcasters about one of the world’s greatest ever bands…And if you thought you knew the story behind the music, think again.”
Axel Arno, Head of Documentaries, SVT said: “The documentary will be a celebration of not only the iconic music of ABBA but also the power of storytelling to unite us across Europe. In times of division, this documentary serves as a reminder of our shared cultural heritage and the vital role it plays in fostering unity and cohesion across the continent.”
Anders Bruus, Commissioning Editor, DR said: “ABBA's timeless appeal transcends borders, languages, and generations, proving that storytelling, art and music are universal languages that can bring us together, even in challenging times.”
Christiane Hinz, Head of Documentaries, ARD/WDR said: “ARD/WDR is thrilled to be part of this epic broadcasting and platform event that will unite different generations of European audiences in front of their screens. ABBA has shaped the sound of Europe and of course also in Germany this pop myth is kept alive till today. Younger people know the songs, now they will discover the story behind them. ABBA - twelve points! Europe - twelve points!”
Caroline Behar, Head of International Coproductions, Factual, France Télévisions said: “As the historical broadcaster of the Eurovision song contest, France Télévisions is proud to be part of the project ABBA: Against All Odds. We are honoured to celebrate ABBA’s unique talent, and get closer to the women and men behind the iconic band. We are convinced that ABBA’s commitments still resonate today within the young generation.”
Produced by Rogan Productions and Directed by BAFTA and Emmy-winner James Rogan, whose directing hits include the multi-award-winning Freddie Mercury: The Final Act, 1971: The Year that Music Changed Everything, BAFTA award-winning Uprising and Monty Python: The Meaning of Live. Produced by Dan Hall, an Emmy and Rose d’Or award-winner, recent credits include Freddie Mercury: The Final Act, Cher and the Loneliest Elephant, and Gay Under the Taliban. Made in partnership with SVT and the European Broadcasting Union. Executive Producers are: Jan Younghusband and Soleta Rogan.
BBC Studios will distribute the series internationally and will present the programme to buyers at BBC Studios Showcase, taking place in London from 26-27th February 2024.
Further news about transmission dates will be released in due course.
during this documentary Agnetha is interviewed for the first time in 17 years by
Swedish journalist Lotta Bromé. She was chosen by Agnetha as a journalist she could trust. Agnetha agreed to be interviewed inside of her home She say down with Lotta and they had a down to earth, from the heart chat.
Agnetha was very open and honest and seemed to enjoy herself.
------------------------------------------ Here's my translation of the Swedish documentary/interview that was broadcast in early June but filmed in April 2004. Agnetha is interviewed by Lotta Bromé
fuente: http://www.agnethaarchives.com/articles/ced_id39.htm
Photo: SVT1
Lotta Bromé: Describe me.
Agnetha Fältskog: Describe you?
LB: Go ahead. Describe me. We’re switching roles.
AF: Describe you? Wow, I wasn’t expecting that question. A word describing you… curious.
LB: How would you describe yourself then?
AF: Cautious. In some situations.
LB: Hi, I’m Lotta.
AF: Hi, I’m Agnetha.
LB: Have you missed your voice?
AF: My own voice?
LB: Yes.
AF: No, but I’ve missed singing. And I felt that ok, I am maybe not too old, I can make one more album. But then I wondered if my voice was still there, I didn’t know. So it took a while before I had gotten my voice back in shape.
LB: But can’t you try that at home?
AF: Yes, I can, but it’s not the same thing as when you stand there in front of the microphone. Then things happen and that’s when you notice if it’s still there. But it’s not as if I’ve been practicing singing during these 17 years and been singing every day and practicing scales. It has lied fallow, it really has. It’s been resting.
LB: What about when you were this 17-18 year old teenager from Småland who came to Stockholm with your dad.
AF: Yes, that was exciting. It was fantastic.
LB: Who were you then?
AF: Then I was a young, inexperienced, very naïve girl who beamed with happiness because I was going up to Stockholm to make a record with Lille Gerhard for the record company Cupol. And my dad came with me and we took the train there, and it was very exciting. I stayed with an aunt then. And then there was the first day of recording at the Phillips studio. They were my own songs and the string ensemble sat there and played them. “Oh God, it’s really my song, wow!” It was a really incredible experience.
LB: What did you do on Sten & Stanley’s tour bus?
AF: We actually toured together, both them and I and Björn Ulvaeus. I’ve been out in Swedish folkparks a lot before the ABBA years. We traveled from north to south.
LB: When you became a vocalist with your first band in Jönköping. What was their name?
AF: Bernt Enghardts.
LB: Was it true that they already had a vocalist whose name was Agneta before you.
AF: Yes, exactly.
LB: And the posters had been printed.
AF: I don’t know how it happened but she wasn’t able to continue singing with the orchestra. They had already had posters printed and on them it said “with Agneta”. And then she quit and they actually looked for someone whose name was Agneta. So it was convenient.
LB: What did you dream of as a child?
AF: My dream was to become a singer. I had idols like Connie Francis, Petula Clark, Sandie Shaw, Sylvie Vartan, Rita Pavone. I could mention several others. That was almost the only thing I did, to play records and sing along.
LB: But what was in that dream, to become famous? What did that mean?
AF: I don’t think I thought very much about getting famous then or that is was that I was longing for. The most important thing was to get into a studio to sing my own songs.
LB: I’m not a blonde, so because of that I didn’t get to be Agnetha during “Klassens timma” (part of the school schedule in Swedish schools, where the pupils got to sing etc. Claes’ note).
AF: You probably got to be Frida I assume.
LB: Or Bjorn, because I thought it was so cool to have a guitar in those days.
AF:
LB: If you had been able to choose, who in ABBA would you have liked to be?
AF: Well… Maybe Frida.
LB: Why?
AF: Because I think she was more fun to watch on stage. When it comes to our voices I think we were equal. Both of us were as important because our voices complemented each other so incredibly well. But when it comes to moving on stage, I thought Frida was very cool, much better, much more relaxed than I was. So when it comes to that, I would have liked to be Frida.
LB: But it was your behind that was chosen as the sexiest, not hers.
AF: Well, maybe then I contributed with something at least.
LB: Explain to me, who never have been on a world tour, what is it like?
AF: It is something incredibly huge to go on a world tour and it’s both good and bad. It’s also fun but it’s not something I would want to do nowadays. The hysteria we experienced in Australia, it was on the border of being scary. I was so afraid many times when we went in the cars to and from the stage, that someone would get pinned or run over, because there were people standing there banging on the car. And there were guards everywhere. It was a scary feeling.
LB: Was there a period when you were completely silent?
AF: Oh yes, a long period after ABBA quit. Then I couldn’t stand listening to music, I didn’t feel like listening to ABBA or anything else. And it’s often very quiet in my surroundings. I simply can’t handle too much noise. For example if there’s a plane flying above or that some machine is on at home, sounds that cross each other, it stresses me out. But I can listen to loud sounds in headphones when I’m singing, and when I listen to music I often want it loud, it doesn’t bother me then. But different sounds at the same time can make me stressed.
LB: How long was that silent period?
AF: It was quite long, maybe 5-6 years or even up to 10 years. Not that it was really quiet at home, but I just didn’t want to listen to an ABBA album. I couldn’t stand to listen to it because there had been so much of it. And it was there all the time and still today I can feel… not a day goes by that I don’t dream or think of ABBA. I dream about one of the others, about Frida or Bjorn or Benny or myself in various situations, so it’s always there with me. It has meant incredibly much to me.
LB: Before ABBA you had recorded 6 albums and you’re releasing one now. Why aren’t there any of your songs on the album?
AF: Because I have released so much of my own material earlier. I’ve mostly sung original material, when it comes to my songs or ABBA. Then it was also original material, not by me.
LB: Well, once.
AF: Yes, I have written one song.
LB: “Disillusion”, huh?
AF: Yes, “Disillusion”. And now when I wanted to make an album after so many years, I felt… I made it because I wanted to sing more, I felt I couldn’t leave it all behind me, I have to sing some more. And the thing that was difficult, it was to select 13-14 songs that mean the most. Because there are so many of them.
LB: Then another favorite appeared, the ABBA producer Tretow.
AF: Yeah, at first I was by myself, but then I felt I really wanted to work with Micke B Tretow because we’re so used to work together. He was, well, he is such a mainstay and knows exactly if I get stuck somewhere singing, which happens sometimes. He knows and says “Don’t take it so seriously”. He knows exactly how to make me get out of that situation. So we worked for a while on the album, but unfortunately Micke fell ill, but he’s absolutely improving, things are going in the right direction, so that feels good. But it was tough that he wasn’t able to continue working on the album. But then Anders Neglin and Dan Strömkvist joined and I think things have gone very well. It feels like we’ve known each other for a long, long time. We really have complemented each other and I think producing is very interesting. And we have complemented each other because I’m not really a technical producer. I don’t know much about the controls, I have more of an image inside my head and I know exactly how I want it to sound, if there are certain parts in the songs, like I want that part over there instead, it should be put together with that part. That part ends there and then that part begins at the same time. I have many of those ideas inside my head. And I’ve been there, we’ve been together during the whole recording with musicians, back up singers and strings.
LB: You thank Demis Roussos. There aren’t that many of us who understand his greatness.
AF: No. I heard his voice when I was in the city, I heard his music coming out of a store. It was this one “Goodbye, my love, goodbye” or maybe it was another song. I thought “Whose great voice is this?”. So I stood there really listening. It was Demis Roussos. It was fantastic. I love that kind of songs.
LB: “Past, Present And Future” is an interesting song on the album. It’s really sad.
AF: Yes, it is. The lyrics are really sad. But I have a tendency to fall for sad songs, I always have. And I don’t know why. It’s probably because they are so dramatic.
LB: You’re singing it now. Shangri-Las sang it once upon a time.
AF: Yes, a girl group. It’s one of those songs that I had forgotten about, but when I began to look in all these boxes for this kind of songs, I suddenly found this one.
LB: What boxes? Where did you find them?
AF: In my house. No, I went to a record store where they had so many different records from this time period. And I went through them and I bought so many of them. And then there was a CD with several girl groups. And then that song was in the middle of all the other songs that I remembered. And I felt that this song was so deep inside me and I thought that this song should be on the album. And then I thought it was a bit original to talk my way through the song instead of singing.
LB: If you sing these kinds of songs, don’t you need to know what you’re singing about in order to make it credible?
AF: Yes, when you sing it’s very important with the lyrics, that you feel what it is you want to tell with his song. And it’s very easy for me to interpret especially sad songs, unhappy love and so on.
LB: In other words, you have been sad.
AF: Yes, absolutely. I’ve been very sad, many times. But I’m not always sad.
LB: Can you read music?
AF: Oh yes, I can play music by reading it. But I don’t write it myself.
LB: But how do you write down songs when you compose your own music?
AF: In a very special way. It’s very strange, I can barely explain it. I write words, sometimes in a strange language, but mostly in English. I write the lyrics and then I write the notes above and then the chords on the side. I’ve always done it that way. And I’m probably the only one who knows how to interpret it. And then sometimes when I write songs and lyrics, I can think of something when I’m about to go to bed, when I’m half asleep, “wow, that’s a good melody”. Then I hardly have the strength to get up and write it down. But it’s often at those times that it comes to me. I think it often comes to me when I relax. And the thing that was so great was that I began so early, feeling that I could compose. I was only 5-6 years old when I realized that. So it was very early on. I discovered the piano keys, that note was there, so very early on I realized I could make my own song. So I began to write songs and the first one was “Två små troll” or some other song.
LB: How did it go?
AF: “Två små troll träffades en dag
Två små troll lekte med varann
Kom sa den ena
Kom sa den andra
Kom ska vi leka med varann”
(“Two little trolls met one day
Two little trolls played with each other
Come said one of them
Come said the other
Come let’s play together”)
There was nothing special about it.
(Meanwhile a duck is approaching Agnetha and Lotta)
AF: It’s coming here now.
LB: That song is working. Två små änder (Two little ducks).
AF: Yes, exactly.
LB: What’s the difference between the Agnetha who was in ABBA and the Agnetha who is sitting here now? How have you changed?
AF: I’m probably the same person, but I’m much more mellow today. During the ABBA period it was a muddle, it was more or less chaos, to be able to handle such a job and then have the children at home and a lot of other everyday chores. When we were the busiest with ABBA, our children were so young, and both mom and dad went away so often. I constantly had a bad conscience. And on top of that they were children of divorce. So they were very vulnerable. And it’s that way for many people, that a career and having children unfortunately come at the same time, when you’re 20-30-something. It’s a bit unfortunate in one way but you have to make the best out of it. And you can ask for help from people around you if you have to. I had to take the chance because it was my thing, I felt that this is what I wanted to do.
LB: Have you been a good mother?
AF: I have tried to be a good mother. I think I have been. But of course not flawless, but I hope I have raised my children so they have these fundamental values.
LB: What are they, these fundamental values?
AF: Well, so that they feel secure, so that they can enjoy life, that they dare to do things. I don’t want my issues to rub off on them. I want them to have a life where they feel good.
LB: I don’t get the impression that you are a coward.
AF: No, I’m probably not. I like challenges.
LB: But there’s maybe a difference between being a coward and being afraid.
AF: Yes, I think there is. You can have too much respect, for example with my fear of flying. I’m so fascinated with these planes which take off up into the sky knowing how much they weigh. How does it work with all the screws and so on? I’m very afraid that there might be accidents. I don’t feel well when my family fly. I’m afraid of that in some way even though I know it’s safe. That’s how I am.
LB: I found an old film where you’re walking with some good-looking guys in pilot uniforms and you sing “Opp, opp, opp”. And you get into one of those Draken planes (military plane. Claes’ note). Isn’t that ironic?
AF: Yes, but I wasn’t that afraid then.
LB: If you look back on your life, when do you think you did something which made you feel like “Wow, that was really brave of me”?
AF: Hmm. I’m not the kind of brave person who goes parachute jumping. I wish I was a tough person who could say that I’ve begun deep-sea diving, but I’m not like that. I’m not adventurous in that way. I think it’s brave not being afraid to show your feelings, to dare to express that. Because I’m really a sensitive person. I cry easily and I have my ups and downs. I’m not a person who elbows my way forward, which I’ve read many times you need to be in order to be in this business. But I don’t think I’ve been that way. Maybe you get further that way. Even further.
LB: But can you get any further?
AF: No, maybe not.
LB: One of the most revealing songs on the album is “Sometimes When I’m Dreaming”.
AF: Yes, it’s a bit of a favorite.
LB: Tell me about that song.
AF: It was Art Garfunkel who sang it and for a long time I thought he was the one who had written it. And it really captured me, partly the melody and partly the lyrics, which are very good. Sometimes it can be that something is complete, that the music and lyrics go together. It’s as if they were written simultaneously. And it’s one of those songs. And then when we did some research we found out that it wasn’t he who had written it, instead it was written by an Englishman Mike Batt.
LB: An incredibly sad song.
AF: Yes, yet another one. It’s typical that I liked it.
LB: I first fall in love when I dream.
AF: Yes, exactly.
LB: Well….
AF: Well….
LB: Is there such a thing as happy love?
AF: Love should be happy but unfortunately it isn’t always. Unfortunately there’s a very large unhappy part in love. So the one who finds luck and love is lucky. And being able to make it last. But I think you have to work on it.
LB: And you could yearn for it. You can always dream.
AF: Yes. I think you should be allowed to. And it’s nice to be able to yearn.
LB: Are you able to?
AF: Yes, I am.
LB: Do you care what people think?
AF: It becomes less important the older I get, I think, because sometimes I feel I just want to be myself. I don’t want to keep thinking about what others think of me.
LB: Can you practice (improve) your confidence?
AF: I think you can and I think that you should do that.
LB: Have you done it? Or have you always had… are you confident?
AF: Um, I quite easily get offended by criticism, especially when it’s unjustified criticism. I think I myself know how to do something in the best way, so don’t stamp in on my territory. But I’m not very confident when it comes to myself, performing on stage. I am a bit insecure when it comes to that, which is a part of getting my material out there.
LB: But at the same time you seem to know very well what you want.
AF: Yes, I know what I want, but it’s difficult for me to express it with gestures. I feel quite tense.
LB: But can’t you work on that?
AF: Yes, I think I can. If I sat here giving interviews every day, then in about a week it would be a lot easier. I would probably be really funny then.
LB: But aren’t you quite funny the way you are?
AF: Yes, maybe, sometimes.
LB: Would you like a pinch of snuff?
AF: This is probably the funniest interview I’ve ever done.
This interview is from the 30 minute TV special "Agnetha", which was shown on June 6, 2004 at 2:10 AM by German TV SAT1. Agnetha is talking to TV reporter Lotta Bromé.
As some parts were in Swedish, this translation may differ from the international English version that may be screened in other countries. We have also added some parts from the longer version shown on Swedish TV.
Special thanks to Christiane Brämer!
Agnetha and Lotta Bromé - Photo: SVT
(My Colouring Book)
Lotta: Describe me with a headline.
Agnetha: Describe you?
L: You're welcome, describe me.
A: You want me to describe you with a headline? Oh Jesus, I didn't expect that question.
L: Come on, describe me.
A: I would describe you as curious.
L: How would you describe yourself?
A: Well, careful, at least sometimes.
L: Hej, I am Lotta.
A: Agnetha, hej hej (laughs).
(If I Thought You'd Ever Change Your Mind)
L: We have missed your voice, didn't you miss it as well?
A: I have missed the singing. In the beginning it was a bit difficult because I didn't know if my voice was still there. So it really took some time before I could relax. I was a bit afraid of the microphones as well. So it took some time to get rid of that.
L. Tell me when you came to Stockholm with your father for the first time.
A. From the little town where I come from, we came into the big city by train. I was very nervous and excited about making a record and it was a great moment for me. I was very nervous when I came into the studio and I saw all the musicians playing my songs I had written myself. This was a great experience and I was almost shocked, very excited. I loved to become a singer, so very much.
L: What were you doing in Sten and Stanley's tour bus?
A: Both of them, Björn and I were touring from north to south through the Swedish folk parks before ABBA.
L: What was the name of the first band you sang with in Jönköping?
A: Bernt Enghardts.
L: Is it true that they already had a female singer also named Agnetha?
A: Yes, that's right.
L: The posters were ready?
A: I don't remember exactly how it was. But they couldn't go on. As the posters with her name were already printed, she left the orchestra and they were looking for someone called Agnetha. It was very suitable that I came.
L. As a child, what did you dream about?
A: I always wanted to become a singer. I had many idols by then: Connie Francis, Petula Clark, Sandie Shaw, Sylvie Vartan, Rita Pavone, I could go on forever. All that I did was to listen and to mime to these songs.
L: Did you dream of becoming a star?
A: I never thought of fame. The only thing that was really important was to come into a recording studio and to sing my own songs.
(Dancing Queen)
L: When I was a child, we played ABBA at school and I could never be Agnetha because I wasn't blonde.
A: So you were Frida, I understand.
L: Yes, or Björn, because I thought it would be tough to have a guitar. If you had the choice, which one of ABBA would you like to have been?
A: Maybe I would have picked Frida, because I always thought she was much better on stage. She had more control over her body. Somehow she was a strong character. Or how would you call it?
L: A bit sexier?
A: No, not sexier (laughs). Maybe we were equally good. I don't know. We had a hard time. But I think it was good. We were competing for the audience. So I think each one of us really gave his best. We helped each other very much on stage. If someone had a cold or a sore throat, we really helped each other a lot. Sometimes I thought it must be very hard for artists to be alone on stage, when nobody can help you. We really helped each other.
L: All said your bottom was the sexiest of all.
A: Now I think that was my contribution (laughs).
(Sealed With A Kiss)
L: I never went on a world tour, what is going on there?
A: It's something very complicated. Of course it's great fun. But I wouldn't do it again. When we came to Australia, there was a hysteria that really scared me. We drove directly into the stage area. I was always afraid that someone might be run over or hurt by our cars or whatever. People screamed and screamed, we were observed by security guards all the time. There were really mixed feelings because at the same time it was fantastic.
L: There was a long time filled with silence. Silent years for you after ABBA.
A: Yes, that's right. It was quite a long time. I think I refused to listen to ABBA music and also other music for almost 10 years because I was really tired of it. I needed a lot of silence around me. I don't like it if there is much noise around me. For example if a plane is coming and a machine is making noise at home, that stresses me. On the other hand I can have powerful sound in my headphones, when I'm singing or listening to music, I like it a bit louder. But different sounds at the same time stress me. There's not a single day that I'm not dreaming or thinking of ABBA. I dream of Frida, Björn, Benny in different situations. It won't let me go, it means a lot to me.
(When You Walk In The Room)
L: Will ABBA reunite?
A: Well, everyone is asking. When ABBA's career started, everybody wanted to know, what do you think, how long will you stay together. "When will you split?" they asked. Impossible to know. We said we would be together until we were tired of it. Most bands don't stay together that long. We could stand it for a long time. Those days are over and it's important to move on. It means a lot to me and the memories stay in me forever. We have to honour the memories and the music and what it all meant to us and the others.
L: Why didn't you record an own song on this album?
A: Yes, because I have released such a lot of my own material before. I like original material. Even with ABBA it was only original material, but...
L: But one...?
A: Yes, I did write one song.
L: Disillusion?
A: Yes. The reason for recording a new album after so many years was that I wanted to sing for myself and leave everything behind. I felt that I wanted to sing again.
L: After a break of 17 years and with a new album you meet the audience again, even if you don't perform live. But we can listen to you again. How does that feel?
A: It feels good. I wanted to make another record, because I don't feel that old. And also the nice letters I got all the time: "We have been missing your voice so much for all those years!" have meant so much to me. And also the fact that I love studio work. It took very long to choose the songs. I could have picked many more, which I did in the beginning. But then I had to sort out some of them.
L: And then there was one more favourite, Micke B. Tretow.
A: Yes, first it was me and then I felt that I wanted to work with Micke B. because we always worked together so well and we were used to each other. He always knows exactly when I am stuck. Then he says "Don't worry about that" and he knows exactly how to get me out of that. So we worked together for a while. But then Micke became ill. But now he is on the way to recovery, thank God. It was hard that he couldn't be on the Album after his illness. But then Anders Neglin and Dan Strömqvist continued his work. And I have to say it was a very good cooperation. I had the feeling of already knowing them for a very long time. Producing is so interesting and we supported each other with everything. I don't have the technical understanding. I have a picture in my heart and I know exactly how it should sound like. Many factors play a role: "Oh no, I want to have this part instead"... or "this should be put together with the song" or "this begins like that and should end with this and that". I have many of these idea in my head and we were together with the musicians, the string players and the choir during the whole recording period.
L: You have thanked Demis Roussos. There aren't many who will understand this.
A: No, I heard his voice... I was in the city and heard the music. It came from a shop. It was "Goodbye My Love Goodbye" and I thought "what a superb voice". I was standing there and listened. And it was Demis Roussos, fantastic and I like these songs very much.
L: So now we are sitting here for a Swedish tea break. Usually we drink coffee in Sweden.
A: Yes.
L: And we eat buns.
A: Ja, vi äter bullar och dricker kaffe.
L: She says we eat buns and drink coffee. Agnetha, I think we should give them a Swedish lesson.
A: I think so too.
L: So let's finish and let us go to the water.
A: Yes.
L: I'll say it in English and Agnetha will say it in Swedish. It's time for you to learn a bit.
L: Hot dog
A: Varm korv
L: Hospital
A: Sjukhus
L: Nurse
A: Sköterska
L: Seven Nurses at the hospital
A: Sju sköterskor på sjukhuset
L: Thank you!
A: Tack så mycket!
(Past, Present And Future)
L: "Past, Present And Future" is a very interesting song. It's very sad.
A: Yes, indeed. I have a tendency to fall in love with sad songs. I don't know why, but that's the way it has always been. Surely because of the drama.
L: To really understand such songs, you must have gone through all this.
A: That's true. The lyrics are important and what the song is all about. I have a gift for interpretations, songs about unfulfilled love.
L: So you have been very sad at that time?
A: Absolutely, but I don't feel sad all the time.
L: Can you read sheet music?
A: Yes, but I don't write notes.
L: How do you write songs?
A: In a very special way, I can hardly describe it. I mostly write the lyrics in English. I write the lyrics first, then the notes above it and the chords beside it. I have always done it that way and only I can transcribe it. When you're lying in bed dreaming, you sometimes get the idea for lyrics and a melody. Then you hardly have the energy to get up and write it down. I think you get the best ideas when you're relaxed. The nice thing is that I discovered in a very early stage that I can write music. I was just 5 or 6 years old. I discovered the piano keys one after another and understood that I could write own songs. I could start with "Två små troll" immediately.
L: How did it go?
A: (sings) Två små troll träffades en dag
Två små troll lekte med varann
Kom sa den ena
Kom sa den andra
Kom ska vi leka med varann
(Two little trolls met once upon a time. Two little trolls played with each other. "Come" said one, "come" said the other, "come, let us play together". A duck approaches Agnetha!)
L: She's coming towards us, it works, two little ducks.
A: Exactly (laughs).
(Fly Me To The Moon)
L: What's the difference between this Agnetha and that one now sitting here?
A: I think I'm still the same person. But today I have more harmony in me. During the ABBA times there often was quite a chaos and a lot of work. Then I had the kids at home and many more things to take care of. My kids were so small and mum and dad were away so often. I always had a bad conscience. And after the divorce, my kids especially needed me and my security. That happens to many people, that the career and the birth of their children happens at the same time. That's a bit unlucky, but you have to make the best of it. And if you have the possibility to get help from people near you, you should take this chance. I felt that I could do it.
L: Have you been a good mother?
A: I have tried and I think I am a good mother, of course not faultless. But I gave my kids fundamental things.
L: Which ones?
A: That they can feel safe and enjoy life, that they can enjoy things. I don't want them to worry about me. I want them to live happily and feel good.
L: You have been called the ghost of the century.
A: That's not me at all.
L: You don't hide?
A: No, I don't hide. It's the media wanting that I hide myself away, I think, or they want to see it that way. But I don't live that way.
L: So you're like the Phantom in the jungle (a comic strip hero), but sometimes you go out on the street like a normal human being.
A: Yes, but you never know when... (laughs).
(My Colouring Book)
L: You don't give the impression of a coward.
A: No.
L: Having fear is something different.
A: Yes, that's right. I take my fear of flying much too serious. It's incredible that planes stay in the air, they are so heavy! How does that work? There are so many screws and whatever. I am afraid if someone from my family boards a plane. I am afraid, even if I know that it's OK.... That's the way I am.
(Opp, opp, opp)
L: I've found an old film where you walk around with nice guys singing: Up, up, up!
A: Yes, that's true.
L: And they put you in Swedish jet fighters, isn't that ironic?
A: Yes, (laughs) I wasn't afraid at that time.
The sky is so blue, blue, blue, ever and ever together with you, you, you, up, up, up, on the sweet wings of love we go to the top, top, top.
L: Can you remember something where you felt really brave?
A: (pause) Hm, I'm not a daredevil skydiver (laughs). I would like to say "I have a diving licence". But I'm not that adventurous, not in that sense. But it's very brave to show your feelings and having the courage to express them. I'm a very sensible person. My tears are never far away. I have my ups and downs. I'm not someone using his elbows on his way to success. People always say you have to do that. I don't think I am that way. Maybe this is the key to success.
L: Is it possible to go further?
A: Perhaps not.
(If I Thought You'd Ever Change Your Mind)
L: "Sometimes When I'm Dreaming" is one of the most personal songs.
A: Yes, it's one of my favourite songs.
L: Tell me about that.
A: Art Garfunkel has recorded it. For quite some time I believed he also wrote it. Head over heels I fell in love with the melody and the wonderful lyrics. Sometimes the lyrics and the melody are tied together inseparably. It's like they were written at the same time.
Director Magnus Tear and creative director Ola Johansson have with great enthusiasm developed the idea and concept for the TV documentary AGNETHA. The idea has changed during production and developed much because of the sensitive collaboration of the media-shy Agnetha Fältskog. The TV documentary was shot over three days, spread out during a period of one month.
Since Agnetha has decided to not give any more interviews it was initially decided that a documentary covering her work with her latest album and the comeback of a great artist was supposed to replace the need of further interviews and public exposure. In their work a close relationship and trust was developed between Agnetha, Ola and Magnus and the documentary treatment was re-written several times. After a few weeks and the second day of shooting they decided against all odds to suggest well-known Swedish TV reporter Lotta Bromé to get close to Agnetha in a real interview, her first in 17 years.
Lotta got involved in the production and together they all convinced Agnetha that a real life interview was the only and right thing to do. Agnetha's fallback would be to have the final say and to trash the material if she felt it would be unnatural, stiff or bad for any other reason.
Because of this silent agreement and in an attempt to keep the crew very small, Magnus decided to shoot the interview himself with his father's old antique super 8 mm camera. The edited and completed TV documentary AGNETHA speaks for itself and so does the openhearted, frank and relaxed interview by Lotta that is the backbone in the TV documentary.
It should also be mentioned that Agnetha has not been involved in the editing. On the contrary, she approved all versions of the documentary at first sight.
Apart from the interview the documentary has real life scenes from Agnetha's work in the studio, clips from music videos from her latest album My Colouring Book, retro stuff and "film-noir" sequences where Agnetha is playing a role, LENA, in a love story with LEIF, played by actor Magnus Krepper.
(thanks to https://www.abbafanclub.nl/)
