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videos
http://tu.tv/videos/agnetha-documentary-part-1
3
http://tu.tv/videos/agnetha-documentary-part-2
http://tu.tv/videos/agnetha-documentary-part-3
http://tu.tv/videos/agnetha-documentary-part-4
Another links
http://www.youtube.com/watch?v=rU6q9oim0h8
4
http://www.youtube.com/watch?v=AA8w5J0nS9w
Note:
los videos 1 y 2 fueron extraidos del canal de Ljus85
los subí aquí para que no se pierda este materila que ya que no se puede ver en dicho canal.
channel: Ljus85
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.
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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.
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.
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.
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:
fuente:
http://www.agnethaarchives.com/articles/ced_id39.htm
--------------
documentary 1
http://members.fortunecity.com/abbacrazy/id26.htm
documentary 2
http://members.fortunecity.com/abbacrazy/id51.htm
entrevista Agnetha Faltskog - Interview of Agnetha Fältskog conducted by Lasse Bengtsson.
Interview with Agnetha
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.
L: It's a sad song.
A: Yes, once again. Isn't that typical?
L: Yes...
A: Yes... (whispering).
https://www.abba-intermezzo.de/eintv.htm
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