ABBA – Waterloo (Album Review)

Released in 1974, Waterloo, ABBA’s second studio album, catapulted the Swedish quartet to international stardom. While the album owes its iconic status largely to its Eurovision-winning title track, Waterloo, the record as a whole offers a diverse mix of catchy melodies, heartfelt ballads, and playful storytelling that showcases ABBA's early range and charisma.

A somewhat confusing aspect, however, is the different linear structure of the album with few international releases retaining the original tracking of the Swedish release, where the Swedish version of Waterloo opens the album and the English rendition is the closer. While it could be argued as to which version is preferred, not to mention the further shifts with bonus material on the Deluxe Edition and Bonus Track Edition, I’ve chosen to share the album via the original tracking of the vinyl release as this has always been my preferred structure and is true to the original intent. It also replicates the 2020 vinyl reissue from The Studio Albums that I’m fortunate to own.

Speaking of the vinyl reissue, it is amongst the best-sounding reproductions that I’ve heard, thus far, of this classic album. Granted, I haven’t heard every release but the reproduction is subjectively perfect with a bold, yet enveloping, soundstage that will capture your attention from the very first note to the last. Of course, the question that must be asked is what my thoughts are regarding the Apple Music stream, a lossless Apple Digital Master. Let’s just say that it is the digital counterpart to the vinyl reissue and that unless you’re dedicated to the needle drop process, for digitising your records, you’ll be utterly thrilled with this digital edition for it offers everything the vinyl reissue does, minus the tactile aspect and the slightly more rounded (think warmer) tonality that is commonly associated with vinyl releases. The result is that no matter which of these two versions you choose to listen to, you’ll find yourself thoroughly captivated. I would, however, keep my distance from the Deluxe Edition; unless you wish to attain the additional songs and updated album artwork it offers, that is. My reasoning for this suggestion is that I find it too shrill and fatiguing to listen to. The chosen mastering doesn’t encourage the music lover to turn the volume up and each time I listen to it I find myself wanting to turn the volume down. Naturally, your experience may differ, but let’s turn our attention to the songs that make up this historic release.

Waterloo (Swedish Version) is an upbeat and infectious pop anthem that blends rock and glam elements with ABBA’s signature harmonies. While presented here in ABBA’s native Swedish language, it’s so compelling that it really doesn’t matter which version you appreciate more for the Swedish Version is the ideal opener to this classic album.

Sitting In The Palmtree has a tropical flair and carefree vibe. Its quirky charm makes it a hidden gem, but it’s also quintessentially ABBA as their lighthearted musical style shines throughout.

King Kong Song continues the playfulness with this irresistible rock number. Blending a mix of hard rock guitar riffs, eccentric vocals, and an overall upbeat styling, King Kong Song isn’t merely a novelty track but one that is ideally positioned in the era while keeping the core of ABBA’s pop sensibilities intact.

Hasta Mañana offers a more mellow moment with Agnetha on lead vocals, delivering a tender ballad that is one of ABBA’s greatest tunes and one that many casual fans have likely never heard.

My Mama Said is another exceptional tune that hasn’t received the recognition it deserves for the funk-driven number, shifting vocal style, and the overall mix gives the song a sense of maturity and introspection showcasing ABBA in a different light to their more lighthearted tunes.

Dance (While The Music Still Goes On) is a strong contender for ABBA’s first true foray into a dancefloor-focused song. Featuring a captivating melody and lush harmonies, Dance (While The Music Still Goes On) is thoroughly enjoyable; even if it isn’t a standout from the album. Of course, for an album to be exceptional, all songs need not be a hit, for it is the combination of all elements that ensures an album is a worthwhile experience.

Honey, Honey is a sweet and flirtatious pop song that blends ABBA’s knack for catchy hooks with lighthearted lyrics. With its infectious rhythm, sparkling melodies, and sing-along chorus, there’s little doubt as to why this track became a fan favourite as it captures the essence of ABBA’s early style.

Watch Out sees ABBA venture into rock territory once again, this time with a hard-edged song featuring Björn on lead vocals. While not known for their rock songs, ABBA has always impressed when edging towards this styling for the aggressive guitar riffs and energetic pace contrasts nicely against the pop sheen of other songs from the album.

What About Livingstone? returns the album to a whimsical style with this upbeat number. Featuring a light, bouncy rhythm, What About Livingstone? gives music lovers more of the styling that would ultimately make ABBA a household name. No matter how many of us appreciated their more polished numbers, there’s something extremely compelling about these playful kinds of tunes as they make you smile each time they’re played.

Gonna Sing You My Love Song is one of the more tender and soulful tracks on Waterloo. While it may be lacking the immediate hook of some of the album’s other songs, it stands apart for its emotional resonance and is another of ABBA’s hidden gems. Of course, when an artist such as ABBA has such an incredible back catalogue of music, some tunes are destined to be overlooked, but Gonna Sing You My Love Song shouldn’t be one of them for it is one of ABBA’s greatest recordings.

Suzy-Hang-Around is another of ABBA’s lighthearted numbers to feature a gentle melody and subtle arrangement. It’s most certainly an album-only tune, but as mentioned earlier, an album experience is the sum of all its parts, not just a couple of hit songs.

Waterloo (English Version) is the ideal bookend closer to the album as it encourages me to play the record again as Waterloo is one album that can be seldom listened to once.

ABBA’s Waterloo was a pivotal album in their career, showcasing the band’s diverse musical abilities and their growing confidence as performers and songwriters. With a mix of jubilant anthems, tender ballads, and experimental rock numbers, the album laid the foundation for ABBA’s future success. Yes, Waterloo will forever be linked to their Eurovision triumph, but the album contains hidden gems that highlight ABBA’s evolution from a regional pop act to international superstars. The bottom line is that Waterloo is a fun, vibrant, and eclectic record that has stood the test of time.

Check out more ABBA reviews by Subjective Sounds

ABBA – ABBA (Self-Titled) [Album Review]

ABBA’s self-titled studio album, their third, is a landmark release that distanced itself from the somewhat whimsically juvenile B-sides that littered Ring Ring and Waterloo. No, ABBA isn’t a serious album, by any stretch of the imagination, but where it separates itself from its predecessors is, in part, due to the higher production values and synergy between not only the songwriting team of Benny Andersson, Bjorn Ulvaeus, and Stig Anderson, but with the core ABBA members themselves. While ABBA is most certainly a standout release amongst their formative years, it remains one of their very best, and most underrated, albums and is also amongst the best records released in 1975.

While I always focus on the album experience, first and foremost, this eponymous release gave music lovers seven riveting singles, some of which have become staples in ABBA’s extensive back catalogue. Songs such as Mamma Mia, SOS, and I Do, I Do, I Do, I Do, I Do showcase the band’s ability to craft infectious pop and disco melodies that would not only solidify their status as one of the most influential acts of the 20th century but would ultimately make them timeless.

As already alluded to, the production qualities increased significantly upon this release but as longtime fans will note, not all editions of the album are created equally. It’s all in the mastering and it was unfortunate that I purchased one of the most brittle vinyl editions; the 2011 Back To Black (POLS 262) vinyl re-issue. The lossless Apple Music edition, an Apple Digital Master, is leaps and bounds ahead of that 2011 vinyl reissue as it has a far greater sense of space and clarity.

The ABBA fan within, however, couldn’t let one edition forever tarnish this great album. As such, when the ABBA – The Studio Albums box set was reissued in 2020, I couldn’t pass up the opportunity to dump all previous Back To Black reissues and give this one a shot. Impressed, by the entire box set, would be an understatement. It’s the very definition of perfect and while your subjective preference may differ from mine, I consider the box set, and the version of ABBA, to be the final word in sonic quality as it’s flawless.

Of course, I can’t take the record everywhere with me, so for that purpose, the lossless Apple Music stream remains a highly respectable digital counterpart that is every bit as pleasurable as the 2020 vinyl reissue. Yes, the vinyl reissue is blessed with the renowned warmth of the format, but the Apple Music stream suffers from no digital glare and has the same smooth and dynamic presentation as its counterpart, so it’s likely to appeal to most music lovers.

As you head into the breakdown of the songs that make up this incredible release, it’s important to note that only the core songs, from the album’s original release, are featured below. This is because I’m a purist at heart and while I’m aware of the bonus tracks that have been made available via subsequent digital reissues, I much prefer listening to the album in its original linear structure. Thankfully, the additional tracks can be heard at any time via the Bonus Track Version, but for some reason, the Deluxe Edition is no longer available on Apple Music. Nevertheless, sit back, relax, and let’s take a look at the songs that make up this landmark release.

Mamma Mia is a perfect album opener. Iconic and catchy, this lively tune perfectly encapsulates ABBA’s signature sound. It also helps that it’s got an infectious melody and irresistible chorus, for you’ll find yourself captivated from the very first note to the last.

Hey, Hey Helen is a little quirky when compared to Mamma Mia, but it works with its spirited tempo and vocal delivery. It can, however, get a little monotonous throughout the chorus, but as a fan of ABBA’s rock-focused tunes, I can live with that aspect, in part, because the riff is simply incredible.

Tropical Loveland shifts the tone of the album and adds a touch of reggae. This isn’t up to Bob Marley & The Wailers' standards, but it’s a solid tune and further showcases ABBA’s diverse musical arrangements. Plus, it does give you a sense of being transported to a sun-soaked paradise, thereby making it memorable, relaxful, and thoroughly enjoyable.

SOS is what I call a disco ballad for its combination of haunting melody, heartfelt lyrics, and emotional depth are regularly associated with ballad-styled music. Yet, add in the uptempo musical elements and you’ve got the disco component. Either way, and no matter how you choose to enjoy SOS, one thing is for certain; ABBA doesn’t get much better than this!

Man In The Middle is a dynamic and energetic track with impeccable harmonies and infectious rhythms that are ideally suited to the era. The song's catchy chorus and driving beat make it a standout track on the album and is, arguably, one of ABBA’s best, lesser-known, tracks.

Bang-A-Boomerang is a joyous and infectious tune that harks back to ABBA's origins. With its catchy melody and playful lyrics, Bang-A-Boomerang is guaranteed to put a smile on your face as you dance along to the irresistible rhythm. Perhaps the only negative aspect of the song is that there’s a little too much distortion present and it comes across as a demo, rather than a complete tune. It isn’t a dealbreaker, but it’s one song that can be jarring on the senses if you have too much treble dialled into your stereo.

I Do, I Do, I Do, I Do, I Do is a jubilant number with an upbeat tempo and infectious chorus. The song's catchy hooks and spirited vocals make it a standout and while it may not be everyone’s favourite, I’ve no doubt most would agree that the alto saxophone tracking that Ulf Andersson laid down is simply exquisite.

Rock Me is dynamic and electrifying. With its driving beat and energetic vocals, this song is guaranteed to get you on your feet, dancing along to the infectious rhythm.

Intermezzo No.1 is a captivating instrumental masterpiece that highlights ABBA's talent for crafting lush and evocative music. With its sweeping melodies and intricate arrangements, this song is a testament to the band's creative vision.

I’ve Been Waiting For You is one of Agnetha’s most beautiful vocal performances and is another song that showcases the emotional depth and musical sophistication ABBA brought to their music via this album.

So Long isn’t the strongest closing tune, particularly after I’ve Been Waiting For You, as it feels out of place within the flow of the album. Where it could have been placed instead, I’ve no idea. It’s a low point but, one thing is certain, it will leave you with a spirited and upbeat feeling that will compel you to listen to the album again.

Overall, ABBA's self-titled album is a minor masterpiece that showcases the band's unparalleled talent and musical innovation. Their skills in both increased production quality and songwriting are notable, resulting in infectious melodies, heartfelt lyrics, and dynamic performances that are timeless and are a must-have for any music lover's collection.

Check out more ABBA reviews by Subjective Sounds

ABBA – ABBA: The Album (Album Review)

Released in 1977, ABBA’s fifth studio album, The Album, stands as one of the Swedish pop group’s most iconic and enduring records. Filled with infectious melodies, harmonious vocals, and a blend of disco and pop influences, The Album was destined for classic status due, primarily to its masterful collection of songs, but also its production qualities.  

The Album was, ultimately, perfectly positioned between Arrival and Voulez-Vous as ABBA was riding a wave of international success, thanks to a string of chart-topping hits including Dancing Queen, Fernando, and Mamma Mia. The Album while still whimsical in places, showcased a further musical evolution with a more mature and diverse sound that incorporated elements beyond the confines of the traditional pop style ABBA was known for. Songs like Eagle introduced a cinematic and symphonic quality to their repertoire, while tracks like Take A Chance On Me and The Name Of The Game continued to embrace the disco trend that was sweeping the globe. This versatility not only allowed ABBA to appeal to a broad audience, transcending genre boundaries and resonating with fans of all ages, but is also the very reason why their music is enduring.

Speaking of being timeless, the production qualities for The Album ensured that the record not only sounded modern for the time, but in a miracle that I can’t fully explain, certainly not well, The Album doesn’t appear to have aged at all. Similarly, the cover art, designed by Rune Söderqvist, is exquisite, timeless, and is amongst the very best of ABBA’s career. The entire production is so high that this album really could have been released in the modern era and no one would be the wiser. That said, the various masterings of The Album have left some, myself included, perturbed. Thankfully, I feel that I’ve now got two versions of the album that I can appreciate. The 2020 vinyl reissue, from The Studio Albums boxset, is enjoyable, but I much prefer the sonic qualities of the Apple Digital Master, streamed from Apple Music. 

Blasphemy, I hear vinyl fans saying, but there’s a key difference between the two editions; beyond the fact that one is digital while the other is analogue (albeit digitally remastered and then pressed to vinyl). The vinyl counterpart, by comparison, simply has too much bass that results in a muddier low end. Seriously, I never thought I’d be complaining about too much bass when it came to ABBA’s music as that is normally a shortfall of prior masters, but it is off-putting enough to note. The Apple Music stream, however, is cleaner with just the right amount of bass. It simply sounds right, clear and crisp (without being fatiguing). As much as it pains me to admit it, given the price I paid for the box set, the stream is my go-to edition for this classic album.

Eagle is majestic! Featuring soaring vocal harmonies and a lush orchestral arrangement, Eagle is a song that will capture your soul from the very first note to the last. While it may not have set the charts on fire when released as a single, it’s one of their greatest recordings and in many ways could be considered their magnum opus.

Take A Chance On Me is an irresistible pop gem. The catchy chorus and dynamic vocal interchange between Agnetha and Frida ensure that it has remained a standout in ABBA’s exceptional catalogue of music.

One Man, One Woman is a beautiful melancholic ballad that is sure to pull at the heartstrings. Frida’s lead vocals are superb, as is the unique musical accompaniment. However, One Man, One Woman is a song that, depending on the mastering of the album you’re currently listening to, can be a little too shrill to the senses. Nevertheless, the aforementioned vinyl release and the Apple Digital Master don’t suffer from this aspect in the same way that the 2001 remasters do. 

The Name Of The Game blends pop and disco elements seamlessly creating a unique structure. Moving from a slow introspective beginning to a catchy, more upbeat chorus, The Name Of The Game will keep you engaged throughout as it ebbs and flows.

Move On is underrated, but most likely because it plays akin to a tune that would have ideally been suited to ABBA’s earlier career releases. Even with that in mind, Move On showcases ABBA’s continuous evolution to compose incredible music and is a lovely addition to ABBA: The Album. 

Hole In Your Soul is a spirited energy-packed tune with a rock-inspired sonic presentation. With an infectious rhythm, and incredible lyrical harmonies, Hole In Your Soul will grab your attention and not let go until the very end. That said, the vocal pitch can be a little high and nagging on the senses. It’s particularly noticeable on certain remasters, as previously mentioned, but is restrained via the Apple Music stream. 

Thank You For The Music has become an anthem for music lovers worldwide; despite being one of the corniest songs ever recorded in all of music history. The truth is, we all love it and we know we do. So let’s not hide our appreciation for this song; let’s sing out loud Thank You For The Music!

I Wonder (Departure) is a beautiful tune and is one of ABBA’s most coveted hidden gems. Simply stunning!

I'm A Marionette shifts the album’s musical style, but it seamlessly flows from I Wonder (Departure). With a more upbeat presentation, I'm A Marionette is a thrilling theatrical tune that further showcases ABBA’s willingness to experiment with different styles, thereby ensuring that their catalogue of music not only evolved throughout the years but remained fresh and relevant to music lovers across various eras. 

From start to finish, ABBA’s The Album is a masterful collection of tunes that demonstrate the group's ability to craft diverse yet cohesive music. From the soaring heights of Eagle to the introspective moments of One Man, One Woman and the infectious pop sensibilities of Take a Chance on Me, every song on this album showcases ABBA's talent and enduring appeal. It's no wonder that The Album remains a cherished classic in the world of pop music, captivating generations of fans with its timeless melodies and heartfelt lyrics.

Check out more ABBA reviews by Subjective Sounds

ABBA – The Visitors (Album Review)

Released in 1981, The Visitors marked a significant turning point in ABBA's career. After all, it would be their eighth and final studio album before returning with Voyage, some four decades later, in 2021.

While many may disagree, I don’t consider Voyage to be a natural evolution and subsequently don’t consider it to be a follow-up to The Visitors. I much prefer to consider Voyage as an independent album; one that is ABBA at its core, but one that also doesn’t belong in their foundational back catalogue. It’s much the same as my opinion of the Eagles’ Long Road Out Of Eden; an excellent album in its own right, but one that is incapable of following The Long Run. Sometimes the fundamental aspects contributing to the specialness of an artist, or band, are void when decades elapse between releases. We want to be enthralled, but it is also as if our expectations can only be met with disappointment for it’s rarely, if ever, what we had always hoped for.

Subsequently, The Visitors is not only one of the greatest recordings ABBA ever made but it is the quintessential closing chapter and no matter what the Swedes release henceforth, I consider that their classic era ended with The Visitors.

Showcasing a more mature and introspective side to their music, The Visitors is an album that may not immediately appeal to those who appreciate ABBA’s catchy tunes such as Dancing Queen, Gimme! Gimme! Gimme! (A Man After Midnight), or Mamma Mia. It certainly wasn’t up to the same commercial standards as their highly successful mid-career releases, but success at the cash register is rarely an indication of quality and while sales weren’t to ABBA calibre levels, The Visitors was a monstrous sales success by any metric.

One may think that I’m suggesting that there aren’t any great hooks to enjoy when listening to The Visitors. That is certainly not the case, but the lighthearted off-the-cuff pop style, which had previously been an ABBA trademark, was largely omitted for a more serious style; one that I thoroughly appreciate.

This seriousness also extended sonically to The Visitors for it’s a master recording and arguably ABBA’s most sonically pleasing release. While I’m fortunate to own the Studio Albums vinyl boxset; the Apple Music stream, an Apple Digital Master, is the pinnacle digital release for I’ve never heard the album sound better.

Yes, I thoroughly enjoy the aforementioned vinyl reissue for it is smooth with a thoroughly pleasing tonal warmth, while also ensuring that every element is clearly present within its soundstage. However, it isn’t convenient. Vinyl purists likely have their pitchforks at the ready but when an Apple Digital Master release sounds this good, and I can enjoy it anywhere, at any time, there’s something incredibly freeing in acknowledging that reality.

The Apple Digital Master edition is of particular note given that ABBA’s catalogue, including The Visitors, has been remastered numerous times, yielding different results each time. It has understandably left fans and collectors frustrated for the differences are noticeable and not to everyone’s tastes. That said, I feel that the Apple Digital Master solves many of the problems associated with prior masterings and is subsequently the perfect way to listen to and appreciate not only The Visitors but ABBA’s back catalogue.

Speaking of digital releases, all post-1997 editions have been issued with bonus songs. As long-time readers will note, I generally favour the original sequencing of albums. This is, unfortunately, not currently available on Apple Music, so I’ve had to share with you a playlist that replicates the original 9-track album. Of course, you can also appreciate the bonus tracks or the Deluxe Edition by clicking on the previous links if you wish. Interestingly, for those paying attention to such things, the Deluxe Edition is the non-Apple Digital Master release of the album.

Returning our thoughts to the musical presentation, and associated artwork, the cover art design is also indicative of the maturity the band were presenting via their music. However, knowing what we know now about the marriage breakups of the band members, one can read more into the album artwork than on any other ABBA release for the band members are separated and independent. Intentional, or not, I can’t imagine a better album cover for what was, at the time, to be their final album for it visually reflected their emotional status, their maturity and independence as well as their need to be taken seriously.

The Visitors was an interesting choice to open the album with. The somewhat spacious synthesised introduction will either capture your attention or you’ll wonder if it was at all necessary. I fall into the latter category but once the song passes the first-minute mark, you get a real sense of direction as the music continually builds its melody until the harmony hits with memorable effect. It’s, therefore, simultaneously, ABBA’s weakest and strongest opener. I’ll let you decide as to which you feel it is but suffice to say that it’s worthy of being the album’s title track.

Head Over Heels is an upbeat catchy tune that will appeal to longtime and casual fans alike. Agnetha Fältskog’s lead vocals are utterly perfect with Anni-Frid Lyngstad (Frida) entering the chorus seamlessly, ensuring that their vocal interweaving is as captivating as ever.

When All Is Said And Done is a poignant reminder of the relationship breakdowns within the band. Where The Winner Takes It All grappled with Björn Ulvaeus and Fältskog's divorce, When All Is Said And Done is a direct commentary on the split between Benny Andersson and Frida. While music often deals with relationships, ABBA differs from many others in that they were working with each other to make these exceptional recordings all while their personal lives were unravelling. It takes courage to bare it all in such circumstances and as you listen to Frida’s lead vocal, you can hear the emotion in her voice for such heartache is rarely easy to restrain. When All Is Said And Done is, subsequently, one of her greatest vocal achievements.

Soldiers is powerful and thought-provoking. Containing a blend of rock and pop elements that had not been heard since the release of The Album in 1977, Soldiers showcases a level of versatility that makes for a captivating listen.

I Let The Music Speak is a beautiful and introspective ballad showcasing the songwriting prowess of Ulvaeus and Andersson. The delicate piano arrangements and heartfelt lyrics make it a landmark tune and while it may not be ABBA's most notable song, it is the one that will forever live in the annals of music history.

One Of Us is memorable, due in part to the pensive pop verses and catchy chorus. It’s also one of Fältskog’s greatest vocal recordings and reminds me fondly of her recording style throughout Arrival.

Two For The Price Of One is one of ABBA’s classic quirky tunes, with a little controversial subject matter, but Ulvaeus vocalises it so well that you’ll forget the literal interpretation and be captivated by the hook and harmonious intertwining, all of which is nothing short of musical perfection.

Slipping Through My Fingers is another stunning vocal performance from Fältskog. Yes, I acknowledge that she’s always been my favourite of the four core musicians in ABBA, but when heartfelt lyrics are met with tender vocals, music simply doesn’t get much better than this.

Like An Angel Passing Through My Room is a gorgeous ethereal tune to close the album on and is one of the reasons why I’m less than impressed with the reissues that offer additional tracks. It’s not that the bonus material is bad, but Like An Angel Passing Through My Room is the quintessential closer that allows one to contemplate the music they’ve just heard while also encouraging the listener to play the album again.

With a unique blend of pop, rock, and electronic influences, The Visitors stands as a testament to ABBA's enduring legacy and their ability to evolve with the times. The Visitors is subsequently deeply introspective and musically diverse, showcasing ABBA's ability to create memorable pop songs while tackling deeper themes. The culmination of this makes The Visitors a must-listen for both ABBA fans and those looking to explore the evolution of pop music in the early '80s.

Check out more ABBA reviews by Subjective Sounds

ABBA – Arrival (Album Review)

Arrival, ABBA’s fourth studio album from 1976, is a seminal recording and in many ways can be considered a pinnacle moment of ABBA’s career as it signified a change in style from the more whimsical to a more thoughtful and highly polished musical style. 

More than anything, however, Arrival is an entertaining listen. Yes, many of the songs have been played to the point of exhaustion yet, and perhaps this is ABBA’s gift to music lovers the world over, we seemingly never tire of listening to these outstanding tunes. With timeless classics such as Dancing Queen, Money, Money, Money, and Knowing Me, Knowing You, Arrival is difficult to ignore for it’s akin to a greatest hits release. 

As with the best recordings from any era, as ABBA’s music continues to age gracefully, a new batch of fans come along to enjoy it and while I wasn’t born until 1979, my childhood musical memories are so intertwined with Arrival that I, with a healthy dose of bias and nostalgia, consider it to be their greatest musical achievement. 

Turning to music, throughout a somewhat troubled childhood, was a great escape that I’m sure many of us have experienced. Subsequently, I found myself playing the cassette so much that even today, when listening to a crystal clear stream of the album, I still hear the blemishes that were present on the tape from being overplayed and subsequently beginning to wear out. It’s incredible how music triggers certain memories, isn’t it?

Speaking of the cassette format, considering its recent resurgence in nostalgic popularity, I remember reading, or hearing, that a pre-recorded cassette has approximately 250 solid plays in it before audible degradation started to naturally occur. That is, of course, provided your tape deck didn’t chew the tape. Naturally, I’ve no evidence to back up this proposed number, and we could most likely suggest the number was arbitrarily selected to push the sales of the Compact Disc, but my copy was played often enough, well exceeding that number, that I’m still surprised the tape remained listenable. It is only now, with hindsight in mind, that I recall being fascinated by the possibility that each play was damaging the tape. It was as if it were a live performance, slightly different each time the music was played, but never twice the same. Perhaps this organic uniqueness is what has driven the vinyl, and now the cassette, resurgence for no two copies are identical, meaning that each and every album, and each subsequent listen, is unique to you, the individual. 

Keeping our attention on the formats with a finite lifespan, the vinyl reissue of Arrival which was included in the 2020 reissue of the ABBA vinyl box set, The Studio Albums, is simply exquisite. While I was also fortunate to have owned the 2011 vinyl reissue, it was an ear-piercing mess. Yes, the majority of vinyl records are pressed from a digital source, in the modern era, but that alone doesn’t dictate sonic quality for a well-mastered original source, regardless of the technological medium used, will always offer a superior sound quality. Subsequently, if you care about how your music sounds, stay clear of the 2011 reissues. 

The truth is that ABBA’s catalogue, as exceptional as it is, isn’t the last word in sonic perfection and, in most cases, is let down by questionable mastering decisions. Hence, when a version is worthy of note, it is worth celebrating and that is certainly the case for the 2020 reissue, from the aforementioned boxset, as it sounds as good as you’re ever likely to hear.

While a half-speed master, pressed at 45rpm, was made available in 2016 I’m glad I didn’t pick it up as I’m tiring of single albums being pressed across three or more sides of a record. Seriously, Arrival in its original tracking has a runtime of 33 minutes, yet the half-speed master was delivered across four sides. It’s utterly ridiculous and while the discussion regarding the sonic benefits of 45rpm vinyl releases goes beyond the scope of this review, a well-mastered 33rpm record will, and does, sound incredible. 

While picking apart the mastering styles and various editions that change the overall presentation of ABBA’s music, it is important to remember that ABBA has a unique sound that is based primarily on applying techniques for radio-play and the chosen musical style of the era. Assuming that their music should be audiophile-grade will lead to disappointment, but a little further refinement will always be appreciated and that comes across in spades with the 2020 The Studio Albums vinyl box set.  

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

The visual reproduction of the albums, while consistent over the years, has also been stepped up via The Studio Albums box set, resulting in artwork that is pleasing, collectable, and reminiscent of the original releases. It truly is a pleasure to own.

The cover artwork, for Arrival, is iconic and while the photograph of the band was taken while they were situated within the Bell 47 helicopter, it conjures up the imagination, doesn’t it? I remember as a young boy pondering if ABBA was otherworldly, for their music was uniquely exciting and the artwork that adorned this early cassette ensured my imagination ran wild. 

Interestingly, and I never realised this until much later in life, Arrival would be the first time the mirrored AB logo would be utilised as all previous releases used a different typeface with their first two albums highlighting the band members’ names. Yes, their earlier albums have all received updated artwork, when they were reissued, in order to bring the logo design in line with the rest of ABBA’s catalogue, but Arrival was the first to showcase this now iconic logo.

Of course, as much as I adore the vinyl reissue, you can’t necessarily take it everywhere with you. That’s where streaming services come in to fill the void. Apple Music and the lossless stream, an Apple Digital Master, is a little more dynamically compressed, than the 2020 vinyl reissue, resulting in slight mid-range muddiness and a little excess harshness in the treble range. As a result, I don’t experience as much enjoyment from the stream as I do from the record but the trick to appreciating the stream is not to compare the two. Easier said than done, I know, but by compartmentalising the vinyl edition as being an experience that requires a specific time and place, I find that the Apple Music stream becomes far more palatable. 

As it pertains to the stream, the Bonus Track version, containing Fernando and Happy Hawaii, of Arrival is the only available release. Fernando I can tolerate, it’s a great song even if not applicable to the original album structure, but Happy Hawaii is an atrocity that should have never been tacked onto the back end of such an incredible album. Thankfully, streaming offers something a physical medium can’t; the ability to exclude particular songs from one’s virtual library thereby meaning that the tracking of Arrival can replicate the vinyl counterpart. Yes, I acknowledge that many CD players have a programme function that allows music lovers to do essentially the same thing, but you have to do it every time you want to play the CD whereas with Apple Music you set it and forget it.

Of course, Arrival has had so many different track listings, depending on region and format, that it can be incredibly frustrating to choose a preferred version. Considering I’m a fan of the vinyl reissue from The Studio Albums, which mimics the original vinyl release out of Sweden, I’ve decided to compile a Playlist within Apple Music that specifically looks at the core Arrival tracks. Subsequently, if you’re after Fernando, may I suggest you check out ABBA Gold, or take a listen to it via its original Swedish language version on Frida ensam, thereby leaving Arrival unaltered.

When I Kissed The Teacher is one of those classic, near cringeworthy tunes, that is remarkably good. In fact, it’s a little surprising that the censorship mob haven’t tried to have it cancelled for the risqué lyrics, telling the story of a student’s crush, and subsequent kiss with a teacher, would be right up their alley. That aside, it’s a fantastic song and Agnetha’s vocals are particularly appealing, thereby resulting in a perfect opening tune. The only negative aspect I can point to is that depending on the edition you are listening to, When I Kissed The Teacher can be incredibly shrill. Thankfully, my preferred vinyl edition and the Apple Music stream roll the treble off slightly, thereby making it a pleasurable listen. 

Dancing Queen is likely ABBA’s most well-known and successful tune. Its unmistakable entrance ensures that this disco-pop tune has become a landmark release from the Swedes. While the musical aspects are paramount to the success of Dancing Queen, Agnetha and Frida’s intertwining vocals are most certainly the highlight; absolutely stunning!

My Love, My Life slows the tempo down to a ballad’s pace and Agnetha once again stuns. While some may disagree, Arrival represents some of the very best vocal recordings and mixes in ABBA’s illustrious career. My Love, My Life is, subsequently, one of the most beautiful songs ABBA ever recorded and it’s severely underrated.

Dum Dum Diddle is catchy with a chorus structure that will have you singing along; even if you don’t know what a Dum Dum Diddle is. Don’t worry, fellow ABBA fan, I have no idea either but I’ll play my make-believe fiddle as I Dum Dum Diddle my way through this incredible song. While it has been said that it tells of a story of a woman scorned by her lover’s admiration of his violin, I’d prefer not knowing the context and instead prefer the nonsensical lyrics to become another musical layer in the mix that need not be unpacked. Basically, I just want to enjoy this folk-pop tune and not thinking about the lyrics too much allows me to do just that. 

Knowing Me, Knowing You is a beautifully lush tune. Frida’s performance here, much like Agnetha’s, on the songs where she’s lead vocalist, is exceptional. Knowing Me, Knowing You is a perfect song; absolutely flawless!

Money, Money, Money is another highlight and the musical style is unique, to say the least. It doesn’t often happen, but Money, Money, Money leaves me somewhat speechless as I simply can’t find the words to review this song. Perhaps it’s simply a case of needing to listen to it for yourself as it’s an experience. 

That’s Me continues the piano tuning from Money, Money, Money thereby making the album even more fluid than it already is. While That’s Me was never going to set the charts on fire, and was only ever released as a single in Japan, it’s a masterful song and is one of my all-time favourite ABBA tunes. 

Why Did It Have To Be Me? shifts the style of the album while encompassing a mix of musical styles and influences that ensure Why Did It Have To Be Me? quickly becomes a hidden gem in ABBA’s back catalogue.

Tiger is a sensational tune. The heavier sound signature works well and it’s another severely underrated masterpiece from ABBA. Of course, when you’re a band that has so many incredible songs, even those that are exceptional are bound to get buried and it’s therefore imperative that we all venture beyond ABBA Gold. 

Arrival is a beautiful, primarily, instrumental closer. The harmonious vocals are similarly stunning but overall there really isn’t much to be said about it. Yes, it closes the album out nicely, permitting contemplation, but I’d argue that it subsequently doesn’t encourage me to play the album again as it’s too relaxed. It’s a double-edged sword, of course, for Arrival wouldn’t be the same album without its namesake.

As a body of work, Arrival is a landmark release, featuring some of the group's most iconic hits. The blending of styles, with a touch of flamboyance and maturity, makes Arrival one of ABBA's greatest studio albums and is amongst the very best records released in 1976. 

Check out more Abba reviews by Subjective Sounds

ABBA – Super Trouper (Album Review)

Super Trouper, ABBA’s seventh studio album, is one of their greatest releases with a more mature sound signature than that of their previous albums. It’s also one of the greatest releases from 1980 and while I’d suggest The Visitors is superior to Super Trouper it is merely because their last album, for some four decades, was the most polished recording the Swedish pop band ever released. Although, it did lack the merriment aspects of ABBA’s previous releases. Nevertheless, there’s something special about Super Trouper that encourages me to come back and enjoy it time and time again.

Other than the music, the album cover art is compelling despite it being rather busy. Created when the larger structure of vinyl reigned supreme, streamers and even CD collectors will concede that the artwork loses something on a smaller canvas. If a picture tells a thousand stories, then this is somewhat problematic for I love nothing more than gazing into the artwork, as I listen to the music, all the while allowing my mind to get carried away by the stories it wishes to tell itself.

While I’m fortunate to own The Studio Albums vinyl box set, and can subsequently enjoy the artwork in its full glory, a busy lifestyle, and a crowded house, often means streaming is far more accessible. Plus, as much as I adore the sonic reproduction of The Studio Albums collection, the lossless Apple Music stream, an Apple Digital Master, is stunning and is the box set’s sonic counterpart. 

Yes, you read that correctly, the Apple Music stream is full-bodied and smooth with no digital glare or harshness, to be heard, while offering a spacious soundstage with no detail concealed and just enough space between all musical elements. One song that highlights this aspect best is Lay All Your Love On Me as it’s notorious for sounding harsh and treble-focused, particularly on the CD editions I’ve heard, yet on Apple Music, it’s incredibly close to the tonality of the vinyl record. Subsequently, there’s little doubt in my mind that the Apple Music stream is one of the very best ways to enjoy this classic album; it really is that good!

Super Trouper launches the album beautifully with a slow build that's simultaneously relaxed and engaging. As the song builds to the chorus, which is arguably its greatest asset, the rhythm reaches into my soul and doesn’t let go for the entire length of the tune. You’ll be head-bopping and toe-tapping as only ABBA could induce and the lyrics are so addictive that you’ll likely find yourself singing along with Frida to this classic song. 

The Winner Takes It All represents one of my earliest memories of ABBA and I was wowed then just as I am now. Songs are often timeless and The Winner Takes It All is no exception as it’s one of ABBA’s greatest recordings. While it’s undoubtedly a very personal ballad, somewhat detailing the dissolution of Björn and Agnetha’s marriage, this is an example of why I rarely listen to music for lyrical meaning, instead preferring to hear the vocal as an instrument in its own right. It simply means the analytical aspect of my mind isn’t active and I can enjoy the song without analysing it.

On And On And On is a fun little tune that harks back to early ABBA releases; think pre-Arrival. Believe it or not, that’s a compliment. While I wouldn’t suggest ABBA got too serious throughout the years, despite their music maturing as they honed their craft, it’s these upbeat tunes that are at the core of ABBA fandom. 

Andante, Andante is beautiful and is one of Frida’s finest vocal performances.

Me And I has an epic introduction and the song is fantastic but I’ve always had a love/hate relationship with it as I don’t feel the verses are strong enough to hold the song together. I do, however, love the chorus and the synth-pop styling. 

Happy New Year starts promisingly and while it isn’t a bad song, it’s a little too campy for my liking. That said, Agnetha’s lead vocal is simply gorgeous.

Our Last Summer is a beautiful tune with Frida on lead vocal. You’ll hear every quiver from her vocal cords and it never ceases to amaze me how well her vocal was captured on this song. However, it’s the rock and roll elements that I like most and the guitar solo/riff is simply magnificent. All of this culminates in Our Last Summer being one of the best songs ABBA ever recorded. 

The Piper is interesting as it could almost be considered a traditional folk music tune with a modern twist. Nevertheless, The Piper has ABBA’s magic musical elements throughout thereby making the song timeless, for it doesn’t sound as if it has aged a day. An incredible song!

Lay All Your Love On Me would have been the perfect closer as the upbeat disco-inspired vibe encourages playing the album again.

The Way Old Friends Do (Live 1979) is the closing track when looking at the album from the original tracking and it’s quite lovely. It doesn’t, however, have the same sense of urgency as Lay All Your Love On Me, for it is far too relaxing and reflective, to encourage spinning Super Trouper again. 

Elaine is a non-album track that made its way to the album when it was reissued on CD in 1997 and has subsequently been maintained on all digital releases henceforth. I generally lament the inclusion of bonus tracks, particularly post-release, and this is no exception. There’s nothing fundamentally wrong with the song, but it isn’t worthy of inclusion on Super Trouper, despite being the B-side to The Winner Takes It All. Thankfully, due to the convenience of streaming, I can delete that song from the album and appreciate Super Trouper as it was originally intended. 

Super Trouper is an incredible album from start to finish. While I still consider The Visitors to be a superior release, Super Trouper is a musical masterpiece that not only needs to be heard but shared, for it’s a timeless classic that will continue to be appreciated for as long as intelligent music-loving life exists. 

Check out more ABBA reviews by Subjective Sounds

ABBA – Voulez-Vous (Album Review)

Not disco per se, yet ABBA, and Voulez-Vous, will get you on the dance floor. Released in 1979, ABBA's sixth studio album, Voulez-Vous, rose to the top of the charts with a solid line-up of songs including Voulez-Vous, Angel Eyes, and Does Your Mother Know as well as a few added extras not on the original LP such as the epic and trendsetting Gimme! Gimme! Gimme! (A Man After Midnight). There’s much to appreciate with Voulez-Vous but it is the additional tracks, available via the digital versions, that ensure the album is greater than the sum of its parts. 

One part that has always amused and bemused me, for I can’t help but see the Star Wars influence, is the album cover for Voulez-Vous. Charles Mingus Palm, in the excellent Bright Lights, Dark Shadows: The Real Story Of ABBA, stated the sleeve designer, Rune Söderqvist, wasn’t completely satisfied with the group posing as elegant night-clubbers and subsequently took the design to industry-leading retouching specialists to add some sparkle to the artwork. Well, add it they did for Benny (looking a little like Chewbacca in a tux) is holding what looks like a lightsaber while Bjorn is the spitting image of Luke Skywalker. Thankfully, Frida and Agnetha were looking radiant as usual but the Voulez-Vous cover art does make one question what were they thinking.

While this review, and the subsequent track listing, is focused on the Bonus Track Version, available on Apple Music, I’m also fortunate to own The Studio Albums vinyl boxset. Despite being presented as an Apple Digital Master, the Apple Music stream pales in comparison to the sonic quality of those 2020 vinyl pressings. Usually, Apple Digital Masters are exceptional, but Voulez-Vous has a thin sound that lacks the emotion heard on the vinyl counterpart. Granted, it’s a detailed presentation in that you’ll hear all aspects of the music but in this instance, the vinyl reissue simply sounds right whereas the stream often comes across as too shrill and clinical, especially at higher volumes. The lack of tonal warmth results in a fatiguing listen that can be corrected by EQ adjustments, but such user interaction is not required for the vinyl counterpart.  

Of course, the biggest drawback of the vinyl edition is that the non-album tracks are not included. The 2022 Vinyl Album Box Set, however, addresses that omission with a bonus LP titled ABBA Tracks but I’m not interested in purchasing yet another ABBA reissue. Once bitten, twice shy? Perhaps, but it is the constant re-issuing, and purposely holding back, of back catalog material that dissuades music lovers, for it ceases to be enjoyable when the aim is to resell us the same music over and over again.

As Good As New opens Voulez-Vous with drive and energy that, if you’re not ready for it, will likely be a shock to the senses. While Agnetha’s lead vocals are solid, as is the musical and harmonious backing, there are times when I find As Good As New to be a little tiresome, particularly due to the song’s shrillness. Yes, it's typical of ABBA’s style but I do question if the tempo is a little too fast. Nevertheless, when you’re ready for an upbeat tune, As Good As New certainly fills the void. 

Voulez-Vous is a great song with exceptional rhythm and vocal harmonies. It’s also ABBA’s most disco-esque tune and will see you compelled to put on your dancing shoes and hit the dance floor. Voulez-Vous may well have a similar tempo to As Good As New, but the flow of the song is superior on this second track than on the album’s opener. 

The music video doesn’t quite live up to the vigour of the song, but if you’re after a clip that incorporates all aspects of this tune, then look no further than this classic release.

I Have A Dream slows things down a little with a song that has a unique twang set against an elegant smoothness. It may not be the first song you think of, when ABBA pops into your mind, but there’s no denying the appreciation one receives from listening to this song. Frida’s lead vocal is heavenly and arguably one of her very best and the chorale backing is sensational. An incredible, and underrated, ABBA tune!

Angel Eyes is one of those songs that will compel you to sing along to the chorus. Yet, it is almost guaranteed that you won’t sing the verses. Nevertheless, it’s a fun little tune and perfectly suited to ABBA. 

The King Has Lost His Crown, like many of the songs from Voulez-Vous, sounds dated to the era and while that isn’t a bad thing, for nostalgia can be just as enjoyable as a modern-sounding record, it will have its detractors. Nevertheless, as part of the album flow, The King Has Lost His Crown is not only masterful in its tracking but the purposeful rhythm, particularly concerning the vocal delivery, is incredible and leaves you wanting more. 

Does Your Mother Know is a great rhythmic song and is ABBA's greatest rock-influenced tune. Björn’s lead vocals are incredible and perfectly suited to the song as it frees up Frida and Agnetha to form the harmonious backbone of the song.

The music video was recorded at the same time as Voulez-Vous, meaning the disco vibe is ever present. Despite that, it works extraordinarily well and is a value-added component for fans of the song. 

If It Wasn’t For The Nights is, not unlike As Good As New, a little shrill at times, especially with regard to the chosen vocal mix and musicality. That said, it’s such a good song that unless I’m tired, or simply not in the mood, I find myself adoring If It Wasn’t For The Nights. It is far more palatable, however, on the aforementioned vinyl counterpart as the Apple Music stream needs a little rounding in the treble range to sound its best. 

Chiquitita is a beautiful song that reminds me of Cassandra; another exceptional ABBA ballad! The upbeat approach to the chorus is different, and is perfect for Chiquitita, but both songs are exceptional catalogue tunes from our favourite Swedish band. 

The setting for the music video, however, is terrible. The snowman behind the band is utterly ridiculous and in many respects, a simple landscape, sans the snowman, would have been a far better option. That said, due to my own quirks, the out-of-place snowman brings a smile to my face every time I watch the clip, thereby making it somewhat memorable. 

Lovers (Live A Little Longer) has a quirky but appealing introduction with cues from their 1977 tune, Eagle. There’s also a slight disco feel to the song and while it may not get you on the dance floor, it’s perfectly suited to the era. The chorus, however, is awful! The shrillness is a jolt to the senses and detracts from the song itself. Throughout ABBA’s entire career, there have been very few notable missteps, but this is certainly one of them. 

Kisses Of Fire is much of the same, but where the shrill nature of Lovers (Live A Little Longer) is a little too present to ignore, it is mellowed on Kisses Of Fire, thereby permitting greater connection with the song. 

Summer Night City has a disco rhythm that will remind you of Grace Jones. What’s not to like? A fantastic tune! 

The music video is a standout as it pertains to ABBA’s music videos. It encompasses all elements of the disco era and is much more appealing than the other music videos from Voulez-Vous.  

Lovelight (Original Version) is one of the best songs from Voulez-Vous. It’s catchy with a level of fluidity that makes for a memorable listening experience. Brilliant!

Gimme! Gimme! Gimme! (A Man After Midnight) is pure gold. While originally a non-album single, instead being released as a new tune for ABBA’s Greatest Hits Vol. 2, Gimme! Gimme! Gimme! (A Man After Midnight) was an instant hit and is brilliantly sampled by Madonna on Hung Up while also being masterfully recorded in Spanish on ABBA’s Gracias por la Música. Cher’s version, however, isn’t great as it is overproduced; a shame considering there are moments that can be heard that indicate just how exceptional it could have been.

The music video for Gimme! Gimme! Gimme! (A Man After Midnight) is one that I’ve always appreciated. Yes, it’s a rather basic behind-the-scenes studio recording, but as someone who has always been fascinated with that aspect of music production, it’s a rewarding viewing experience. Yes, the song was worthy of something flashier, but the editing and camera angles ensure that it is perfectly suited to the song itself. Magnificent!

Overall, Voulez-Vous is a solid release with several memorable songs that are perfectly suited to the disco era. From a creative perspective, however, it pales in comparison to Arrival and The Album. It’s as if ABBA were chasing a sound and never quite cemented the overall theme of the album. Yes, the undercurrent of disco is ever-present but Voulez-Vous is still an album without a purpose. That said, we can still thoroughly enjoy it as it's amongst the greatest records released in 1979.

Check out more ABBA reviews by Subjective Sounds