jueves, 2 de marzo de 2023

Bjorn told with Alastair Campbell

 Bjorn told with Alastair Campbell during an episode of Bjorn From Abba And Friends on Apple Music Hits

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Björn: ‘We stopped him [Macain using Take a Chance On Me] because we don’t want to be political’
Journalist and broadcaster Alastair Campbell joins ABBA’s Bjorn Ulvaeus in a brand new episode of ‘Bjorn from ABBA and Friends’ on Apple Music Hits. In the second episode from the new series that launched this week, Alastair discusses ABBA Voyage, hearing Winner Takes It All on the day Labour won the 1997 election, music in politics, his love for ABBA and more…
Alastair and Bjorn discuss ABBA Voyage…
Bjorn:
Well, it wasn’t a reason why we did it. If people want to do that fine with me, but the reason I got so intrigued by this was the technology, that it actually can be done, that you can reproduce something that is a human being, but on a screen, this semi-human being can sing songs, and speak and do all kinds of things.
Alastair:
Does it worry you that, I mean, like doing it for music is sort of a force for good. Does it worry you that the same thing could be used as a force for bad?
Bjorn:
Absolutely. It does. But it was going to happen anyway, and we are out the first to do it, which is great, I think, to be the pioneers, but I’m sure in the future, we’ll have to be very careful about what can be done with avatars.
Alastair:
The thing about you guys, and I imagine this is what you’re doing at the moment is that you are, as a golfer would say on the back nine of life, and you’ve had this amazing career, but you want it to carry on after you are gone, and the thing about great music is you’ve got that. I think more than books, actually. I mean, books survive, of course they do. But I think the thing about music, your music will sound the same in 100 years.
Bjorn:
But do you think people will listen to it in 100 years?
Alastair:
Yes, definitely. Yeah, because I think you are a phenomenon. I think that if you think of the musicians that have been around in our lifetime, Beatles survive forever. Elvis, I think, survives forever. And I think on the pop front, I think you are right up there. So yeah, definitely. I think, look, my kids know who you are. My kids have a favourite ABBA song. Yeah, you’ll be around, don’t worry about that.
Alastair Campbell on music in politics…
…Look at the way it already has in Ukraine. If you think about the great political movements, if I think of some of the campaign songs, Bill Clinton, Don’t Stop Thinking About Tomorrow, ours was Things Can Only Get Better.
Bjorn:
Yeah. McCain wanted to use, Take a Chance On Me.
Alastair:
Did he?
Bjorn:
But he was actually using it on the campaign trail when we found out.
Alastair:
And did you stop him?
Bjorn:
Yeah. We stopped him because we don’t want to be political and that’s choosing the President in the US.
Alastair:
Well, what’s his name, Trump used Rolling Stones, You Can’t Always Get What You Want, and I think The Stones tried to stop it.
Bjorn:
Yeah.
Alastair:
Yeah. So you wouldn’t want to be used in a political campaign?
Bjorn:
No. Unless you see it as political to stand up for Ukraine in this situation. I mean on that level, yes definitely.
Alastair:
Have you guys never been dragged into the say, Swedish, political campaigns?
Bjorn:
No. Never.
Alastair:
And has that been a deliberate thing?
Bjorn:
Deliberate. Yeah. Absolutely.
Alastair:
Doesn’t mean you don’t have strong political views.
Bjorn:
No, I do. But we’ve always tried to stay out of party politics, domestically.
Alastair:
Probably wise.
Bjorn:
I think. So I’ve always myself, slightly disliked artists that I like and admire if they come out and they are joining a party, and being specific about it. I think it takes something away from their music and from their lyrics.
Alastair Campbell on Winner Takes It All…
Now, Winner Takes It All, let me tell you something. Winner Takes It All is in my diaries. And not just on any old day.
(Reading from book). May 1st, 1997. It was the day of our first election. Okay? It was a weird feeling. It was as if we’d been fighting a 15 round fight, and as the bell rang for the last round, the other guy just didn’t turn up. I’d barely slept, even though for the first time in months, there was no reason to get up early. Because the campaign was finished. It was election day. I gave up trying to sleep just after 6:00, got up and read through the papers. It was so weird having time on my hands. At Myrobella House, which was Tony Blair’s house up in the constituency, someone had turned on Radio 4, I switched it off. I said, we didn’t have to worry anymore about the news. There was nothing more we could do. And I twiddled the knob to find the music station. And I found one playing ABBA, Winner Takes It All. John Burton, who is Tony’s Sedgefield agent. He and I fell about. And it was actually, it was an amazing moment because that was the first time after three years of campaigning that I allowed myself to think we’ve definitely won. Winner Takes It All is up there for me.
Alastair Campbell on his love for ABBA…
Oh no, I think you were right up there. I’ve got to tell you this, I go swimming every morning in an open air pool not far from here. And there’s a lot of regulars who go at seven oclock every morning, and there’s usually quite good banter about politics, or football. And I said, this morning, “You will not believe what I’m doing today. I’m talking to Bjorn from ABBA,” and they were amazed. And by ten past seven, the pool was people singing their favourite ABBA songs.



Abba’s Bjorn Ulvaeus worried avatars could be used as a force for bad PA News Agency — Tiempo de lectura: 5 minutos Abba’s Bjorn Ulvaeus worried avatars could be used as a force for bad  Abba star Bjorn Ulvaeus has said people need to be “very careful” about the use of avatars in the future as they could be used as a force for bad. The 77-year-old reformed with the Swedish troupe after almost 40 years to create a physical concert featuring “Abba-tar” versions of themselves as they appeared in 1977, singing and dancing to their greatest hits. Abba Voyage takes place in a purpose-built 3,000-seat arena in east London and is designed to be a large group experience rather than a fully virtual or digital streaming event on mobile devices or headsets. That you can reproduce something that is a human being, but on a screen, this semi-human being can sing songs, and speak and do all kinds of things Bjorn Ulvaeus However, songwriter Ulvaeus warned there could be negative effects from the use of avatars. He told broadcaster Alastair Campbell during an episode of Bjorn From Abba And Friends on Apple Music Hits: “The reason I got so intrigued by this was the technology, that it actually can be done. “That you can reproduce something that is a human being, but on a screen, this semi-human being can sing songs, and speak and do all kinds of things.” Former Labour spin doctor Mr Campbell said: “Does it worry you that doing it for music is sort of a force for good. Does it worry you that the same thing could be used as a force for bad?” Ulvaeus replied: “Absolutely. It does. But it was going to happen anyway, and we are the first to do it, which is great, I think, to be the pioneers, but I’m sure in the future, we’ll have to be very careful about what can be done with avatars.” Everything’s better when you have ABBA Voyage in the diary! pic.twitter.com/R5YiExFscD — ABBA Voyage (@ABBAVoyage) March 1, 2023 Later in the episode, Mr Campbell said hearing Abba track The Winner Takes It All defined the moment he realised the Labour Party was going to win the 1997 general election. Former prime minister Tony Blair’s ex-press secretary told Ulvaeus his 1980 song was “up there” as a personal favourite because it had epitomised the win. Reading his diary entry from election day on May 1 1997, Mr Campbell said: “It was a weird feeling. It was as if we’d been fighting a 15-round fight, and as the bell rang for the last round, the other guy just didn’t turn up. “I’d barely slept, even though for the first time in months there was no reason to get up early (because it was election day). I gave up trying to sleep just after 6am, got up and read through the papers. “It was so weird having time on my hands. At Myrobella House (which was Tony Blair’s house up in the constituency), someone had turned on Radio 4, I switched it off. “I said we didn’t have to worry any more about the news. There was nothing more we could do. And I twiddled the knob to find the music station. “And I found one playing Abba, Winner Takes It All. John Burton (who is Tony’s Sedgefield agent), he and I fell about.” Mr Campbell later told Ulvaeus: “It was an amazing moment because that was the first time after three years of campaigning that I allowed myself to think, ‘We’ve definitely won’. “Winner Takes It All is up there for me.” Labour swept to power in the 1997 election which saw Mr Campbell become one of the key players in the New Labour era. Ulvaeus, who won the Eurovision Song Contest for Sweden with Waterloo in 1974, later revealed his top three Abba songs were Mamma Mia, Dancing Queen and Winner Takes It All. https://www.gazetteseries.co.uk/leisure/national/23357006.abbas-bjorn-ulvaeus-worried-avatars-used-force-bad






miércoles, 1 de marzo de 2023

ShaniaTwain joins Björn on his AppleMusic radio show

ShaniaTwain joins Björn on his @AppleMusic radio show to discuss the writing of their biggest hits




Shania Twain: ‘Dolly Parton siempre fue una fabulosa narradora’


La superestrella mundial Shania Twain se une a Björn Ulvaeus de ABBA en un nuevo episodio de ‘Björn from ABBA and Friends’ en Apple Music Hits. En el primero de los dos nuevos episodios de la serie que se estrena esta semana, Shania se une a Björn para hablar sobre el potencial de un musical de Shania Twain, sus influencias musicales, incluidas ABBA, Dolly Parton y Joni Mitchell, sus primeros días en el negocio de la música, su espectáculo en Las Vegas , y más.
Shania Twain sobre la influencia de ABBA, una potencial música de Shania Twain y una posible colaboración con Björn…
Shania: Sí, en realidad hay interés en hacer un musical. Solo quiero tomarme un segundo para decir cuánto me ha inspirado la música de ABBA en el sentido de ampliar mi totalidad… Crecí escuchando canciones de tres acordes, muy simples, con mucha narración. Pero musicalmente, cuando escuché a ABBA, dije: «Este es otro planeta de arreglos». Y los cambios de firma de tiempo acaban de llegar a tantos lugares inesperados. Así que, por supuesto, mi imaginación se volvió loca, y definitivamente puedo ver tu música en un musical en ese sentido, seguro… hay mucha narración allí. Será interesante ver qué es un musical de Shania Twain.

Björn: Es muy adecuado para eso porque Catherine Johnson, quien escribió el guión de Mamma Mia!, dijo que la razón por la que, además de las canciones en sí, la razón por la que funciona es que las canciones son pequeñas historias dentro de sí mismas, simplemente como el tuyo. Deberías probarlo.

Shania: si Bueno, escucha, probablemente necesite ayuda. Tienes toda esta experiencia ahora, puede que tenga que volver a llamarte por eso y…

Shania Twain sobre ser influenciada por Dolly Parton, Joni Mitchell y Kris Kristofferson…
Para mí, Dolly Parton siempre fue una narradora fabulosa, una compositora fabulosa, melódicamente siempre muy, muy, pensé, muy única. Quiero decir, una canción como Jolene no es típicamente una progresión de acordes country. También armó un estilo híbrido de música de montaña con banjo, más estilo bluegrass y folk. Ahora que soy mayor, miro hacia atrás y creo que estoy orgullosa de ella como mujer que era una gran estilista en ese momento, además de compositora y artista, en gran medida una estilista. Y luego Kris Kristofferson, uno de los grandes compositores, realmente más folk. Y Joni Mitchell no es una artista country, pero también fue una gran influencia para mí, porque siempre pensé que ella era country cuando era niño. Siempre consideré su país porque siempre contaba historias tan profundas y tan literales sobre la vida y una narración casi autobiográfica.

… es por eso que mencioné a Dolly Parton porque se metió en las películas y tenía un par de temas muy importantes, bueno, música que estaba en algunas películas importantes, y eso también la llevó a la radio convencional. Y pensé: «Guau, esta es una montañesa de las montañas Blue Ridge y está en la radio pop». Y esto realmente me hizo pensar: «Guau, si ella viene de este pequeño lugar, esta pequeña choza, y termina donde termina, como artista internacional en la radio pop cruzando, yo también puedo hacerlo». O al menos me dio la esperanza de que fuera una posibilidad. Para mí…

Shania Twain sobre los primeros días de su carrera…
Bueno, cuando fui por primera vez a Nashville, no tuve mucha suerte en convencer al departamento de A&R de que mis canciones eran muy buenas. Así que ni siquiera me imaginé tratando de que otros artistas cantaran mi música. Así que estaban tratando de emparejarme con otros escritores, pero realmente no me gustaba escribir… No podía entender la idea de sentarme y escribir con otras personas. Era tan… La intimidad se había ido para mí, porque siempre había sido solo yo con mi propia composición. Así que eso no funcionó. Y terminé simplemente escribiendo, grabando la música de otras personas desde el principio. Así fue hasta que apareció Mutt (Lange) y dijo: «Bueno, ¿eres compositor?». Y dije: «Oh, sí, tengo muchas canciones». Así que comencé a tocárselas y estaba muy entusiasmado con mi estilo de escritura y mi estilo vocal en mi propia escritura.

…. Mutt era muy, muy… Esa es una gran parte de su talento, creo. Además, aparte de… Tiene otros talentos musicales gigantes. Pero creo que detectar y respetar la voz que va a cantar las canciones, si es un escritor y eres un buen productor, quieres aprovechar eso y eso es lo que hizo.

Shania Twain en su programa de Las Vegas…
Tuve que entrenar mucho y era un deseo mío. Cuando hice esa producción de Las Vegas, estaba recuperando mi voz en vivo porque había tenido complicaciones médicas. Pero dije que la única forma de escribir visualmente la historia de la producción era incluir cosas que me hicieran sentir cómodo y que me hicieran sentir como en casa, relajado y centrado, así que los caballos eran una de esas cosas. Necesitaba tener caballos en el espectáculo, así que incluí los caballos en el espectáculo. Quería blanco y negro, y tenía todo esto sobre… quiero decir, si ves toda la producción, entenderás que los caballos son un tema recurrente en el programa, y ​​para You’re Still The One es Fue muy difícil volver a cantar esa canción, y la distracción del caballo, fue como una terapia. Así que me enfoqué más en manejar la psicología del caballo, y me ayudó a salir de mis propias trampas mentales que tal vez se interpusieron en mi camino, esa fue la razón de ese número.






The Symphonic Touch of Benny Andersson

 THE SYMPHONIC TOUCH OF BENNY ANDERSSON....


For the vast majority, he is well known from the Swedish supergroup ABBA. London Philharmonic Orchestra, with the Swedish violin soloist Christian Svarfvar, will release their own selection of Benny Andersson's most beloved compositions this spring.
The symphony orchestra's selection from ABBA, BAO, the musical Chess and Kristina from Duvemåla is a pioneering international initiative by the Swedish arranger and conductor Anders Berglund. – This unique album with Benny Andersson's masterpieces can lead to a broader recognition worldwide for the Swedish violin virtuoso Christian Svarfvar, he says.
The album is recorded with a full orchestral setting in London. The upcoming album "The Symphonic Touch of Benny Andersson" contains twelve instrumental recordings and will be released on April 14, worldwide.
Already on March 10, the first single will be revealed, which will be Christian’s and The London Philharmonic Orchestra's version of ABBA's "Money Money Money" from 1976. Anders Berglund is the conductor and the executive producer of the album. – I am very proud of this unique project and collaboration, he says.
FACTS
After international album successes in 2022 with Wagner, Bach and Brahms, the London Philharmonic Orchestra is proud to interpret a contemporary composer in 2023.
Benny Andersson started as a keyboard player and composer in a Swedish rock band in the sixties.
After meeting Björn Ulvaeus in 1966, his writing developed through their creative enterprise and a couple of years later ABBA was born.
With Benny's music, Björn's lyrics and the girls' voices, the success was unparalleled. Benny has since explored and developed his composing skills through musicals, music for film and theatre, folk music etc.
Björn Ulvaeus has been a very important and invaluable partner over the years, but this album is focused on the actual music composed by Benny. Despite a lack of musical training and not reading sheet music, he writes like a classical composer. This has been Anders Berglund's inspiration for these new arrangements and with the beautiful playing of the virtuoso Christian Svarfvar and the great London Philharmonic Orchestra, this album wants to shed new light on Benny Andersson's music.













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