RETRO POP Magazine November 2023 - Agnetha Fältskog

 RETRO POP Magazine November 2023 ABBA Agnetha Fältskog

Abba Agnetha: „Es passiert immer noch, dass ich von den anderen träume“

 https://www.welt.de/iconist/partnerschaft/article248222334/Abba-Agnetha-Es-passiert-immer-noch-dass-ich-von-den-anderen-traeume.html

Abba Agnetha: „Es passiert immer noch, dass ich von den anderen träume“

traducción  por google

♦article2023

“Todavía sucede que sueño con los demás”

A partir de: 29 de octubre de 2023

La estrella de Abba, Fältskog, no habló con los representantes de los medios durante mucho tiempo y recientemente regresó con un sencillo en solitario. Una conversación sobre su representante digital, sus éxitos alemanes y por qué la banda de culto sueca no volverá a salir de gira.

SFue el centro de atención de una de las bandas más exitosas de la historia del pop, y lo sigue siendo hasta el día de hoy. Pero la cantante sueca Agnetha Fältskog nunca se sintió cómoda en este papel. Cuando hace dos años Abba hizo posible lo que durante mucho tiempo se había considerado imposible y grabó un álbum de reunión , sólo aceptó con la condición de no tener que conceder ninguna entrevista ni participar en ninguna actividad promocional. A menudo ha dicho en el pasado que encontraba opresiva la histeria de los fans en los años 70 y lo mucho que la agotaban las giras. Agnetha Fältskog: una estrella mundial que nadie quería ser.

El álbum de regreso “Voyage” batió récords de ventas incluso sin que ella concediera entrevistas, al igual que el programa del mismo nombre en Londres, en el que aparecen en el escenario avatares rejuvenecidos digitalmente de los músicos. Y después de todo el bohei reciente, parece que su historia aún no ha sido contada. El anhelo de los fans por una actuación conjunta de los cuatro verdaderos músicos suecos sigue intacto. El hecho de que Suecia sea la sede del Festival de Eurovisión el próximo año , 50 años después de que Abba ganara el concurso con "Waterloo", generó esperanzas de que el cuarteto pudiera volver a actuar juntos en esta ocasión especial.

Sin embargo, el teclista de Abba, Benny Andersson, rechazó recientemente este deseo de manera inequívoca en una entrevista con la BBC: estaba fuera de discusión. Es aún más satisfactorio que Agnetha Fältskog, considerada reservada, haya vuelto a hacer pública recientemente su propio nombre. Al menos un poco. Con el sencillo: “¿Adónde vamos desde aquí?” y una versión remezclada de su álbum solista “A” de 2013, que ahora ha sido lanzado como “A+” (BMG).

Hace diez años, Fältskog recibió a WELT AM SONNTAG en Estocolmo para una entrevista personal. Primero se disculpó por su supuestamente torpe inglés (que, sin embargo, era impecable) y luego por sentarse accidentalmente en el abrigo del periodista que yacía en el sofá. Era divertida, ingeniosa, se reía mucho y con frecuencia, pero aún así se notaba que tenía cierta inseguridad y que las entrevistas no eran una de sus cosas favoritas. Esta vez el hombre de 73 años estuvo dispuesto a volver a conceder una entrevista, pero sólo con la condición de que la hiciera por escrito. No quiso responder preguntas sobre el controvertido documental de Amazon Prime “Take a Chance”, que se publicó en la primavera. Retrata al acosador holandés con el que estuvo brevemente en una relación, pero que la acosó durante décadas después de la ruptura. Ella había pedido a los productores que no estrenaran esta película y se negó a participar en ella. Ella respondió a nuestras preguntas con su propio humor y complementó algunas respuestas con varios emojis sonrientes. Te hubiera gustado escucharla reírse de esos puntos.

MUNDO: La última vez que hablé con usted cara a cara fue hace diez años en Estocolmo. Desde entonces apenas has concedido entrevistas. ¿Por qué eres tan raro en los medios?

Agnetha Fältskog: Antes que nada, ¡hola de nuevo! Los medios han cambiado mucho en los últimos años y siento que ya no puedo seguir el ritmo de este desarrollo. Muchas cosas están tan fragmentadas, fragmentarias. Tengo la sensación de que la gente ya no se toma su tiempo, todo tiene que suceder muy rápido. Eso ya no me conviene.

MUNDO: En el vídeo de tu nuevo sencillo en solitario, solo puedes ser visto como un personaje de dibujos animados con zapatos de plataforma en un convertible rosa. “Loco imposible, como la nieve en julio” cantas. Recuerda un poco a la película “Barbie”, que fue elogiada en todo el mundo como una declaración entretenida y original a favor del “empoderamiento femenino”. ¿Fue la película una inspiración?

ältskog: Jaja, sí, sé que mi vídeo en realidad parece inspirado en la película de Barbie. Excepto que, para ser honesto, ese no fue el caso. Creo que fue sólo una feliz coincidencia.

MUNDO: Anunciaste la canción por primera vez en Instagram. ¿Es esto principalmente una herramienta de marketing para usted o también le interesan las redes sociales?

Fältskog: Esa es una buena pregunta. Realmente no estoy interesado en las redes sociales. En realidad, para nada. Pero me mantengo informado porque quiero comunicarme con mis nietos que están en todas las redes sociales. Para ella es completamente natural, para mí no tanto.

MUNDO: ¿Quizás estás insinuando algo con tu single: la pregunta sobre el futuro y hacia dónde vamos? Si hay más por venir, ¿grabarías otro álbum con nuevas canciones?

Fältskog: Sí, siempre me encantaría cantar canciones nuevas y realmente buenas, está en mi naturaleza. Pero si me preguntas si grabaré algo más después de este álbum, no estoy seguro. Para mí en este momento siento que este álbum de remezclas es lo último que hice. Por otro lado, he dicho una y otra vez que nunca quiero cerrar puertas definitivamente.

MUNDO: En “A+” también puedes escuchar tu dueto con Gary Barlow de Take That en una nueva mezcla. Si yo fuera tu agente y te sugiriera duetos con los siguientes compañeros y tuvieras que elegir uno, ¿cuál elegirías: Ed Sheeran, Harry Styles o Paul McCartney?

Fältskog: Paul McCartney, por supuesto.

MUNDO: Antes de que te aburras en el futuro, podrías grabar un álbum con duetos.

Fältskog: Si fuera más joven, tal vez haría eso. Sólo me temo que hay muchas otras cosas en mi vida hoy que ocupan mi tiempo.

MUNDO: Cuando sus colegas de Abba Benny Andersson y Björn Ulvaeus presentaron el nuevo álbum de Abba “Voyage” sin usted y Anni-Frid Lyngastad en el programa “Wetten Dass?” en 2021, la estrella del pop alemana Helene Fischer intervino espontáneamente y cantó con ambos. de ellos "SOS". ¿Alguna vez has mirado esto?

Fältskog: Sé muy bien quién es Helene Fischer. Pero no creo haber visto nunca esa actuación.

MUNDO: Hoy en día, muy poca gente sabe que usted cantó éxitos en alemán a finales de los años 60 y los grabó en Alemania. Canciones como “No me gustan los signos de interrogación”, por ejemplo. Una vez confesaste que muchas de estas canciones alemanas te gustaban, pero ninguna llegó a las listas de éxitos. ¿Habías pensado alguna vez en reeditarlos, tal vez en una caja, con un folleto que explica cómo fueron creados en los Hansa Studios de Berlín?

Fältskog: Para ser honesto, no, hasta ahora no se me había ocurrido eso. Pero esa es una buena idea. Personalmente, me encantaría ver todas mis canciones alemanas combinadas en una sola caja. Quizás alguien en la industria de la música lea esto y comience a trabajar en ello.

MUNDO: Hace diez años dijiste que soñabas a menudo con los otros músicos de Abba. ¿Sigues soñando con tus compañeros de Abba?

Fältskog: Naturalmente, ésta es una pregunta muy personal. Pero sí, todavía sucede que sueño con los demás. Quizás no con tanta frecuencia como antes. Pero sucede.

MUNDO: El álbum de reunión “Voyage” encabezó las listas de éxitos a nivel mundial. El espectáculo multimedia del mismo nombre en Londres requirió que usted y los otros tres filmaran y ensayaran sus avatares con semanas de anticipación. ¿Cómo viviste este momento, sabiendo que no estabas ensayando para una gira, sino para producir imágenes que serían siempre jóvenes?

Fältskog: Bueno, todo fue muy divertido, pero también hubo mucho trabajo duro. Durante este tiempo todos nos reímos mucho juntos, hablamos de los buenos viejos tiempos y demás. También fue especial para mí porque pude volver a pasar tiempo con Frida. Teníamos mucho de qué hablar, no nos reunimos todos tan a menudo estos días.

MUNDO: ¿Qué pasó por tu mente cuando viste tu yo rejuvenecido digitalmente en el escenario por primera vez? ¿Más tarde te mezclaste con el público de incógnito?

Fältskog: Sólo pensé: Vaya. ¡Simplemente no podía creerlo! Fue como magia. Nunca podría haber imaginado ver algo como esto. Había mucha gente en el estreno y yo soy una persona muy reservada. Pasé esta noche principalmente con mis amigos, por lo demás me quedé solo.

MUNDO: Mick Jagger Encontré inspiración para la exposición “Exhibicionismo” de los Rolling Stones en el Museo Abba de Estocolmo. Cuando pronto vuelva a salir de gira con los Stones, no será reemplazado por un avatar, sino que él mismo estará en el escenario, como si tuviera 80 años. Después de todo el revuelo reciente, ¿nunca has considerado volver a hacer una gira con Abba?

Fältskog: No. Y eso es un gran no de mi parte. No me imagino volver a salir de gira, con todo lo que eso implica. Este viajar constantemente, estar lejos de casa y de la familia por largos periodos de tiempo. Simplemente ya no tengo energía para cosas así.

‘It’s difficult to look upon yourself as an icon’: Abba’s Agnetha Fältskog on fame, family and her secret songs

 https://www.theguardian.com/.../abba-agnetha-faltskog...

Article 2023

‘It’s difficult to look upon yourself as an icon’: Abba’s Agnetha Fältskog on fame, family and her secret songs

‘When you get older, you get a bit more limited as to what you want to do …’ Agnetha Fältskog. Photograph: Kristina Elofsson

‘It’s difficult to look upon yourself as an icon’: Abba’s Agnetha Fältskog on fame, family and her secret songs

In between caring for her dogs, cats, chickens and horses, the reclusive superstar has overseen new versions of old solo tracks. She recalls the stress and sadness in Abba, their blockbuster Voyage project, and the music she never lets the world hear

Agnetha Fältskog’s recent single, Where Do We Go From Here?, came with an animated video. It depicted the cartoonish version of the Abba singer that is permanently burned into the collective memory: blond hair, blue eyeshadow, clad in hot pants and platform boots. It was a look deemed so striking in the 1970s that it occasionally threatened to overshadow Abba’s music entirely. When the Swedish band attempted to launch in the US, the only label that would work with them was Playboy’s in-house musical operation, “who might have had other reasons for being interested in us”, band member Björn Ulvaeus later drily remarked. He was right: Playboy unilaterally changed their name to Björn, Benny and Svenska Flicka: Björn, Benny and Pretty Swedish Girls.

The cartoon is a neat way of getting around the fact that, at 73, Fältskog is not much interested in making videos, new single or not. “When you get older, you get a bit more limited as to what you want to do,” as she puts it on a video call from Sweden, with the single’s co-writer and producer Jörgen Elofsson by her side. He is here to help Fältskog with the language barrier – one reason she seldom gives interviews is that she feels her English isn’t good enough (it sounds pretty impressive to me) – although his role in her solo career extends far beyond occasional interpreter. It was Elofsson who contacted her with a set of songs he had written that became Fältskog’s first album of original material in 26 years, 2013’s A, and Elofsson whom she turned to a decade later with the idea of reworking A in a 21st-century pop style, hence her new album, A+. Elofsson kept her 2013 vocals, and Where Do We Go From Here? is the one brand new song.

Fältskog is delighted with the results – “How can they do that,” she boggles, “how come my song, my singing, can be the same and sound so different?” – and with the video, particularly its attention to detail. The two cartoon dogs are based on dogs she actually owned – “one pug and one pražský krysařík, a Czechoslovakian dog” – and the car she drives in it is a Triumph Spitfire, the same car in which she used to commute between Stockholm and her home town of Jönköping in the late 60s.

She was already a star in Sweden then: “the 18-year-old Svensktoppen comet” as one newspaper dubbed her, in tribute to the fact that she had topped the country’s charts with her debut single, a yearning ballad called Jag Var Så Kär, the first in a string of solo Top 10 hits. She was subject to a lot of gossipy speculation about her personal life. Judging by the old cuttings lovingly preserved online by Abba obsessives, the press were initially less interested in their nascent band’s music than the fact that the Svensktoppen comet had hooked up romantically with another star, Björn Ulvaeus of the Hootenanny Singers. You read more about how the couple have furnished their first home – they apparently had “a very practical laundry room with a drying cabinet” – and their marriage plans than you do about Abba’s debut single, People Need Love, or their first Swedish No 1, Ring Ring.

So the Triumph Spitfire-driving Fältskog was young, successful and famous, but she says today that if she could go back and give her advice, it would be “don’t be so worried all the time. Try to relax and have fun. You know, I was a little worried person about everything, so that’s the advice I would give her: try to have fun and enjoy yourself.”

Is she different now? She laughs. “No, I’m the same. I think a lot. When I do things, I worry a lot for many days before. I’m just that sort of person. It can be good, because you want to do things right. I have a lot of humour, but I’m also a very serious person when it comes to different things and sometimes it’s not so funny. Things happen in the world and I think everything affects you.”

This seems a very Fältskog answer. Behind the Svenska Flicka image, she was the member of Abba who seemed to most embody the deep strain of melancholy that ran through a lot of their music. Her favourite songs were always the sad songs, primarily The Winner Takes It All, which seems surprising, given that it is often depicted as less a song than an act of cruelty: Ulveaus impelling his ex-wife to sing a song he had written about their recent divorce from her point of view: “But tell me does she kiss, like I used to kiss you?” Then again, she says, her favourite songs on A+ are the ones that feature a certain darkness lurking behind the dancefloor-focused rhythms and bursts of Auto-Tune. “Maybe because I’m Swedish, we have something melancholic in us. I think it’s to do with our climate – we have long, dark winters, and that affects you in the long run.”

Nevertheless, life as a member of the biggest Swedish pop band in history was a bumpy ride. She was well known for not being hugely enthusiastic about playing live – “perhaps it had to do with getting older, making more and more demands on yourself to get better and better, and I’m a very shy person to start with” – and was genuinely disconcerted by the hysteria Abba engendered at the height of their fame: “It’s a thin line between celebration and menace,” she told her biographer decades later.

She didn’t like flying or spending time away from her children and understandably tired of the focus on her appearance (“I’m not only a sexy bottom, you know,” she protested during a spectacularly awkward appearance on Noel Edmonds’ Late, Late Breakfast Show a few weeks before Abba broke up). Today, she is stunned at the band’s workload back then and seems impressed by contemporary young artists who cancel tours and clear their schedules to concentrate on their health and wellbeing. “Sometimes I look at pictures and clips and I don’t really know where we were or when it was, because we did so much,” she says. “Artists don’t want to cancel anything, so you work. I worked a lot when I was ill as well, like you have a bad cold or a fever, and you had a concert and just had to do it.”

After the band quietly split up, Fältskog pursued a successful solo career for a few years, working with big names including Blondie producer Mike Chapman and fabled songwriter Diane Warren, while turning others down – Elvis Costello submitted a song for her 1985 album Eyes of Woman, but she declined to record it. Then, after the release of 1987’s I Stand Alone, she suddenly stopped, retreating to her farm on the island of Ekerö, an hour outside Stockholm, and focused on her family and her animals: “We have dogs, cats, chickens and a rooster and maybe 20 or 30 horses, so it’s a big place,” she says.

Perhaps inevitably, rumours that she had become a troubled recluse proliferated, bolstered by a series of personal tragedies – an ex-boyfriend was served with a restraining order after stalking her, and her mother took her own life in 2004, both topics I’m minded to avoid today. Even after she returned to recording in the 00s, with A and a collection of 60s cover versions called My Colouring Book, she kept interviews and public appearances to a minimum, although she acquiesced to her first live performance in 25 years for BBC Children in Need in 2013 and turned up at Stockholm Pride the same year. “It’s difficult to point to when it started,” she says of her status as a gay icon. “When we won the Eurovision song contest in 1974, we knew we had something in us that we wanted to spread out and to show the world, but icon, I don’t know, that came later. It’s still hard to believe. It’s so difficult to look upon yourself as an icon, because you are with yourself all the time and we get tired of ourselves now and then. But it’s also amazing.”

Meanwhile, all attempts to lure Abba into reforming, one of them involving an offer of $1bn to tour, were turned down. The groundbreaking virtual Abba Voyage project, she laughs, is a dream come true for an artist not fond of live performance: “I’m at home in my bed, and at the same time in London. It’s very cleverly done, isn’t it?” Even so, she wasn’t particularly taken with the idea at first. When I interviewed Benny Andersson and Ulvaeus shortly after the Voyage shows and accompanying album were announced, the former told me that both Fältskog and Lyngstat only took part on condition that they didn’t have to do any promotion: “They didn’t take much persuading, but we did have to tell both of them that they don’t need to speak to you, Alexis,” he chuckled. “Not you personally – but the media.”

“I was a bit suspicious, I must say – you know, what is this?” says Fältskog. “We were working the whole of February [2020] to prepare – it doesn’t sound so much, but it was, performing the songs with all these technicians and all the things on your body. We were working really hard and I’ll be totally honest, I was not so comfortable with it. But after maybe four or five days you get into it: OK, I’ll go there again. Also, the music helps, because it gives us a very special feeling, and somewhere along the way I could just feel proud – they really want to see us again.”

She pauses for an instant, then laughs at the incongruity of what she just said: even before the Abba Voyage show shifted a million tickets in short order, the fact that someone was willing to offer them $1bn to go on tour suggests that people really wanted to see Abba again. She enjoyed the opening night, she says, taking a bow on stage with the other members, and would like to see it again, this time incognito. “Like a little mouse,” she giggles. “Sitting in the corner, just looking.”

Fältskog laughs a lot, at odds with a latter-day image that more than one journalist has rather ham-fistedly characterised as “the Greta Garbo of pop”. Her predisposition to worry notwithstanding, she is, she says, very happy with her life today. “If I have a lot of makeup on or if I’m dressed very nicely, more people recognise me, but in everyday life, it’s not so bad,” she says. “Swedish people are very reserved, but now and then one person comes up and says ‘thank you for the music’, and that’s very nice.”

When we had some free time, I wanted to be with my children. I didn’t forget about music, I just did other things. But I have it in me …’

Agnetha Fältskog. Photograph: Kristina Elofsson Photography/Agnetha Fältskog

Still, a certain reputation clings to her, born equally out of the monumental scale of Abba’s success and the relatively low profile she has kept since. Elofsson is hardly a pop neophyte: he was part of the legendary group of producers and songwriters who operated out of Stockholm’s Cheiron Studios, alongside Max Martin and Andreas Carlsson, cranking out hits for Britney Spears, Céline Dion and umpteen TV talent show winners. Even so, he says, when the moment came to play the songs he had written for Fältskogwith Peter Nordahl, he was paralysed with fear. “We sat in the car outside her house for an hour, just to muster up the guts. We were really stressed. It’s almost like visiting a bit of holy ground for pop music.”

He would like to make another album with Fältskog, this time of her own songs. She apparently writes all the time – “If I sit down by the piano, it comes out” – but rarely records her compositions: there’s one on A+, a suitably melancholy ballad about memories and regrets called I Keep Them All Beside My Bed. It wasn’t always that way. At the start of her career, Fältskog was a singer-songwriter who wrote her own singles and wrote for other artists. There is a fabulous moment in an old Swedish interview around the time of Abba’s formation, where the journalist lauds Fältskog’s skill as a dependable hit-maker then adds, almost dismissively, that Ulvaeus writes songs too “with his friend Benny Andersson” and that one of them has done quite well in Japan. She co-wrote 10 of the 11 tracks on her 1975 solo album Elva Kvinnor I Ett Hus. But in Abba, her songwriting seemed to dry up entirely. “I think it’s because I didn’t have the time, really. When I started my solo career, I had it in me to write. But into the Abba years, I had two small children to take care of, and a lot of work with travelling, concerts and TV programmes. When we had some free time, I wanted to be with my children. I didn’t forget about music, I just did other things. But I have it in me.”

It might still happen: her voice still sounds fantastic, a result, she thinks, of not overusing it in recent years. Then again, Fältskog has developed a tendency to claim that every solo album she makes is “probably” her last. She nods when I mention it, then there’s a pause. So is A+ the last album you’ll ever make?

“Yeah,” she says. “Probably.” Then she bursts out laughing again.

A+ is out now on BMG

_____

 https://www.theguardian.com/music/2023/oct/13/abba-agnetha-faltskog-music-fame-voyage-icon

photos: kristina Elofsson

Ludvog Andersson interview

ABBA Voyage producer reveals the group wiped the original vocals for one of their biggest hits [Exclusive]

October 4, 2023

Dan Medhurst

The producers of ABBA Voyage ran into trouble after discovering the group recorded over the original vocals for one of their classic hits.

The show features the band’s digital ‘ABBAtars’ – showing the group as they were in their 30s – performing 20 of their iconic songs, with their original vocals accompanied by a live band.

But producer Ludvig Anderson says creating one of the tracks was particularly challenging. “We had access to everything, all the multitrack tapes of the original recordings, but it was quite a strenuous process because most of ABBA’s old recordings were not recorded to a click track, which is what we needed to line it up with the timecode and the live band,” he tells RETROPOP’s November issue. “So what we had to do to get the vocals was go through every song that’s in the show, cut it up and align it to the click track.”

Ludvig adds: “The [multitracks containing the] lead English vocals for SOS do not exist – they deleted those and recorded over them the German version, at the time thinking that no one was going to need them again. That was a particular issue that we had and in the end we had to just strip the lead vocals off the mix, which worked out in the end, but it was an issue.”

According to Ludvig, there are few unreleased takes still in the vaults, however they did find some rarities for the show. He adds: “On When All Is Said And Done, there’s an extra verse that was on the tape. I think they just faded it in the final mix, but there was some extra stuff on the tape. So there are some things that haven’t been heard, but most of it has been put out now.

“What’s nice, though, when you go through the multitracks, is that you start to hear things that you’ve never heard before, often things that are way back in the mix. Of course, we had the opportunity, during rehearsals, to ask the musicians to enhance certain parts, based on how it felt in the live environment.”

Read the full interview in the November 2023

https://retropopmagazine.com/abba-voyage-producer-reveals-the-group-wiped-the-original-vocals-for-one-of-their-biggest-hits-exclusive/

Agnetha in an inteview with Zoe Ball

 BBC Radio 2 - The Zoe Ball Breakfast Show

Radio Interview - BBC Radio 2 The Zoe Ball Breakfast Show

August 31, 2023

Agnetha Fältskog, chats to Zoe about her life and career, as well as bringing a world exclusive first play of her brand new music.

Where Do We Go From Here?

https://youtu.be/8VjGpVg1Ots?si=EjXEm70ncL2SgAnC

A couple of years ago I heard one of the songs from my last album ‘A’ on the radio. I have lots of fond memories from making that album, so I couldn’t help but smile, time flies…

Suddenly it hit me, what would the album sound like if we had made it today...? I couldn’t stop thinking about it. I reached out to the boys who produced ‘A’ back in 2013 - “What would you guys think about reimagining ‘A’ and making a totally new version of it?” They loved the idea! “Let’s try!”

A while later I heard the first reworked song, and I must say I absolutely loved it! It sounded so fresh and modern, even better than I had imagined it!

We named the album A+ and as a cherry on top we even recorded a brand new song! And that will be the first thing you´ll hear from me.

Now I can’t wait to hear what you think about it! I hope you like it as much as I do!

All the best, Agnetha

https://sverigesradio.se/avsnitt/jorgen-elofsson-agneta-faltskog-overraskar-alltid

interview in swedish

El compositor Jörgen Elofsson habla sobre el sencillo completamente recién escrito de Agnetha Fältskog "Where do we go from here" y los antecedentes del próximo álbum "A +". Un álbum que marca el décimo aniversario del último álbum de Agnetha Fältskog "A" y que contiene nuevas versiones de todas las canciones.

- De hecho, lanzamos la música vieja y rehicimos las canciones que habrían dejado si las hubiéramos escrito hoy, dice Jörgen Elofsson.

Jörgen Elofsson también cuenta cómo es trabajar con Agnetha Fältskog

- Lo más divertido de Agnetha es que, independientemente de la idea, ella siempre responde "Nunca debes cerrar ninguna puerta". Ella siempre sorprende. También es muy inspiradora para trabajar en el estudio y muy buena compositora.

El single recién escrito "Where de we go from here" acaba de ser lanzado. El álbum A + se lanzará el 13 de octubre.

-------------------------------

Jörgen Elofsson: Agnetha Fältskog överraskar alltid

12 min - Idag kl 12.10

Låtskrivaren Jörgen Elofsson berättar om Agnetha Fältskogs helt nyskrivna singel ”Where do we go from here” och bakgrunden till det kommande albumet ”A+”. Ett album som uppmärksammar tioårsjubileet av Agnetha Fältskogs senaste album ”A” och som innehåller nya versioner av alla låtar.

– Vi slängde faktiskt den gamla musiken och gjorde om låtarna som de skulle ha låtit om vi skrivit dem idag, berättar Jörgen Elofsson.

Jörgen Elofsson berättar också hur det är att jobba med Agnetha Fältskog;

– Det roligaste med Agnetha är att hon oavsett idé alltid svarar ”Man ska aldrig stänga några dörrar”. Hon överraskar alltid. Hon är också väldigt inspirerande att jobba med i studion och väldigt duktig låtskrivare också.

Nyskrivna singeln ”Where de we go from here” har precis släppts. Albumet A+ släpps den 13 oktober.

------------------

agnetha2023 -  - notes -  agnethainterview -interviews2023