A stopping place for now: 'Agnetha/ABBA, Belatedly'

© 2009-2011 (original portions only)

This, from an older-but-wiser geezer whose spot was once the old Cleveland Agora (USA); a venue that a '70s pop band (not named The Raspberries) possibly would not have survived:

After many years of ignoring them it's been an enjoyable (and ironic) experience to "discover" 'supergroup' ABBA, and reluctant star Agnetha Fältskog [aŋˈneːta]. (Pictured/link. Also credit to Mr. Palm (see below), for that descriptor of Ms. Fältskog.) Surprise (U.S. rock fans...(of a 'certain age')):They were excellent at their craft.  I hope those who stumble upon this informal site will (also) find interest in some of the learning that's occurred....  (I know that many of you have also 're-discovered' Agnetha/ABBA...) Please make use of the index of topics/labels located below on the right sidebar.  This blog is - for the most part - music-focused.               (Photo (also a link to an indelible performance) : Agnetha Fältskog, ABBA, Ekeberghallen, Oslo, Norway, January 28th 1977. Author: Helge Øverås. No website endorsement implied.)

Blog navigation note/hint: No time right now?? Please start here with this "salient points", condensed blog summary (link).

A listeners' review of Agnetha's post-ABBA recordings (link)  - though incomplete - is worth a look to see if you agree with its selections and perceptions. Note: Includes an updated Agnetha 'top ten' listing. Agnetha's special voice? Independent, music-detail insights about it are here. And, please try these three posts for a little broader perspective (i.e., they are not only about Ms. Fältskog.  Research about ABBA's 1979 stormy Boston concert flight is included.) Links: Here, here and here.

If there's an overarching point via the (belated) discoveries detailed here, it's simply this: Ms. Fältskog can sing. (Despite some retro-star-power-induced detours nearing "the deep end" in this blog ("actuated by" Agnetha's published efforts - years later - evidence of a true star....);that is really what this written effort is about. (Her singing.))An extraordinary pop voice: Crystal-clear, sweet and expressive. Per much that's asserted in this blog; her voice inside your head(phones): A pleasure. (Link is to an individual YouTube song tribute from aficionado '2Shaymcn'. (Videos from that YT site are linked here with permission.)
 ...Combine with the 'element' of heavenly female beauty ..and to some (at least); a captivating delight (link). Though her in-English work is in the past now, she is well worth a (re-)visit --in any form: "Smiling sensation" Agnetha (at her utmost) is more discoverable than ever via "time machine", You Tube.

(Insert...) 2014: And yes BTW, (rightly or not) I do feel slightly 'flattered' when Agnetha/ABBA official websites (etc.) occasionally re-use descriptive words such as 'aficionado' and 'siren'......Employed by this tiny blog (years ago).(Screen-cap image/example follows:)

(Continuing previously written text:)Necessary to know, up-front: Both ABBA singers together were essential for that band's success. No Frida and Agnetha = No ABBA. For many, the presentation (singing, etc.) of ABBA's songs was equally as important as the exceptional writing, producing. (A YT link to one fantastic (performing) example...)  (Update:) Easy prediction: In the popular music sphere I believe that these two ladies will be revered (more revered or acclaimed) for years to come. They were that special, together ...One sample link here to a beautiful ABBA ballad, featuring Frida's stellar lead...). Related: Singing with/skillfully harmonizing with other singers was clearly a major strength forMs. Fältskog(the main focus here; solo work). A sample link to one appealing post-ABBA example. (And another: A not-well-known one (during her ABBA days), from Sweden (link).Another lesser-known favorite....ooops, Not hers??) More: A much-too-cursory Frida appreciation is included here. (A beautiful recent, published picture of Frida is linked here.)   
And please see the end of this post for a 'bonus quotation' that nicely describes the two voices of ABBA. 

http://homepage.ntlworld.com/nytorp/images/agfrconc2.jpg

(Nope: In case it's not obvious, I'm

not associated in any way with

 ABBA, Ms. Fältskog or their record companies.If you find that you're not convinced of certain findings here, pls. try some available videos on You Tube for a mesmerizing sample (Ms. Fältskog, solo). And consider what present-day viewers there are saying. Or: Why not read on in this blog and enjoy the many included links....Most of us will never meet the Swedish singer, but this effort may be a good way to learn much via her music. Plus the mere fact that a number of unofficial 'appreciations' or tributes have been independently created on-line (in several locations): A tremendous compliment to this performer. (And those similarly created for other ABBA members, the band itself, etc.)

(Continuing:) From not even knowing the names of ABBA's members and only a few of their hit songs (like many people in the U.S.), it's been good to gain a richer appreciation of the "mega" pop group and those associated. With millions of others I'll be enjoying recordings, etc. of the band, and especially from Ms. Fältskog. (Aside: None of it is Mozart, nor opera singing....But ABBA understood that.) Plus, of course the numerous, well-done tributes etc. on You Tube.... which seem to expand by the week. (And huge ABBA fan Sen. John McCain may unleash an impromptu karaoke retrospective at any moment, as we all know. Don't get me going re Vladimir Putin....Update: Or, NYC mayor Michael Bloomberg...?) ABBA exemplifies something not all too readily done, done very, very well. It is difficult not to respect and admire that....(Celebrated actress/voice artist Joanna Lumley says it succinctly with this recent quotation, displayed here (link). And as some YouTube commenters currently like to "get a little stupid" (and write underneath ABBA videos (for example)): "I'm an unborn fetus ....and I LOVE ABBA." ...)

Stop: BTW, is this blog (you're reading) one guy's way-late "head trip" (mainly) about a singularly talented, 1970's/80's Swedish singer?? (A performer with enough 'star-power' to motivate (inspire) this unprecedented effort (for me.) Answer: Possibly YES, at moments. (Don't think I was quite at this point, though (link).) However please read on, as you may well find that it's worth the trip back....Agnetha's appealing pop voice is reason enough.
(An appropriate ABBA song (title) for this 'trip'?? (Link, new window.) The two ABBA singers together: A dream, always...)

Until 2004, ABBA's state-of-the-art Polar Music Studios was located in this building in Stockholm.

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As noted here and elsewhere, Carl Magnus Palm has written the definitive ABBA biography to date: Bright Lights, Dark Shadows. If you haven't yet done so please consider reading it especially if you're an ABBA or Agnetha fan. It is well-researched and very detailed. Also, if you want to know what was being written -- factually and otherwise -- about all ABBA members during their peak years, an excellent web site has quite a collection for you: http://abbaarticles.blogspot.com/

Some stories are largely made-up or just tabloid trash, but ABBA members did talk frequently and could be candid. In fact, though some publications unfavorably label Ms.Fältskog to be reclusive, uncooperative, etc., the truth is that she has spoken candidly with selected sources over many years. (See a few of the articles linked above.) This lengthy and detailed blog being read right now is completely based upon the singer's available public interviews, biography, published music, etc. The artist is generally publicity-shy (or was; pls. see 'late 2010 update' near the end of this post), but there is hardly a lack of information from/about the public Agnetha. (Just one example: A charming and candid short interview from 1981, via this 'ABBA4EVER' link (new window).

 ABBA has moved on and it's time for me to do so as well. I'll add more to the blog perhaps if an event of significance occurs (with the group or members) . But please check back for ongoing updates, enhancements and additions to the current entries. If you read something here, please leave a civil comment (if you'd like) as I'll continue to be able to view them. FWIW, all original entries here are copyrighted. Thank you.

A closing word (or two) about talented Agnetha Fältskog, who -- along with many other fans -- I've quickly come to admire. (For reasons detailed above and elsewhere. There may be millions of us (Agnetha fans)...clearly we all have good acumen, perception, etc....) 1) I hope proper recognition for the key contributions made to ABBA by both fronting ladies will be forthcoming. (I.e., Anni-Frid Lyngstad and Agnetha.) Both were essential to the group's great success, and their voices together were something like pop music magic, in my view. (Ref. this interesting forum discussion about the "third voice" that sometimes emerged. As also noted previously; rich-voiced, rock-solid Frida "carried it" on numerous ABBA songs; Agnetha more the dramatic accent. "Money Money Money"; one example.) Note: Volume is high on the following. Actually both vocalists are pretty impressive in this ABBA song/video version (mimed here; more about its singing linked here), which somehow magnifies Agnetha's high-note contributions...Plus: An even better song featuring the singers at their best together follows via this post.


(YT video link)
In other words they were attractive ladies who could sing, and sing well together. Not all that common of a combination, judging by how very few true "successors" (none?) have appeared in popular music since. They were hardly just "a couple of decorative Swedish babes", as a few (especially around these parts) may have once thought. To me, it is not going too far overboard to claim the two women together at their peak as one of the miracles of latter-20th-century pop music. (Yes, there were a few...(another) (+ another). A different one (link).)  E.g., Please enjoy this available YT performance (link) and tell me that it was not. (Ms. Fältskog especially, that time.) And if interested (ladies/vocalists): Try to (truly) match DQ's singing on your own/via karaoke. You'll likely find yourself impressed with A and A's effort...


A petition for overdue ABBA induction to the "Rock and Roll Hall of Fame" is here. Remember: The Bee Gees, Madonna, Dave Clark Five and other pop-oriented acts are already there. (And per the comment received below, it is appropriate to question that entity's validity, purpose, etc. ABBA is a 2002 Vocal Group Hall of Fame inductee.) 9/09 UPDATE: Click  for news of 2010 "Rock Hall" nominees. And know it right here, first: ABBA is IN in 2010. So many lesser acts have been inducted,  I don't see how the enduring pop 'supergroup' can be kept out of the Hall any longer....Vote in and follow a current poll for 2010 nominees, here. 12/09/09 update: Rumors are circulating today that ABBA will indeed be inducted in March, 2010. 12/15/09: Congratulations to ABBA and all associated. Long overdue....
A link to a 12/09 post about the announced induction (from this blog's perspective) is here.

2) Ms. Fältskog's clear, sweet voice, packed with emotion at times; is a gift. (Which also seems perpetually youthful-sounding at times, but there's more to it than that.) If not already underway, I predict a revival (or kindling) of interest and appreciation for this underrated singer's work. (Beyond that of the various Agnetha imitators in "ABBA" redux shows. They're fine in some cases, but no one has the original singer's distinct voice.) In the big-market United States, my continuing impression is that (the real) Agnetha remains sketchily known. (I don't think for a second that this matters any more to the successful artist. And she, of course, remains very popular in home Sweden and elsewhere. Also, a mention that in some (homophobe?) corners of the U.S., ABBA music, etc. is still disdained, per (supposed) popular appeal in the gay community (pages 501-2). I don't condone that but, at any rate.... At my age I chart my own path (heteros were attracted to the ABBA ladies ,too), and am mature enough to enjoy ABBA's qualities now, "bias-free".(Though definitely a "slow learner" ....☻. Brain-free too??: Follow this link for a tiny farce.)

As the private lady approaches her 60th birthday, it's a question as to whether we'll hear Ms. Fältskog again in English. Sixty isn't so old (to some of us) but Agnetha's pretty much gone her own way after ABBA, so only she knows for sure/controls her destiny. But if her special voice remains intact it would be a loss not to hear it recorded in some way, at least one more time.(E.g., A link to a story about a great pop singer still "remarkably fresh"-voiced at age 67: http://www.nytimes.com/2009/09/27/arts/music/27tomm.html?pagewanted=1&_r=1&em)

Per the following quotation in Mr. Palm's book (2008 edition), Agnetha responded in 2004 -- at least in part -- to fans imploring her to record again. Putting together an album is not easy, but if you happen to agree with me about her pure, feminine voice, perhaps consider writing a polite request to her record company. This website has an excellent article that might assist with that: http://www.agnetha-forever.de/ChangeLog/Write/write.html
Maybe a single-song duet or something like that is still in the realm of possibility....

Agnetha Fältskog from 2004 (re "My Colouring Book"), as quoted on page 539, "Bright Lights, Dark Shadows", C.M. Palm, author. (Short passages used with permission.) :

"I get a lot of fan mail from all around the world, and it's fantastic to hear that they like my music so much and want to know what I have been doing, and that they really love and miss my voice. It affected me so much, that's when the idea came up in my head maybe I should do another record."

There may have also been other reasons, but still, that was a nice one....

(More "nice lady": A link from the excellent http://www.agnetha-forever.de site to liner notes from Agnetha's 2008 compilation album, "My Very Best": http://www.agnetha-forever.de/ChangeLog/myverybest/myverybest.html  )

Whatever happens let's hope that this underprized singing star enjoys peace and satisfaction, and whatever else she wishes. My impression is that Agnetha remains a private person, quite settled with family, etc. now. As written (perhaps with a touch of envy and/or wistfulness; but not necessarily untruthfully) here: "...she’s mostly kept the silence of someone who’s conquered the world already." (Or, at least as much of it as desired(!).)  Late 2010 update: Or....perhaps NOT. Ms. Fältskog surprises with a number of recent public appearances plus a photo 'spread'/story in Sweden's (glossy) 'M-magazine'. Link to a translation (English) (incl. photos) from Mikory's ABBA blog. Agnetha's even reportedly doing some flying again, and sings a little "by the piano" (and plays). If one reads "between the lines" a bit in this interview, though, it mostly sounds like the lady may be retired now, professionally. (As written just above, here.) The prolific recording artist has earned that, or whatever she wants. But, Ms. Fältskog didn't completely "close the door"....
More: FWIW; possibly as a revealing  "glimpse inside", the Swedish star once wrote at the end of her 1996 As I Am biography that she had not "closed any doors". But also that: "...It would be horrible to be compelled to live up to world-wide expectations, to the money, or to what other people expect of you." (Page 149)

(Continuing previous text:) Agnetha has (also reportedly) said that she did not aim to be "worshiped by loads of people". 

"Thy voice is music..." — Shakespeare, Henry V, V-ii   (Ed. note: No...other parts of this quotation do not apply.)

(Agnetha Fältskog. Author: Daniel Åhs Karlsson, 4/7-2008. This file is licensed under the Creative Commons Attribution 3.0 Unported License. In short: you are free to distribute and modify the file as long as you attribute its author(s) or licensor(s). Its use is in no way an endorsement of this website...)

One telling, final note, from the 2008 afterward of C.M. Palm's "Bright Lights, Dark Shadows" (page 540):

Re Agnetha in 2004 (and beyond), after releasing "My Colouring Book":

"After one final lengthy Swedish television interview towards the end of the year, Agnetha once again stepped back from the media spotlight. It seems unlikely there will ever be a follow-up album, although she didn't rule out the possibility, hinting that it might be a Swedish-language-release that would "end my career as I started it"."

 A 'bonus' quotation: I'm taking the liberty of including one special paragraph from Christopher Patrick's excellent book, ABBA: Let The Music Speak. A stellar description (page 142):

"Between them, Agnetha and Frida had a dazzling array of vocal colours that would rival any artist's palette, and these were blended with astonishing results. Every now and then in their extraordinary unison world, one singer would change tint ever so slightly, adding yet another gorgeous hue to the spectrum."

(Blog note: The last edit to this post was on March, 2012.)

Link to my full blog: http://star4abba.blogspot.com/

FAQ: Why hasn't Sweden's 'Litteris et Artibus' medal been awarded to ABBA's Agnetha?

 (2012 update: Agnetha gains recognition of a different form. More here (link, new window). 2014 update: Not quite the same as what is detailed below, but ABBA receives an (apparently) official prize, as detailed via this off-site forum link: http://www.iphpbb.com/board/ftopic-30652567nx61610-14716.html#625407 
...And one more belated update to the 2009 post that follows: I've learned from this website (link) that Agnetha once received a "gold medal from the king" (of Sweden) around the time of further honors from her birthplace (Jönköping), in 1984.)

(Previously written text follows, from 2009-10:)

Huh? OK, that question might not be on your '411' short list. And it's very likely not on the docket of ABBA's Agnetha [aŋˈneːta] Fältskog. But we're here, the question's been posed, so let's briefly work through this together why don't we. Perhaps someone who actually knows can enlighten ABBA/Agnetha fans about this one. (Note: Links below are light blue.)

Beyond what is shown on the web site for The Swedish Royal Court I admittedly know little about the subject. That source says that the Litteris et Artibus royal medal "... is awarded for outstanding service to the arts, especially to music, dramatic art and literature."
Also from the royal site, re Medals (in general) : "Medals are presented to Swedish and foreign citizens for outstanding contributions that benefit society and also in commemoration of significant people or important events."

Agnetha's former husband and ABBA band-mate Björn Ulvaeus was awarded this medal in 1999. Without knowing all of the criteria it's still fairly easy to understand why. He, along with co-writer Benny Andersson (ex-ABBA) have made significant music composition contributions since ABBA. And, of course, they were the (primary) writers of the successful group's many popular songs. (So why hasn't ABBA's musical "engine" Benny Andersson also been awarded this medal? Updated note: Mr. Andersson apparently has a few (other) honors of his own (link)....))

I'm not certain who (in Sweden) selects appropriate recipients of this medal, though it's likely H.M. The King himself and/or appropriate individuals with some formal (i.e., royal) association. And I'd guess that most of the rest of us don't know all of the criteria or qualifications for such an award.

Please note: This is not the launch of a "mouse potato" campaign on anyone's behalf. (I.e., Ms. Fältskog.) I might be fairly presumptuous at times, but (even) I would not be that forward. (BTW, the artist is reputedly not a PC/Internet user.)  And per below, she doesn't need 'help'.

All that said: The interesting question remains. Out of curiosity, why hasn't this Swedish royal medal been bestowed to date? Some ideas follow, further below. Ms. Fältskog's desire for privacy may be a concern.

Many ABBA/Agnetha fans can offer reasons why she should receive serious consideration for an award. (You knowledgeable ones receive a gold star of your own and can probably skip this section.) A few obvious ones: 1) Her pure, brilliant singing voice alone should make her something of a "national treasure". (My opinion, but shared by many. Here, also.) I'm likely being naive, but Ms. Fältskog is so well-known and regarded via her voice worldwide, that (I'm bold enough to suggest that) perhaps she should (alternatively?) be considered for Sweden's Hovsångerska title.(Usually reserved for opera singers.) Both of ABBA's accomplished singers perhaps should be....   2) Her voice (plus, as noted several times here, her appearance, stage presence, etc.) helped sell over 350 million records for Swedish supergroup ABBA, worldwide. (All record sales figures are estimates, by record companies.) To many (not all), Agnetha was ABBA's primary "focal point". A pop music icon, though she did not seek that status. 3) As a solo artist since ABBA, she has sold millions of her recordings. (E.g., 1983's "Can't Shake Loose" (single), RIAA "Gold" certification. The Agnetha.net website (Bio section) puts song copy sales at 2 million +.) 4) In 1975, Agnetha co-produced and wrote most of the songs for a fine, solo studio album (in Swedish): Elva Kvinnor I ett Hus, Cupol CLPS 351, released December 1975.(Title translates to 'Eleven Women in One House (or Building)'. Bonus: View some fan/experts' rankings of this album's songs, here (link).  5) As a solo artist prior to ABBA, and even occasionally during her ABBA years, Ms. Fältskog (often) performed (in) local concerts or shows (e.g., annual "folk park circuit"), etc. throughout Stockholm/Sweden. (Note: Please refer to years 1972 or earlier via the excellent "ABBA Annual" link.) She also was a successful teenage singer in Sweden, prior to ABBA. She also starred as "Mary Magdalene" in the original Swedish production of the musical "Jesus Christ Superstar". (YT link to a distinct (and beautiful) performance...) 6) As noted previously in this blog, ABBA and Agnetha continue to be popular today via You Tube, worldwide. (I haven't even talked about the ABBA-inspired, successful musical, Mamma Mia!.) One of a number, this unofficial fan-created web site illustrates Agnetha's enduring popularity: http://www.divasthesite.com/Singing_Divas/Vox_Populi/vox_populi_Agnetha_Faltskog_1.htm 7) From what I know, Ms. Fältskog is a Swedish citizen in good standing; born, raised, and still residing there. AND, has likely been a "mega"-taxpayer in the Swedish system. 8) For ABBA and its members, The Rock and Roll Hall of Fame beckons. I firmly believe that this overdue international recognition is coming in 2010. 9) Agnetha's got a (Note: volume is high on the clip) "secret" sense of humor.... (OK, I added that as a "medal qualification" ...And the sense of humor is not really a secret; here is a forum 'thread' devoted to it (link): http://www.iphpbb.com/board/ftopic-30652567nx61610-9485.html ) Update: 9a) Some of Agnetha's vocal 'antics' in certain solo appearances (link to one impressive example, new window), a few songs with ABBA, and the solo song mentioned in the next point; show a decided sense of humor with displaying (indulging) various vocal abilities. Although much is owed to this song's production, just one ABBA example: After enjoying Frida's appealing lead listen to the following song again (link), for Agnetha's intertwined, high (background) harmonies...
10) She did "Golliwog". (jk, again.)


Obviously, I could go on further about this, offer more reasons, etc. (Mercifully will not.) But this isn't a campaign. I doubt that H.M The King accepts "write-in votes" for potential medal recipients. It's likely considered rude to even ask....

Regardless...Examples seem to be many for Ms. Fältskog, supporting the stated qualification of "outstanding service to the arts, especially music...(etc.)". Other popular singers in Sweden have been awarded this medal. As noted, we don't know all of the criteria. Perhaps it's "not such a big deal" in Sweden. Perhaps it's believed that ABBA members have received enough (money, rewards, etc.) Equal time: Here's a link to another point of view about awards for ABBA members: http://www.abbaplaza.com/site-en/columns.asp?ColumnId=45.

Angels in Disguise: ABBA's 'That's Me'

"Retro discovery": A "new" ABBA promo video. Uhh, new for me, that is....I much-belatedly started listening to this legendary pop band only a few months ago. (A link to the well-sung 1970's video is near the end of this post. We're taking a short break from "Agnetha solo", here...)

As noted on several occasions here both ABBA front singers Agnetha [aŋˈneːta] Fältskog and Frida Lyngstad were good actresses in their early, song-promoting film clips. Even knowing this, it seems to me that both are especially enjoying presenting 1976's "That's Me". (The surprisingly intriguing "B-side" for mega-hit "Dancing Queen".)

(Dancing. Old image freely available from LIFE photo archives)

ABBA guiding force, manager Stig Anderson could be candid when giving interviews about his charges. E.g., in this (well-done) ABC News "20/20" segment from 1979, he provides Pierre Salinger with quick but quite revealing "capsules" of the supergroup's four stars. (Also ref.: Carl Magnus Palm's "Bright Lights, Dark Shadows".)

Closely-involved Stig nonchalantly describes both ABBA ladies as having "temperaments". (But also softens this with other observations.) And I believe that this was likely true to a degree. The sometimes volatile nature of the women's relationships (before, during, and after ABBA) may (further) bear this out. Both (apparently) were strongly individual, with perhaps a little vulnerability at times.

(I'm speculating a bit, but if Björn Ulvaeus wrote this song's lyrics (as he usually did for ABBA by mid-1976), he was increasingly writing from personal experience/relationship experience. See pages 285 and 294 in Carl Magnus Palm's 2001 ABBA biography for additional background information.)

"That's Me"'s promo seems a rather quick "knock-off", incorporating clips from other ABBA vids., etc. But the videogenic women and their expressions make it quite watchable. (Shot in tight close-up: You have to be an attractive person to pull that off....)) The ladies - posed sister-close - are enjoying this song; looking nice, singing in their sultry/sweet voices .... (*cough*) about (perhaps) some (personal?) high-maintenance qualities. (As we're forewarned in the song's opening lines.) Almost looks like they're keeping back a laugh every now and then (as they mime the song). It's good acting -- perhaps in part because some of the words were meaningful (for the two). Both ladies (are able to)  "reach through the screen" on this one:

Check out the whimsical looks as they sing "That's me, you see" around the song's middle section. Were these ladies "diva-like"? At times, I'll bet. (Ms. Fältskog eventually named one of her greatest hits (solo) compilations with the same title. This song is said to be one of her favorites. 11/09 update: Confirmed as one of Agnetha's favorite songs (ABBA); per page 133 in the "As I Am" biography.) Knowing some of the group's backstories it's hard not to smile a bit watching their (seemingly) tongue-in-cheek performance (at moments) here.


Anyway, another underrated pop song from the group/artists. It's humorously done but to some extent expresses a contemporary attitude.

"Angels in disguise". Who knows; perhaps in this man's world they are.... Both definitely could sing like it.  "That's Me"'s in-unison singing, quickly followed by the two voices wonderful harmonies:
It is "(ABBA) vocal magic" on display...  Two modern-day 'sirens'. (Link is to word definition; meaning #2 -- but part of def. #1, also....)
  2014 update: Love the coincidental (lyrics) reference: "I believe in angels...", in a snippet of the two (snowy) ABBA beauties at the 0:48 mark of this cool, official video (link, new window).

(Continuing:) -> More: Watching the video performance several times: Though seemingly a fairly "routine" (for ABBA) effort, taken as a whole -- song, singing, (certain) lyrics, video presentation, ladies' performances (video and in-unison singing) -- I think it shows multifaceted greatness (from this group). And, it's also somehow (rather) intensely personal to/for viewers. (For the time period. Again; the womens' acting has something to do with this.)

A few selected lyrics from "That's Me" are at the end of this entry.

The YT video (at last):

Link to this video (functioning as of 2009): http://www.youtube.com/watch?v=mP_dk429rbc&fmt=18


Bonus: For a more complete perspective from the two ladies (in general), please re-visit this 2009 "Aftonbladet" interview: http://www.aftonbladet.se/nojesbladet/article4248848.ab
And, if you're in to "retro-competitions" with these two here's a poll for you (link).

(Oh...And let's hope that the tune's "Carrie" reference wasn't somehow to Brian DePalma's (late) 1976 movie "carrying" the same name. That is unlikely, however: Both the (detailed) "ABBA Annual" site and Wikipedia show "That's Me" recorded/released in 1976 (August), as a 'B' side. It was then later released as a single in Japan in 1977.)

Selected lyrics, "That's Me". Artist: ABBA:

"Are you sure you wanna hear more
What if I ain't worth the while
Not the style you'd be lookin' for
If I'm sweet tonight
Things look different in the morning light
I'm jealous and I'm proud
If you hurt my feelings I'll cry out loud
I'm Carrie not-the-kind-of-girl-you'd-marry
That's me

Are you sure you wanna hear more
Would I be the one you seek
Mild and meek like the girl next door
Don't you realise
I may be an angel in disguise
It's lonely to be free
But I'm not a man's toy, I'll never be
I'm Carrie not-the-kind-of-girl-you'd-marry
That's me "

(etc.)

Added 'bonus': The following linked performance (currently) available on YouTube is of a different ABBA song. It is included to help (further) demonstrate three things: 1) How absolutely beautiful both ABBA's singers were in their prime performing years. (E.g., It is not that 'easy' (for most) to look that great in bright sunshine...) In more than one way the two together (still) have no equal (duo) in popular music. ABBA (as an entity) was indeed smart and fortunate to attract and (further) develop such talent. Singing sirens.... 2) ABBA showed prescience to film song promo videos or actual (television) programs such as this one (in part), years prior to MTV. Though likely not a primary aim at the time, new generations are able to "discover" the supergroup from its peak years via such films. These are going to be viewed/re-viewed for a long, long time to come.... (Thanks again to '2Shaymcn' for editing/posting it - please mind your (headphones) volume.)
3) Did I mention that the ABBA ladies were very beautiful?? (Check out a couple of the viewer comments on the actual YT video...) Anyway...the two are posed/acting for the video here, but I think it's pretty clear that they got along OK...
('Subjective' 3a.) Frida's most becoming hairstyle of any video (I've located)...Except this one (link), also.)

Enjoy. It's 'old-time' now, but there's still nothing quite like these two: (link) http://www.youtube.com/watch?v=AyGmvfJiJ-4
 


Yet another worthwhile look back: 'Deep link' (click) to part of a beautiful, YouTube photo/music tribute to ABBA, by 'nickless1980'. Of the many excellent photos displayed, the too-brief (candid) moment at the 6:22-23 mark picturing young and joyful ABBA ladies together - as Dune's outstanding "One Of Us" closes out - is bittersweet. Poignant now...as is much of this video collage- plus-music.




(Image source: Getty Images. Non-commercial usage. No ownership/endorsements expressed or implied.)

Link to my full blog: http://star4abba.blogspot.com/

Agnetha's best voice: One Way Love

© 2009-2011 (original sections)

  "...her voice is a cure..." YouTube commenter 'golliwog14', re singer Agnetha Fältskog.

(Updated note: The published comments at the end of this post are valuable for - and (I believe) improve upon - the discussion (that follows).)

Picking up on a suggestion (I made) from the adjacent post here, "The Best Post-ABBA Song for Ms. Fältskog":
(Reader note: Interesting, (slightly) "technical" music details are going to follow. It is a fairly lengthy entry, but few have explored this area....Updated note: This author - Christopher Patrick - has explored ABBA music and their vocalists' abilities in enlightening detail (link to more info.).) And another, useful update: The excellent 'abba4ever' forum has a couple of older topics re Agnetha's voice that I wasn't aware of when originally writing this post. They're worth a look. Links (new windows) are here and here.

From listening to many of her efforts, I suggest that (much of) 1985's "One Way Love" is near-center in (adult) Agnetha Fältskog's vocal "comfort zone".(Pronounced [aŋˈneːta]. A short, funny video is here.) I.e., her vocal tessitura, as I understand the term. ("One Way Love's" YouTube video is embedded further below. This post ignores its just-OK video presentation.)
I'll say more about this impression (re the (main) voice utilized in 'One Way Love') further below...
Quick 2013 update: I (the writer) no longer agree with statements just above. Upon listening much more to Agnetha, I now suspect that her voice as used in "One Way Love" may be closer to MY 'comfort zone', vs. hers.  I.e., my own preference(s) may have colored perception here. Agnetha's voice/range in that song seem more what I prefer from her capabilities....
I'll let what follows stand, though. (Some of the analysis/insights may be worthwhile for fans.)

(Continuing, previously written:) Prefacing some of the text that follows, it should be noted that this singer's "zone" may have had (at least) a couple of segments. (Or sub-divisions.☻) And, to be fair: Her super-sweet voice quality - more apparent in other songs - gives the "One Way Love" "paradigm" serious competition. One decent example of this (sweet) quality is included here (new window opens). Another is linked here. And another (in Swedish.)  And a pleasing, high-register example, here.  (Such wide ability (versatility) is what helps make the pop singer an appealing one, IMO. (Plus there's another whole discussion (- we won't go there, here -) about how ably Ms.Fältskog could shift between a softer, warmer, (often-sweet), more intimate singing style (or voice) and her clear, (often-sweet), ringing (even piercing with the higher voice) louder efforts. (One "forte" (music def.), solo example is linked here (particularly the refrain). 1983's "Shame", perhaps another. "One Way Love" (below) is another louder effort, though not (comparatively) "super-sweet-voiced"....BTW, most of Agnetha's 1987 I Stand Alone album is performed with a (relatively) more subdued, smoother singing style (as an example of that).))   We don't have time/space here, but there is also Ms.Fältskog's unusual ability to sound plaintive - even wailing - in certain efforts. One example: The refrain from this excellent, in-Swedish song from 1975. (link (new window))
 Note: All songs linked here sound better on hi-fidelity recordings. BTW, equal time: Some definitely don't seem to agree (with my own assessments): link, new window: http://www.telegraph.co.uk/culture/3615466/Stayingin.html)

2012 insert/update: Interested readers are welcome to continue as I 'box around' some ideas about Ms.Fältskog's special voice, below.  However, here is a current link to a YT video which identifies a range of notes achieved by the singer over time, via scientific pitch notation. (Link to video, new window opens.) I think it is a very good effort, demonstrating a good portion of what follows (below, and in the comments here). As time permits I'll try to verify the notes ID'd in the video on a piano. My guess is that they are accurate. Although I'll take one more moment to add that the 'A7' scream ID'd around the 4:35 mark (video) is (to my ears) just that: A scream, vs. a music note.....(As also mentioned in the YT video's comments... the 'B7' note included is probably an instrument.)

(Continuing previously written text:) And also to preface, please be aware that this (American) writer is more familiar with Ms.Fältskog's English solo work. It is worth a listen to explore a few of her Swedish-language songs, via a post here (link). The artist's recent compilation album, "My Very Best" (link) contains 18 top songs in her native language. Also please note that what follows is mainly about the singer's voice and how it is used. Not "One Way Love"'s merit as a song (plus other ones mentioned below), melody, video presentation, meanings of lyrics, etc...

The strong, lower-range "One Way Love" is an example of why I sometimes questioned whether Agnetha's voice type could be "classified" as" "soprano". Versus the often more rangy and versatile mezzo-soprano type. In ABBA, Ms.Fältskog usually sang the higher-voiced parts, but could also sometimes match with her partner, rich "mezzo" Anni-Frid Lyngstad. One probable reason (of several) that the two meshed so well together. (Frida could also "sing high" when necessary. Pls. see reader comment, end of post. And also, superb analysis/examples (re Frida singing high), pp.142-43 of Mr. Patrick's book.) Updated note: In 1996's biography As I Am, co-author Brita Ahman describes Agnetha as having "...a very wide register and range." (Page 127.) A confirmation of that statement follows:

(Updated) analysis: Without the song's sheet music, I "pulled out" my trusty, flash (virtual) piano keyboard. Matching Agnetha's sung word "down" at the 35-36 second mark of the "One Way Love" YT video, the keyboard rang the A note that is two keys below (to the left of) middle C. (A/k/a C4, in scientific pitch notation.) Per Wikipedia, this is outside (i.e., slightly lower) than what's considered to be the common vocal range for a (classical) soprano. (Which generally begins at middle C.)

Even with this information, I'd guess that Agnetha is (was) primarily a (non-classical music) soprano. (Per the following examples.) But with a musically useful range that extends below the common classification. Important to note (for this discussion): "There is currently no authoritative voice classification system within non-classical music."  But, we will continue on here, understanding the limitations. (Perhaps this is one reason why I had difficulty guessing what voice "classification" Agnetha might have best approximated (per above). Plus, as noted in the linked article, technical enhancements (to voice, etc.) are often used (in popular music).)
   
(Continuing:) There is more: A different example, for her high voice: (And switching over to look at a couple of ABBA songs, briefly.) No sheet music again, but in the beautiful, higher-voiced "The Winner Takes It All", my virtual keyboard matches a few of Agnetha's quick higher notes as B's (B5's), one piano key below "high C". (A/k/a C6 in scientific pitch notation, two octaves above C4.) However, I think she goes higher than that at least once in that song. The word "takes", in "the winner takes it all"(late in the piece) -- could be the C# (C sharp) just above "high C"... -- per my amateur analysis. (Please keep "amateur" in mind.  I'm estimating....Listen to Benny Andersson's piano at the song's end, for some of the notes that  Ms.Fältskog hit.)  10/09 update: I found free piano sheet music for "Winner..." (At the same site as linked, below.) The vocal melody as written (at its highest notes) features many B -, C - and even D-notes -- all "flatted". (E.g., D-flat, which I believe is the same as C#.) They are written at one octave above "middle C" (treble clef). The question is "where" Agnetha is singing these written notes. It sounds to me (via my virtual piano keyboard) that she is (of course) singing the correct notes, but actually at two octaves above middle C. (Not surprising (at this point); she's a good (pop) soprano....) But.... that is just my amateur analysis. And, a quick, March, 2010 update: I continue to evaluate these statements in light of Mr. Patrick's professional analysis. Per page 290-91 of his book (link above), it appears that I have correctly identified the notes involved (above), as written. Where is Agnetha singing them? Mr. Patrick describes her as "confidently commanding a range of an 11th over two octaves", in the "two vocal phrases (statements) that comprise the song". (One of these includes the "the winner takes it all" phrase.) I'm not musically-knowledgeable enough (yet) to completely understand his terminology, precisely. He may simply mean that she goes through a series of eleven notes which span two octaves in these phrases. I'll continue reading his book for more clues. My ear - and virtual piano - still "tell" me that Agnetha's vocal (in this part of the song) is two octaves (sixteen notes) above "middle C", at points...
2011 updated note: Expert Christopher Patrick categorizes Agnetha Fältskog as a soprano, her partner Frida as a mezzo on page 141 of his definitive work. That's good enough for me...and perhaps most (remaining) readers (here) as well. Much easier for qualified Mr. Patrick, I'm sure; but I had to "box it around" and figure it out the hard way....

A quick aside: Please take a few minutes to visit the following song review of "Winner..." from 1980 by critic Tom Ewing.  Please right-click on the link. http://freakytrigger.co.uk/ft/2008/11/abba-the-winner-takes-it-all/

(This image has been released into the public domain by its author, WarX. This applies worldwide.)

Even more. Re Ms. Fältskog's low voice: In ABBA's "Dancing Queen", the (sung) word "king", in the line "...look for a king", plays as the F# note on my keyboard, that's located three and one-half keys below middle C. (The word "dance" somewhat later, also.) In recordings, I believe I can hear Agnetha following mezzo partner Frida down to this low note. If so, that's pretty amazing to me. (Frida leads (here), but I definitely think I can still hear Agnetha's crisper voice also on the lowest note(s). Update: On page 80 of his book (below), Mr. Patrick also (independently) uses "crisp" to describe Agnetha's sound quality contribution (on a different song).)
Update: I located a site (link at own risk) with free piano/vocal sheet music for 'Dancing Queen'. The note in question (i.e., sung word "king") appears to in fact be an F-sharp, in both the bass and treble clefs. The question is whether Agnetha is actually singing the F# with Frida. (BTW, I have no separate vocalist scores if there were any.)  It certainly sounds to me like she is singing low(er) with Frida.
March, 2010 update: At first read of C. Patrick's detailed 2008 book, ABBA: Let The Music Speak, the author notes that the two ABBA singers "sound as one voice" (in this song, page 31), though they are an octave apart - in the song's refrain (emphasis added). I'm still reading the book to discover whether Mr. Patrick finds that Agnetha actually matches Frida on the low notes (not in the refrain) mentioned above....Another update: Impression at least partly confirmed. Page 226 of Mr. Patrick's book contains a partial vocal score for "Dancing Queen". The low notes in the brief passages in question (above) are scored as: A single E note (five whole note piano keys below middle C), followed by several F-sharps (three and one-half keys below),including the sustained F# on sung words "king", "dance", etc. Also: Mr. Patrick illustrates (pages 226-7) that, through verse #2 (includes low F# (on "dance")) and following chorus, ABBA's wonderful singers "...have in fact presided over a vocal range spanning three octaves from verse start to chorus end..."  However (conclusion to this section) : It's still a question whether Agnetha is exactly "on" the low, sustained note(s) (in "DQ") with Frida. It seems that she is very close; but perhaps slightly higher....? If interested pls. watch and listen to this YouTube clip showing ABBA rehearsal of an unused (or "lost") verse from "DQ". I had to listen several times to finally discern that Agnetha may in fact be singing (the notes) slightly higher than mezzo Frida. One more factor to consider: These two voices have somewhat different timbre(s) (i.e., 'tone'); one reason they can (sometimes) sound slightly different (with close listening) even when singing the same note.

What is (further) confirmed here is that these were two special pop voices, especially together. Amazing in-unison singers. (That it is sometimes difficult to discern between the voices is proof of that. And BTW: Sultry voices by the ladies (as well) in the rehearsal video of the song ("D.Q.")....)

CORRECTION re the following paragraph: Upon review, based upon the 10/24/11 comment below, I believe that I likely picked up the wrong notes via the piano here...Re-playing them, Agnetha's higher notes (in the backgound) in fact sound like F#'s below high C, not above...  (Original text:) Amazingly more: I think rangy Agnetha "helps" (also rangy) Frida with a couple more low F-sharps in "If It Wasn't For The Nights", though Frida magnificently leads the way in those portions. BTW, my virtual keyboard also tracks Agnetha (again) above "high C" in this same song. I don't know, but noticeable in this recorded/mimed version of ..."Nights" (link); Agnetha could be well above, in (parts of) her (recorded) high-voice harmonies. (Per the virt. piano keyboard: The F# above "high C" ?!? Check the recording/video at the 25 second mark, and again at about 2:17.)  If accurate of course, this puts Ms.Fältskog both (well?) below and above common soprano range, within the same recording. (Possibly from the F# below middle C (:19, :37 second mark (etc.) in the video) to the F# above high C (in background harmony, noted).) What do I know....maybe this occurred more than I realize. This is a good "show-off" song, for both vocalists. (Though admittedly a bit shrill-sounding in the chorus....)

(CORRECTED section:) - Incredibly more: As expertly noted by Christopher Patrick in his detailed 2008 book ABBA: Let The Music Speak, just how high could pop soprano Agnetha Faltskog reach with her voice? Try the very last sung or (mostly)"screamed" word "tiger" at the 2:47-2:48 mark of the linked YT video for ABBA's "Tiger"...  (Ref. page 37.) Employing the virtual piano keyboard again, a guess is that she briefly reaches the D# above "high C".  Link to the music video: http://www.youtube.com/watch?v=znB8OlFgCSM&fmt=18

Enough.. I won't analyze this ad nauseum - further - as I don't know enough. (More, here.) Back to the original topic that started the post: Have a listen to this outstanding pop singer let it go a bit, with no "pinching" or compression that occasionally was present when she "went up" significantly higher. Perhaps the higher voice required more effort. (Note: She sometimes used her falsetto voice intentionally on certain solo efforts.) And, BTW: Notice that Agnetha (apparently) recorded at least two different voice lines (harmony) in "One Way Love." A beautiful job with the higher harmony....

Every note sung "bang on",as usual (I.e., no sliding. See page 120 in Mr. Palm's biography). Good quality. Good volume.  Power and control....
At times, she manages to sound like her idol Connie Francis (probably a mezzo) and I think even Lesley Gore at the beginning here. And sung  "Agnetha"-clear, as always. Enjoy:



 (2012 UPDATE: Link to a higher-quality video performance (of this song) now on You Tube. Worth a visit for the sound improvement, plus beautiful, thirty-something Agnetha... doing some excellent lip-synching. (In camera close-up at moments.1985: A vintage year for public-performing, solo Agnetha...)  
Thanks again to YouTube's '2Shaymcn' for producing this video. (New window opens.): http://www.youtube.com/watch?v=8wHzRByGvD8&fmt=18)

For fans, it's tantalizing to think whether Agnetha's  voice -- perhaps especially her good lower range -- is still clear and strong today....