Abba
ABBA
ABBA was a pop music group formed in Sweden in November, 1970. The band consisted of Anni-Frid Lyngstad (Frida), Björn Ulvaeus, Benny Andersson and Agnetha Fältskog. They topped the charts worldwide from 1972 to 1982. The name "ABBA" is an acronym formed from the first letters of each of the group members' given names (Agnetha, Björn, Benny, Anni-Frid), and the group took this name officially in late 1973. The group's name is officially trademarked with the first "B" reversed.
ABBA gained international popularity employing catchy song hooks, simple lyrics, and a Wall of Sound achieved by overdubbing the female singers' voices in multiple harmonies. As their popularity grew, they were sought after to tour Europe, Australia, and North America, drawing crowds of ardent fans, notably in Australia. Touring became a contentious issue, being particularly unpopular with Fältskog, but they continued to release studio albums to great commercial success. At the height of their popularity, however, both marriages of the band members failed, and the relationship changes were reflected in their music, as they produced more thoughtful lyrics with different compositions.
They remain a fixture of radio playlists and are one of the world's best selling bands, having sold near 400 million records world wide; they still sell two to four million records a year. ABBA was also the first pop group from mainland Europe to enjoy consistent success in the charts of English-speaking countries, including the United Kingdom, the United States, Canada, Ireland, South Africa, Rhodesia, Australia and New Zealand. Their enormous popularity subsequently opened the doors for other Continental European acts.
The music of ABBA has been re-arranged into the successful musical Mamma Mia! that has toured worldwide and had a movie version released in July 2008. All four of the former members of ABBA were present at the Stockholm premieres of both the musical (2005) and the film (2008). The film première took place at the Benny Andersson-owned Rival Theatre at Mariatorget, Stockholm on 4 July 2008. A new museum devoted entirely to the pop supergroup was scheduled to open in Stockholm in 2009, but the project was postponed as of September 2008.
Before ABBA (1960s)
Benny Andersson (born 16 December 1946 in Stockholm, Sweden) became (at age 18) member of a popular Swedish pop-rock group, The Hep Stars, that performed covers of international hits. The Hep Stars were known as "The Swedish Beatles"; they even set up Hep House, their equivalent of the Apple Corps. Andersson played keyboard and eventually started writing original compositions for his band, many of which became major hits including "No Response" that hit #3 in 1965, "Sunny Girl", "Wedding", "Consolation", all of which hit #1 in 1966. Andersson also had a fruitful songwriting collaboration with Lasse Berghagen, with whom he composed his first Svensktoppen entry "Sagan om lilla Sofi" ("The Story of Little Sophie") in 1968.
Björn Ulvaeus (born 25 April 1945 in Gothenburg, Sweden) also began his musical career at 18 (as a singer and guitarist), when he fronted The Hootenanny Singers, a popular Swedish folk-skiffle group. Ulvaeus started writing English-language songs for his group, and even had a brief solo career alongside. The Hootenanny Singers and The Hep Stars sometimes crossed paths while touring, and in June 1966 Ulvaeus and Andersson decided to write a song together. Their first attempt was "Isn't It Easy to Say", a song later recorded by The Hep Stars. Stig Anderson was the manager of The Hootenanny Singers and founder of the Polar Music label. He saw potential in the collaboration, and encouraged them to compose more. Both also began playing occasionally with the other's bands on stage and on record, although not until 1969 did the pair write and produce some of their first real hits together: "Ljuva sextiotal" ('Merry Sixties'), recorded by Brita Borg and The Hep Stars' 1969 hit "Speleman" ("Fiddler"). Björn Ulvaeus and Agnetha Fältskog were married on 6 July 1971.
Andersson wrote and submitted the song "Hej, Clown" for the 1969 Melodifestivalen, the Swedish Eurovision Song Contest finals. The song tied for first, but re-voting relegated Andersson's song to second place.[8] On that occasion Andersson briefly met his future spouse, singer Anni-Frid Lyngstad, who also participated in the contest. A month later, the two had become a couple. As their respective bands began to break up during 1969, Andersson and Ulvaeus teamed up and recorded their first album together in 1970, called Lycka ("Happiness"), which included original compositions sung by both men. Their spouses were often present in the recording studio, and sometimes added backing vocals; Fältskog even co-wrote a song with the two. Ulvaeus still occasionally recorded and performed with The Hootenanny Singers until the summer of 1974, and Andersson took part in producing their records.
Agnetha Fältskog (born 5 April 1950 in Jönköping, Sweden) had a #1 record in Sweden when she was only 17, and was soon noted by the critics and songwriters as a talented singer/songwriter of schlager style songs. Fältskog's main inspiration in her early years were singers like Connie Francis. Along with her own compositions, she recorded covers of foreign hits and performed them on tours in Swedish folkparks. In 1967 she submitted an original song (Försonade ("Redeemed")) for Melodifestivalen, but it was rejected. She briefly met Anni-Frid Lyngstad for the first time during a TV show in January 1968, and met Björn Ulvaeus at a concert venue a few months later.
During filming of a Swedish TV special in May 1969, Fältskog met Ulvaeus again, and they were married in 1971. Fältskog and Ulvaeus eventually got involved in each other's recording sessions, and soon even Andersson and Lyngstad added backing vocals to her 1970 album "Som jag är" ("As I Am"). In 1973, Fältskog starred as Mary Magdalene in the original Swedish production of Jesus Christ Superstar and attracted favourable reviews. Between 1967 and 1975, Fältskog released five studio albums.
Anni-Frid "Frida" Lyngstad (born 15 November 1945 in Bjørkåsen in Ballangen, Norway) sang from the age of thirteen with various dance bands, and worked mainly in a jazz-oriented cabaret style. She also formed her own band, the Anni-Frid Four. In the summer of 1967, she won a national talent competition with the song "En ledig dag" ("A Day Off"), included in the EMI compilation Frida 1967-1972. The first prize was a recording contract with EMI Sweden and to perform live on the most popular TV show in Sweden. This first TV performance, amongst many others, is included in the 3½ hour documentary Frida - The DVD. Lyngstad released several singles on EMI and had many hits in the Swedish charts. When Benny Andersson started to produce her recordings in 1971, she got her first #1 single, "Min egen stad" ("My Own Town"), for which all the future ABBA members sang the backup vocals. Lyngstad toured and performed regularly in the folkpark circuit and made appearances on radio and TV. She met Björn Ulvaeus briefly in 1963 during a talent contest, and Agnetha Fältskog during a TV show in early 1968.
Lyngstad finally linked up with her future bandmates in 1969. On 1 March 1969, she participated in the Melodifestivalen, where she met Andersson for the first time. A few weeks later they met again during a concert tour in southern Sweden and they soon became a couple. Andersson produced her single "Peter Pan" in September 1969 – the first collaboration between her and Benny & Björn, as they had written the song. Later Andersson produced Lyngstad's debut album, Frida, which was released in March 1971 and praised by critics. Lyngstad also played in several revues and cabaret shows in Stockholm between 1969 and 1973. After ABBA formed, she recorded another successful album in 1975, Frida Ensam, which included the original Swedish rendition of "Fernando", which became a huge hit in Scandinavia before the English version was recorded.
First live performance and the start of "Festfolk"
An attempt at combining their talents occurred in April 1970 when the two couples went on holiday together to the island of Cyprus. What started as singing for fun on the beach ended up as an improvised live performance in front of the United Nations soldiers stationed on the island. Andersson and Ulvaeus were at this time recording their first album together, "Lycka", which was to be released in September 1970. Fältskog and Lyngstad added backing vocals on several tracks during June, and the idea of them all working together saw them launch a stage act, "Festfolk", which translates from Swedish to mean both "Party People" and "Engaged Couples", on 1 November 1970 in Gothenburg. The cabaret show attracted positive reviews. The foursome performed the Andersson and Ulvaeus hit "Hej, gamle man" ("Hi, Old Man"); the first recording credited to all four – and solo numbers from respective albums, but the foursome did not feel like working together, and soon concentrated on individual projects again.
First record together "Hej, gamle man"
"Hej, gamle man", a song about an old Salvation Army soldier, became the quartet's first hit. The record was credited to Björn & Benny and reached number 5 on the sales charts and number 1 on Svensktoppen, staying there for 15 weeks. In the first half of 1971, the four artists worked more together, adding vocals to the others' recordings. Fältskog, Andersson and Ulvaeus toured together in May, while Lyngstad toured on her own. Frequent recording sessions brought the foursome tighter together during the summer.
Forming the group (1970–1973)
After the 1970 release of Andersson's and Ulvaeus' album "Lycka", two more singles credited to 'Björn & Benny' were released in Sweden, "Det kan ingen doktor hjälpa" ("No doctor can help with that") and "Tänk om jorden vore ung" ("Imagine if the Earth were young"), but clearly with more prominent vocals by Fältskog and Lyngstad - and with moderate chart success. Fältskog released her fourth album in 1971 and married Ulvaeus on 6 July 1971. Andersson, Ulvaeus, and Fältskog started performing together on a regular basis during the summer of 1971.
Stig Anderson, founder and owner of Polar, was determined to break into the mainstream international market with music by Andersson and Ulvaeus. "One day the pair of you will write a song that becomes a worldwide hit", he predicted. Stig encouraged Ulvaeus and Andersson to write a song for Melodifestivalen, and after two rejected entries in 1971, Andersson and Ulvaeus submitted their new song "Säg det med en sång" ("Say It With A Song") for the 1972 contest, and they chose newcomer Lena Anderson to perform. The song won third place, encouraging Stig, and became a huge hit in Sweden. The first signs of foreign success came as a surprise, as the Andersson and Ulvaeus single "She's My Kind of Girl" was released by Epic in Japan in March 1972, giving the duo a Top 10 hit. Two more singles were released in Japan, "En Carousel" (earlier version of "Merry-Go-Round") and "Love Has Its Ways" (a song they wrote with Koichi Morita).
First hit as 'Björn, Benny, Agnetha & Anni-Frid'
Ulvaeus and Andersson persevered with their songwriting and experimented with new sounds and vocal arrangements. "People Need Love" was released in June 1972, featuring guest vocals by the women, who were now given much greater prominence. Stig Anderson released it as a single, credited to Björn & Benny, Agnetha & Anni-Frid. The song reached #17 in the Swedish combined single and album charts, enough to convince them they were on to something. The single also became the first record to chart for the quartet in the United States, where it peaked at #114 on the Cashbox singles chart and #117 on Record World's singles chart. Billed as Björn & Benny (with Svenska Flicka), it was released there on Playboy Records. However, according to Stig Anderson, "People Need Love" could have been a much bigger American hit, but a small label like Playboy Records did not have the distribution resources to meet the demand for the single from retailers and radio programmers. The foursome decided to record their first album together in the autumn of 1972, and sessions began on 26 September 1972. The two women shared lead vocal on "Nina, Pretty Ballerina", on this day, and the two women's voices combined in harmonies for the first time gave the foursome an idea of the qualities of their combined talents.
"Ring Ring"
For 1973, the band and their manager Stig Anderson decided to have another try at the Melodifestivalen, this time with the song "Ring Ring." The studio sessions were handled by Michael B. Tretow, who experimented with a "wall of sound" production technique that became the wholly new ABBA sound. Anderson arranged an English translation of the lyrics by Neil Sedaka and Phil Cody and they thought this would be a surefire winner, but in the Melodifestivalen, on 10 February 1973, it placed third, and thus never reached the international contest. Nevertheless the proto-group put out their first album, called Ring Ring. The album did well and the "Ring Ring" single was a hit in many parts of Europe, but Stig Anderson felt the true breakthrough could only come with a UK or US hit.
Official naming
In early 1973, Stig Anderson, tired of unwieldy names, started to refer to the group privately and publicly as ABBA. At first, this was a play on words, as Abba was also the name of a well-known fish-canning company in Sweden. However, since the fish canners were unknown outside Sweden, Anderson came to believe the name would work in international markets. A competition to find a suitable name for the group was held in a Gothenburg newspaper. The group was impressed with the names "Alibaba," "FABB," and "Baba", but in the end all the entries were ignored and it was announced in the summer that the name "ABBA" was official. Later the group negotiated with the canners for the right to the name.[21] "ABBA" is an acronym formed from the first letters of each group member's name: Agnetha, Björn, Benny and Anni-Frid (Frida). The first 'B' in the logo version of the name was "mirror-image" reversed on the band's promotional material from 1976 onwards and became the group's registered trademark. The first time the name is found written on paper is on a recording session sheet from the Metronome Studio in Stockholm, dated 16 October 1973. This was first written as "Björn, Benny, Agnetha & Frida", but was subsequently crossed out with "ABBA" written in large letters on top.
The official logo, using the bold version of the News Gothic typeface, was designed by Rune Söderqvist, and appeared for the first time on the Dancing Queen single in August 1976, and subsequently on all later original albums and singles. But the idea for the official logo was made by the German photographer Wolfgang Heilemann on a "Dancing Queen" shoot for the teenage magazine BRAVO. On the photo, every ABBA-member held a giant initial letter of his/her name. After the pictures were made, Heilemann found out that one of the men held his letter upside down. They discussed it and the members of ABBA liked it. In 1992 Polygram redesigned the logo for the ABBA Gold compilation, having a different font along with a crown emblem. Still, the classic logo is more commonly seen, for instance being used on the official ABBA website.
Breakthrough (1973–1976)
Eurovision
For their first Eurovision, ABBA entered with "Ring Ring" but failed to qualify as the 1973 Swedish entry, it came third in the preliminary round. Stig immediately started planning for the 1974 contest.
Ulvaeus, Andersson, and manager Stig Anderson believed in the possibilities of using the Melodifestivalen and Eurovision TV contests as a way to make the music business aware of the band and Andersson, Ulvaeus and Stig as composers. In late 1973, they were invited by Swedish television to contribute a song for the 1974 contest, and from a number of newly written compositions, the foursome chose the upbeat "Waterloo"; the group was now inspired by the growing glam rock scene in England. "Waterloo" was an unashamedly glam-style pop track produced with Michael B. Tretow's wall-of-sound approach.
ABBA won their national heats on Swedish TV on 9 February 1974, and with this third attempt were far more experienced and better prepared for the international contest. Winning the Eurovision Song Contest gave ABBA the chance to tour Europe and perform on major TV shows; thus the band saw the "Waterloo" single climb the charts in many European countries. "Waterloo" was ABBA's first number one single in big markets such as the UK, Germany and Australia. In the US, it reached #6 on the Billboard Hot 100 chart, paving the way for their first album and their first trip as a group there. Albeit being a short promotional visit, it included their first performance on American TV, The Mike Douglas Show. The Waterloo album only peaked at #145 on the Billboard 200 album chart, but received unanimous high praise from the US critics: Los Angeles Times called it "a compelling and fascinating debut album that captures the spirit of mainstream pop quite effectively...an immensely enjoyable and pleasant project", while Creem characterized it as "a perfect blend of exceptional lovable compositions".
ABBA's follow-up single, "Honey, Honey", reached #27 on the US Billboard Hot 100, and was #2 in Germany. However, in the UK, a cover version of the song by the act Sweet Dreams made #10 because ABBA's British record company, Epic, decided to re-release a remixed version of "Ring Ring" instead. It failed to reach the Top 30, increasing growing speculation that the group were simply Eurovision one-hit wonders.
Post-Eurovision
In November 1974, ABBA embarked on their first European tour, playing dates in Denmark, West Germany, and Austria. It was not as successful as the band had hoped, since most of the venues did not sell out. Due to a lack of demand, they were even forced to cancel a few shows, including a sole concert scheduled in Switzerland. The second leg of the tour, which took them through Scandinavia in January 1975, was different. They played to full houses everywhere and finally got the reception they aimed for. Live performances continued during the summer of 1975 when ABBA embarked on a sixteen open-air date tour of Sweden and Finland, attracting huge crowds. Their Stockholm show at the Gröna Lund amusement park was seen by an estimated audience of 19,200.
In 1974 So Long was released as a single in the UK but it received no airplay from radio 1 and failed to chart. In summer 1975 they released I Do I Do I Do I Do I Do, which again received little airplay on radio 1 but managed to climb the charts, to #38. Later in 1975 the release of their next album ABBA and single "SOS" brought back their chart presence in the UK, where the single hit #6 and the album reached #13. SOS also became ABBA's second number 1 single in both Germany and Australia. Success was further solidified with "Mamma Mia" reaching the #1 spot in UK, Germany and Australia in January 1976. In the US, "SOS" reached #10 on the Record World Top 100 singles chart and #15 on the Billboard Hot 100 chart, picking up the BMI Award along the way as one of the most played songs on American radio in 1975. The success of the group in the United States had been so far limited to single releases. By early 1976, the group already had four Top 30 singles on US charts, but the album market proved to be tough to crack. The eponymous ABBA album generated three American hits, but it only peaked at #165 on the Cashbox album chart and #174 on the Billboard 200 chart. Opinions were voiced, by Creem in particular, that in the US ABBA had endured "a very sloppy promotional campaign". The group, however, enjoyed warm reviews from American press. Cashbox went as far as saying that "there is a recurrent thread of taste and artistry inherent in Abba's marketing, creativity and presentation that makes it almost embarrassing to critique their efforts", while Creem wrote: "SOS is surrounded on this LP by so many good tunes that the mind boggles".
In Australia, the airing of the videos for "I Do, I Do, I Do, I Do, I Do" and "Mamma Mia" on nationwide TV in August 1975 started an immense interest for ABBA, resulting in #1 positions on both the single and album charts for months.
Superstardom (1976–1981)
In March 1976, the band released the compilation Greatest Hits, despite having had only six Top 40 hits in the UK and the US. Nevertheless, it became their first UK #1 album, and also took ABBA into the Top 50 on the US album charts for the first time, eventually selling more than a million copies there. At the same time, Germany released a compilation named The Very Best of ABBA, also becoming a #1 album there whereas the Greatest hits LP followed a few months later to #2 on the German charts, despite all similarities with "The Very Best" album. Also included on Greatest Hits was a new single, "Fernando", which had first been written by Ulvaeus and Andersson in Swedish for Lyngstad's #1 1975 solo album Frida ensam (Frida alone). After Lyngstad's major success with the song in Scandinavia, the group decided to record an English version. With "Fernando" hitting #1 in twelve countries worldwide (including the UK and Germany), it occupied the top position in Australia for 14 weeks, tying The Beatles for longest number one for "Hey Jude", making it one of the best-selling singles of all time in that country. That same year, the group received its first international prize, with "Fernando" being chosen as the "Best Studio Recording of 1975". In the US, "Fernando" reached the Top 10 of the Cashbox Top 100 singles chart and #13 on the Billboard Hot 100. It also topped the Billboard Adult Contemporary chart, ABBA's first American number one single of any kind.
The group's next album, Arrival, a #1 bestseller all over Europe and Australia, represented a new level of accomplishment in both songwriting and studio work, prompting rave reviews from more rock-orientated UK music weeklies such as Melody Maker and New Musical Express, and mostly appreciative notices from American critics. Hit after hit flowed from Arrival: "Money, Money, Money", another #1 in Germany and Australia, and "Knowing Me, Knowing You", ABBA's sixth consecutive German #1 as well as another UK #1. The real sensation of all was "Dancing Queen", not only topping the charts in the loyal markets UK, Germany and Australia, but also reaching #1 in the US. In 1977 Arrival was nominated for the inaugural BRIT Award in the category "Best International Album of the Year". By this time ABBA were popular in the UK, most of Western Europe and Australia. In Frida the dvd, Lyngstad explains how she and Fältskog developed as singers, as ABBA's recordings grew more complex over the years.
Their popularity in the US would remain on a comparatively smaller scale, and "Dancing Queen" became the only Billboard Hot 100 #1 single ABBA had there (they did, however, get three more singles to the #1 position on other Billboard charts, including Billboard Adult Contemporary and Hot Dance Club Play). Nevertheless, Arrival finally became a true breakthrough release for ABBA on the US album market where it peaked at #20 on the Billboard 200 album chart and was certified gold by RIAA.
European and Australian tour
In January 1977, ABBA hit the road. The group's status had changed dramatically and they were clearly regarded as superstars. They opened their much anticipated tour in Oslo, Norway, on 28 January, and mounted a lavishly produced spectacle that included a few scenes from their self-penned mini-operetta "The Girl With The Golden Hair." The concert attracted immense media attention from across Europe and Australia. They continued the tour through Western Europe visiting Gothenburg, Copenhagen, Berlin, Cologne, Amsterdam, Antwerp, Essen, Hanover, Hamburg, and ended it with shows in the UK in Manchester, Birmingham, Glasgow and two sold-out concerts at London's Royal Albert Hall. Tickets for these two shows were available only by mail application and it was later revealed that the box-office received 3.5 million requests for tickets, enough to fill the venue 580 times. Along with praise ("Abba turn out to be amazingly successful at reproducing their records", wrote Creem), there were complaints that "Abba performed slickly...but with a zero personality coming across from a total of 16 people on stage" (Melody Maker). One of the Royal Albert Hall concerts was filmed as a reference for the filming of the Australian tour for what became ABBA: The Movie, though it is not known exactly how much of the concert was filmed.
After the European leg of the tour, in March 1977, ABBA played eleven dates in Australia before a total of 160,000 people. The opening concert in Sydney at the Sydney Showground on 3 March before over 20,000 was marred by torrential rain and Frida slipped on the wet stage during the concert. However, all four members would later recall this concert to be the most memorable of their career. Upon their arrival in Melbourne, a civic reception was held at the Town Hall and ABBA appeared on the balcony to greet an enthusiastic crowd of 6,000 people. In Melbourne, ABBA played three concerts at the Melbourne Myer Music Bowl with 14,500 at each including the Australian Prime Minister Malcolm Fraser and his family. At the first Melbourne concert, an additional 16,000 people gathered outside the fenced-off area to listen to the concert. In Adelaide, the group performed one concert at West Lakes Football Stadium before 20,000 people with another 10,000 listening outside. During the first five concerts in Perth, there was a bomb scare with everyone having to evacuate the Entertainment Centre. The trip was accompanied by mass hysteria and unprecedented media attention ("Swedish ABBA stirs box-office in Down Under tour...and the media coverage of the quartet rivals that set to cover the upcoming Royal tour of Australia", wrote Variety), and is vividly captured on film in ABBA: The Movie, directed by Lasse Hallström.
The Australian tour and its subsequent ABBA: The Movie produced some ABBA lore, as well. Agnetha Fältskog's blonde good looks had long made her the band's 'pin-up girl', a role she disdained. Many fans thought that this unfair focus on Agnetha detracted from the band's wholesome image, and also was unfair on the other members; especially Anni-Frid, who the fans viewed as equal to Agnetha, and some saw it as a vendetta against Anni-Frid. During the Australian tour, she performed in a skin-tight white jumpsuit, causing one Australian newspaper to use the headline "Agnetha's bottom tops dull show". When asked about this at a news conference, she replied: "Don't they have bottoms in Australia?" Frida is also pictured in this scene, looking particularly unamused; unsurprising, as the focus and comments made to Agnetha in this particular part of the movie are particularly embarrassing.
In December 1977, ABBA followed up Arrival with the more musically and lyrically ambitious fifth album The Album, which was released to coincide with ABBA: The Movie. Although the album was less well-received by the critics in the UK, it did spawn more worldwide hits: "The Name of the Game" and "Take a Chance on Me", both of which topped the UK charts, and reached #12 and #3, respectively, on the Billboard Hot 100 chart in the US. Although "Take a Chance on Me" did not top the American charts, it has actually proved to be ABBA's biggest hit single in the United States, selling more copies than "Dancing Queen". The Album also included the ABBA signature tune, "Thank You for the Music", released as a single in the UK in 1983, and had been the B-side of "Eagle" in countries where the latter had been released.
ABBA was a pop music group formed in Sweden in November, 1970. The band consisted of Anni-Frid Lyngstad (Frida), Björn Ulvaeus, Benny Andersson and Agnetha Fältskog. They topped the charts worldwide from 1972 to 1982. The name "ABBA" is an acronym formed from the first letters of each of the group members' given names (Agnetha, Björn, Benny, Anni-Frid), and the group took this name officially in late 1973. The group's name is officially trademarked with the first "B" reversed.
ABBA gained international popularity employing catchy song hooks, simple lyrics, and a Wall of Sound achieved by overdubbing the female singers' voices in multiple harmonies. As their popularity grew, they were sought after to tour Europe, Australia, and North America, drawing crowds of ardent fans, notably in Australia. Touring became a contentious issue, being particularly unpopular with Fältskog, but they continued to release studio albums to great commercial success. At the height of their popularity, however, both marriages of the band members failed, and the relationship changes were reflected in their music, as they produced more thoughtful lyrics with different compositions.
They remain a fixture of radio playlists and are one of the world's best selling bands, having sold near 400 million records world wide; they still sell two to four million records a year. ABBA was also the first pop group from mainland Europe to enjoy consistent success in the charts of English-speaking countries, including the United Kingdom, the United States, Canada, Ireland, South Africa, Rhodesia, Australia and New Zealand. Their enormous popularity subsequently opened the doors for other Continental European acts.
The music of ABBA has been re-arranged into the successful musical Mamma Mia! that has toured worldwide and had a movie version released in July 2008. All four of the former members of ABBA were present at the Stockholm premieres of both the musical (2005) and the film (2008). The film première took place at the Benny Andersson-owned Rival Theatre at Mariatorget, Stockholm on 4 July 2008. A new museum devoted entirely to the pop supergroup was scheduled to open in Stockholm in 2009, but the project was postponed as of September 2008.
Before ABBA (1960s)
Benny Andersson (born 16 December 1946 in Stockholm, Sweden) became (at age 18) member of a popular Swedish pop-rock group, The Hep Stars, that performed covers of international hits. The Hep Stars were known as "The Swedish Beatles"; they even set up Hep House, their equivalent of the Apple Corps. Andersson played keyboard and eventually started writing original compositions for his band, many of which became major hits including "No Response" that hit #3 in 1965, "Sunny Girl", "Wedding", "Consolation", all of which hit #1 in 1966. Andersson also had a fruitful songwriting collaboration with Lasse Berghagen, with whom he composed his first Svensktoppen entry "Sagan om lilla Sofi" ("The Story of Little Sophie") in 1968.
Björn Ulvaeus (born 25 April 1945 in Gothenburg, Sweden) also began his musical career at 18 (as a singer and guitarist), when he fronted The Hootenanny Singers, a popular Swedish folk-skiffle group. Ulvaeus started writing English-language songs for his group, and even had a brief solo career alongside. The Hootenanny Singers and The Hep Stars sometimes crossed paths while touring, and in June 1966 Ulvaeus and Andersson decided to write a song together. Their first attempt was "Isn't It Easy to Say", a song later recorded by The Hep Stars. Stig Anderson was the manager of The Hootenanny Singers and founder of the Polar Music label. He saw potential in the collaboration, and encouraged them to compose more. Both also began playing occasionally with the other's bands on stage and on record, although not until 1969 did the pair write and produce some of their first real hits together: "Ljuva sextiotal" ('Merry Sixties'), recorded by Brita Borg and The Hep Stars' 1969 hit "Speleman" ("Fiddler"). Björn Ulvaeus and Agnetha Fältskog were married on 6 July 1971.
Andersson wrote and submitted the song "Hej, Clown" for the 1969 Melodifestivalen, the Swedish Eurovision Song Contest finals. The song tied for first, but re-voting relegated Andersson's song to second place.[8] On that occasion Andersson briefly met his future spouse, singer Anni-Frid Lyngstad, who also participated in the contest. A month later, the two had become a couple. As their respective bands began to break up during 1969, Andersson and Ulvaeus teamed up and recorded their first album together in 1970, called Lycka ("Happiness"), which included original compositions sung by both men. Their spouses were often present in the recording studio, and sometimes added backing vocals; Fältskog even co-wrote a song with the two. Ulvaeus still occasionally recorded and performed with The Hootenanny Singers until the summer of 1974, and Andersson took part in producing their records.
Agnetha Fältskog (born 5 April 1950 in Jönköping, Sweden) had a #1 record in Sweden when she was only 17, and was soon noted by the critics and songwriters as a talented singer/songwriter of schlager style songs. Fältskog's main inspiration in her early years were singers like Connie Francis. Along with her own compositions, she recorded covers of foreign hits and performed them on tours in Swedish folkparks. In 1967 she submitted an original song (Försonade ("Redeemed")) for Melodifestivalen, but it was rejected. She briefly met Anni-Frid Lyngstad for the first time during a TV show in January 1968, and met Björn Ulvaeus at a concert venue a few months later.
During filming of a Swedish TV special in May 1969, Fältskog met Ulvaeus again, and they were married in 1971. Fältskog and Ulvaeus eventually got involved in each other's recording sessions, and soon even Andersson and Lyngstad added backing vocals to her 1970 album "Som jag är" ("As I Am"). In 1973, Fältskog starred as Mary Magdalene in the original Swedish production of Jesus Christ Superstar and attracted favourable reviews. Between 1967 and 1975, Fältskog released five studio albums.
Anni-Frid "Frida" Lyngstad (born 15 November 1945 in Bjørkåsen in Ballangen, Norway) sang from the age of thirteen with various dance bands, and worked mainly in a jazz-oriented cabaret style. She also formed her own band, the Anni-Frid Four. In the summer of 1967, she won a national talent competition with the song "En ledig dag" ("A Day Off"), included in the EMI compilation Frida 1967-1972. The first prize was a recording contract with EMI Sweden and to perform live on the most popular TV show in Sweden. This first TV performance, amongst many others, is included in the 3½ hour documentary Frida - The DVD. Lyngstad released several singles on EMI and had many hits in the Swedish charts. When Benny Andersson started to produce her recordings in 1971, she got her first #1 single, "Min egen stad" ("My Own Town"), for which all the future ABBA members sang the backup vocals. Lyngstad toured and performed regularly in the folkpark circuit and made appearances on radio and TV. She met Björn Ulvaeus briefly in 1963 during a talent contest, and Agnetha Fältskog during a TV show in early 1968.
Lyngstad finally linked up with her future bandmates in 1969. On 1 March 1969, she participated in the Melodifestivalen, where she met Andersson for the first time. A few weeks later they met again during a concert tour in southern Sweden and they soon became a couple. Andersson produced her single "Peter Pan" in September 1969 – the first collaboration between her and Benny & Björn, as they had written the song. Later Andersson produced Lyngstad's debut album, Frida, which was released in March 1971 and praised by critics. Lyngstad also played in several revues and cabaret shows in Stockholm between 1969 and 1973. After ABBA formed, she recorded another successful album in 1975, Frida Ensam, which included the original Swedish rendition of "Fernando", which became a huge hit in Scandinavia before the English version was recorded.
First live performance and the start of "Festfolk"
An attempt at combining their talents occurred in April 1970 when the two couples went on holiday together to the island of Cyprus. What started as singing for fun on the beach ended up as an improvised live performance in front of the United Nations soldiers stationed on the island. Andersson and Ulvaeus were at this time recording their first album together, "Lycka", which was to be released in September 1970. Fältskog and Lyngstad added backing vocals on several tracks during June, and the idea of them all working together saw them launch a stage act, "Festfolk", which translates from Swedish to mean both "Party People" and "Engaged Couples", on 1 November 1970 in Gothenburg. The cabaret show attracted positive reviews. The foursome performed the Andersson and Ulvaeus hit "Hej, gamle man" ("Hi, Old Man"); the first recording credited to all four – and solo numbers from respective albums, but the foursome did not feel like working together, and soon concentrated on individual projects again.
First record together "Hej, gamle man"
"Hej, gamle man", a song about an old Salvation Army soldier, became the quartet's first hit. The record was credited to Björn & Benny and reached number 5 on the sales charts and number 1 on Svensktoppen, staying there for 15 weeks. In the first half of 1971, the four artists worked more together, adding vocals to the others' recordings. Fältskog, Andersson and Ulvaeus toured together in May, while Lyngstad toured on her own. Frequent recording sessions brought the foursome tighter together during the summer.
Forming the group (1970–1973)
After the 1970 release of Andersson's and Ulvaeus' album "Lycka", two more singles credited to 'Björn & Benny' were released in Sweden, "Det kan ingen doktor hjälpa" ("No doctor can help with that") and "Tänk om jorden vore ung" ("Imagine if the Earth were young"), but clearly with more prominent vocals by Fältskog and Lyngstad - and with moderate chart success. Fältskog released her fourth album in 1971 and married Ulvaeus on 6 July 1971. Andersson, Ulvaeus, and Fältskog started performing together on a regular basis during the summer of 1971.
Stig Anderson, founder and owner of Polar, was determined to break into the mainstream international market with music by Andersson and Ulvaeus. "One day the pair of you will write a song that becomes a worldwide hit", he predicted. Stig encouraged Ulvaeus and Andersson to write a song for Melodifestivalen, and after two rejected entries in 1971, Andersson and Ulvaeus submitted their new song "Säg det med en sång" ("Say It With A Song") for the 1972 contest, and they chose newcomer Lena Anderson to perform. The song won third place, encouraging Stig, and became a huge hit in Sweden. The first signs of foreign success came as a surprise, as the Andersson and Ulvaeus single "She's My Kind of Girl" was released by Epic in Japan in March 1972, giving the duo a Top 10 hit. Two more singles were released in Japan, "En Carousel" (earlier version of "Merry-Go-Round") and "Love Has Its Ways" (a song they wrote with Koichi Morita).
First hit as 'Björn, Benny, Agnetha & Anni-Frid'
Ulvaeus and Andersson persevered with their songwriting and experimented with new sounds and vocal arrangements. "People Need Love" was released in June 1972, featuring guest vocals by the women, who were now given much greater prominence. Stig Anderson released it as a single, credited to Björn & Benny, Agnetha & Anni-Frid. The song reached #17 in the Swedish combined single and album charts, enough to convince them they were on to something. The single also became the first record to chart for the quartet in the United States, where it peaked at #114 on the Cashbox singles chart and #117 on Record World's singles chart. Billed as Björn & Benny (with Svenska Flicka), it was released there on Playboy Records. However, according to Stig Anderson, "People Need Love" could have been a much bigger American hit, but a small label like Playboy Records did not have the distribution resources to meet the demand for the single from retailers and radio programmers. The foursome decided to record their first album together in the autumn of 1972, and sessions began on 26 September 1972. The two women shared lead vocal on "Nina, Pretty Ballerina", on this day, and the two women's voices combined in harmonies for the first time gave the foursome an idea of the qualities of their combined talents.
"Ring Ring"
For 1973, the band and their manager Stig Anderson decided to have another try at the Melodifestivalen, this time with the song "Ring Ring." The studio sessions were handled by Michael B. Tretow, who experimented with a "wall of sound" production technique that became the wholly new ABBA sound. Anderson arranged an English translation of the lyrics by Neil Sedaka and Phil Cody and they thought this would be a surefire winner, but in the Melodifestivalen, on 10 February 1973, it placed third, and thus never reached the international contest. Nevertheless the proto-group put out their first album, called Ring Ring. The album did well and the "Ring Ring" single was a hit in many parts of Europe, but Stig Anderson felt the true breakthrough could only come with a UK or US hit.
Official naming
In early 1973, Stig Anderson, tired of unwieldy names, started to refer to the group privately and publicly as ABBA. At first, this was a play on words, as Abba was also the name of a well-known fish-canning company in Sweden. However, since the fish canners were unknown outside Sweden, Anderson came to believe the name would work in international markets. A competition to find a suitable name for the group was held in a Gothenburg newspaper. The group was impressed with the names "Alibaba," "FABB," and "Baba", but in the end all the entries were ignored and it was announced in the summer that the name "ABBA" was official. Later the group negotiated with the canners for the right to the name.[21] "ABBA" is an acronym formed from the first letters of each group member's name: Agnetha, Björn, Benny and Anni-Frid (Frida). The first 'B' in the logo version of the name was "mirror-image" reversed on the band's promotional material from 1976 onwards and became the group's registered trademark. The first time the name is found written on paper is on a recording session sheet from the Metronome Studio in Stockholm, dated 16 October 1973. This was first written as "Björn, Benny, Agnetha & Frida", but was subsequently crossed out with "ABBA" written in large letters on top.
The official logo, using the bold version of the News Gothic typeface, was designed by Rune Söderqvist, and appeared for the first time on the Dancing Queen single in August 1976, and subsequently on all later original albums and singles. But the idea for the official logo was made by the German photographer Wolfgang Heilemann on a "Dancing Queen" shoot for the teenage magazine BRAVO. On the photo, every ABBA-member held a giant initial letter of his/her name. After the pictures were made, Heilemann found out that one of the men held his letter upside down. They discussed it and the members of ABBA liked it. In 1992 Polygram redesigned the logo for the ABBA Gold compilation, having a different font along with a crown emblem. Still, the classic logo is more commonly seen, for instance being used on the official ABBA website.
Breakthrough (1973–1976)
Eurovision
For their first Eurovision, ABBA entered with "Ring Ring" but failed to qualify as the 1973 Swedish entry, it came third in the preliminary round. Stig immediately started planning for the 1974 contest.
Ulvaeus, Andersson, and manager Stig Anderson believed in the possibilities of using the Melodifestivalen and Eurovision TV contests as a way to make the music business aware of the band and Andersson, Ulvaeus and Stig as composers. In late 1973, they were invited by Swedish television to contribute a song for the 1974 contest, and from a number of newly written compositions, the foursome chose the upbeat "Waterloo"; the group was now inspired by the growing glam rock scene in England. "Waterloo" was an unashamedly glam-style pop track produced with Michael B. Tretow's wall-of-sound approach.
ABBA won their national heats on Swedish TV on 9 February 1974, and with this third attempt were far more experienced and better prepared for the international contest. Winning the Eurovision Song Contest gave ABBA the chance to tour Europe and perform on major TV shows; thus the band saw the "Waterloo" single climb the charts in many European countries. "Waterloo" was ABBA's first number one single in big markets such as the UK, Germany and Australia. In the US, it reached #6 on the Billboard Hot 100 chart, paving the way for their first album and their first trip as a group there. Albeit being a short promotional visit, it included their first performance on American TV, The Mike Douglas Show. The Waterloo album only peaked at #145 on the Billboard 200 album chart, but received unanimous high praise from the US critics: Los Angeles Times called it "a compelling and fascinating debut album that captures the spirit of mainstream pop quite effectively...an immensely enjoyable and pleasant project", while Creem characterized it as "a perfect blend of exceptional lovable compositions".
ABBA's follow-up single, "Honey, Honey", reached #27 on the US Billboard Hot 100, and was #2 in Germany. However, in the UK, a cover version of the song by the act Sweet Dreams made #10 because ABBA's British record company, Epic, decided to re-release a remixed version of "Ring Ring" instead. It failed to reach the Top 30, increasing growing speculation that the group were simply Eurovision one-hit wonders.
Post-Eurovision
In November 1974, ABBA embarked on their first European tour, playing dates in Denmark, West Germany, and Austria. It was not as successful as the band had hoped, since most of the venues did not sell out. Due to a lack of demand, they were even forced to cancel a few shows, including a sole concert scheduled in Switzerland. The second leg of the tour, which took them through Scandinavia in January 1975, was different. They played to full houses everywhere and finally got the reception they aimed for. Live performances continued during the summer of 1975 when ABBA embarked on a sixteen open-air date tour of Sweden and Finland, attracting huge crowds. Their Stockholm show at the Gröna Lund amusement park was seen by an estimated audience of 19,200.
In 1974 So Long was released as a single in the UK but it received no airplay from radio 1 and failed to chart. In summer 1975 they released I Do I Do I Do I Do I Do, which again received little airplay on radio 1 but managed to climb the charts, to #38. Later in 1975 the release of their next album ABBA and single "SOS" brought back their chart presence in the UK, where the single hit #6 and the album reached #13. SOS also became ABBA's second number 1 single in both Germany and Australia. Success was further solidified with "Mamma Mia" reaching the #1 spot in UK, Germany and Australia in January 1976. In the US, "SOS" reached #10 on the Record World Top 100 singles chart and #15 on the Billboard Hot 100 chart, picking up the BMI Award along the way as one of the most played songs on American radio in 1975. The success of the group in the United States had been so far limited to single releases. By early 1976, the group already had four Top 30 singles on US charts, but the album market proved to be tough to crack. The eponymous ABBA album generated three American hits, but it only peaked at #165 on the Cashbox album chart and #174 on the Billboard 200 chart. Opinions were voiced, by Creem in particular, that in the US ABBA had endured "a very sloppy promotional campaign". The group, however, enjoyed warm reviews from American press. Cashbox went as far as saying that "there is a recurrent thread of taste and artistry inherent in Abba's marketing, creativity and presentation that makes it almost embarrassing to critique their efforts", while Creem wrote: "SOS is surrounded on this LP by so many good tunes that the mind boggles".
In Australia, the airing of the videos for "I Do, I Do, I Do, I Do, I Do" and "Mamma Mia" on nationwide TV in August 1975 started an immense interest for ABBA, resulting in #1 positions on both the single and album charts for months.
Superstardom (1976–1981)
In March 1976, the band released the compilation Greatest Hits, despite having had only six Top 40 hits in the UK and the US. Nevertheless, it became their first UK #1 album, and also took ABBA into the Top 50 on the US album charts for the first time, eventually selling more than a million copies there. At the same time, Germany released a compilation named The Very Best of ABBA, also becoming a #1 album there whereas the Greatest hits LP followed a few months later to #2 on the German charts, despite all similarities with "The Very Best" album. Also included on Greatest Hits was a new single, "Fernando", which had first been written by Ulvaeus and Andersson in Swedish for Lyngstad's #1 1975 solo album Frida ensam (Frida alone). After Lyngstad's major success with the song in Scandinavia, the group decided to record an English version. With "Fernando" hitting #1 in twelve countries worldwide (including the UK and Germany), it occupied the top position in Australia for 14 weeks, tying The Beatles for longest number one for "Hey Jude", making it one of the best-selling singles of all time in that country. That same year, the group received its first international prize, with "Fernando" being chosen as the "Best Studio Recording of 1975". In the US, "Fernando" reached the Top 10 of the Cashbox Top 100 singles chart and #13 on the Billboard Hot 100. It also topped the Billboard Adult Contemporary chart, ABBA's first American number one single of any kind.
The group's next album, Arrival, a #1 bestseller all over Europe and Australia, represented a new level of accomplishment in both songwriting and studio work, prompting rave reviews from more rock-orientated UK music weeklies such as Melody Maker and New Musical Express, and mostly appreciative notices from American critics. Hit after hit flowed from Arrival: "Money, Money, Money", another #1 in Germany and Australia, and "Knowing Me, Knowing You", ABBA's sixth consecutive German #1 as well as another UK #1. The real sensation of all was "Dancing Queen", not only topping the charts in the loyal markets UK, Germany and Australia, but also reaching #1 in the US. In 1977 Arrival was nominated for the inaugural BRIT Award in the category "Best International Album of the Year". By this time ABBA were popular in the UK, most of Western Europe and Australia. In Frida the dvd, Lyngstad explains how she and Fältskog developed as singers, as ABBA's recordings grew more complex over the years.
Their popularity in the US would remain on a comparatively smaller scale, and "Dancing Queen" became the only Billboard Hot 100 #1 single ABBA had there (they did, however, get three more singles to the #1 position on other Billboard charts, including Billboard Adult Contemporary and Hot Dance Club Play). Nevertheless, Arrival finally became a true breakthrough release for ABBA on the US album market where it peaked at #20 on the Billboard 200 album chart and was certified gold by RIAA.
European and Australian tour
In January 1977, ABBA hit the road. The group's status had changed dramatically and they were clearly regarded as superstars. They opened their much anticipated tour in Oslo, Norway, on 28 January, and mounted a lavishly produced spectacle that included a few scenes from their self-penned mini-operetta "The Girl With The Golden Hair." The concert attracted immense media attention from across Europe and Australia. They continued the tour through Western Europe visiting Gothenburg, Copenhagen, Berlin, Cologne, Amsterdam, Antwerp, Essen, Hanover, Hamburg, and ended it with shows in the UK in Manchester, Birmingham, Glasgow and two sold-out concerts at London's Royal Albert Hall. Tickets for these two shows were available only by mail application and it was later revealed that the box-office received 3.5 million requests for tickets, enough to fill the venue 580 times. Along with praise ("Abba turn out to be amazingly successful at reproducing their records", wrote Creem), there were complaints that "Abba performed slickly...but with a zero personality coming across from a total of 16 people on stage" (Melody Maker). One of the Royal Albert Hall concerts was filmed as a reference for the filming of the Australian tour for what became ABBA: The Movie, though it is not known exactly how much of the concert was filmed.
After the European leg of the tour, in March 1977, ABBA played eleven dates in Australia before a total of 160,000 people. The opening concert in Sydney at the Sydney Showground on 3 March before over 20,000 was marred by torrential rain and Frida slipped on the wet stage during the concert. However, all four members would later recall this concert to be the most memorable of their career. Upon their arrival in Melbourne, a civic reception was held at the Town Hall and ABBA appeared on the balcony to greet an enthusiastic crowd of 6,000 people. In Melbourne, ABBA played three concerts at the Melbourne Myer Music Bowl with 14,500 at each including the Australian Prime Minister Malcolm Fraser and his family. At the first Melbourne concert, an additional 16,000 people gathered outside the fenced-off area to listen to the concert. In Adelaide, the group performed one concert at West Lakes Football Stadium before 20,000 people with another 10,000 listening outside. During the first five concerts in Perth, there was a bomb scare with everyone having to evacuate the Entertainment Centre. The trip was accompanied by mass hysteria and unprecedented media attention ("Swedish ABBA stirs box-office in Down Under tour...and the media coverage of the quartet rivals that set to cover the upcoming Royal tour of Australia", wrote Variety), and is vividly captured on film in ABBA: The Movie, directed by Lasse Hallström.
The Australian tour and its subsequent ABBA: The Movie produced some ABBA lore, as well. Agnetha Fältskog's blonde good looks had long made her the band's 'pin-up girl', a role she disdained. Many fans thought that this unfair focus on Agnetha detracted from the band's wholesome image, and also was unfair on the other members; especially Anni-Frid, who the fans viewed as equal to Agnetha, and some saw it as a vendetta against Anni-Frid. During the Australian tour, she performed in a skin-tight white jumpsuit, causing one Australian newspaper to use the headline "Agnetha's bottom tops dull show". When asked about this at a news conference, she replied: "Don't they have bottoms in Australia?" Frida is also pictured in this scene, looking particularly unamused; unsurprising, as the focus and comments made to Agnetha in this particular part of the movie are particularly embarrassing.
In December 1977, ABBA followed up Arrival with the more musically and lyrically ambitious fifth album The Album, which was released to coincide with ABBA: The Movie. Although the album was less well-received by the critics in the UK, it did spawn more worldwide hits: "The Name of the Game" and "Take a Chance on Me", both of which topped the UK charts, and reached #12 and #3, respectively, on the Billboard Hot 100 chart in the US. Although "Take a Chance on Me" did not top the American charts, it has actually proved to be ABBA's biggest hit single in the United States, selling more copies than "Dancing Queen". The Album also included the ABBA signature tune, "Thank You for the Music", released as a single in the UK in 1983, and had been the B-side of "Eagle" in countries where the latter had been released.
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