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Post by Deleted on Jan 17, 2024 9:39:53 GMT
The aim of this thread is to highlight songs which, to our ears, are FRUSTRATINGLY close to being absolute classics and have many of the key ingredients to be total belters, but somehow just lack that final bit of magic dust which would have propelled them to the top tier.
For me, 'Tiger' is a great example. Nothing particularly wrong with it and the verse is an absolute ripper. Perhaps that's the 'problem' (for me, anyway). The rest of the song maybe doesn't quite live up to the promise. I think I'm just looking for a bit more 'attack'. The drums are a case in point - pretty nifty during the verse, but a tad too polite elsewhere. Above all, I'd like to see everything cranked up a little more during the chorus. Then we get to the superb scream right at the end and I'm left thinking, couldn't we have had a bit more of that sort of thing a bit earlier?
So, overall, very decent song that could quite easily have been superb. So near, but not quite there. The agony of it! Just my opinion, of course. 'Tiger' may well tick all the boxes for you. But are there any other ABBA songs that fall into this category?
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Post by chron on Jan 17, 2024 17:23:05 GMT
Under Attack. The pulsing, neurotic tension set up in the verses promptly and flatly dissipates in the ho-hum squib of the chorus. There's no flowering or strong counter-punch, just a tired-sounding sing-songy jog-through. It's a chorus that hasn't done its homework or that can't quite be bothered (which makes it interesting actually, but only as something to think about—in relation to the group and where it found itself then, as three of its members got to withing a couple of years or so of turning forty—not as something to switch-off to and get a buzz off). It steps down, when it should be stepping up or stepping off. The nervous, creeping verses, however, forever hinting at a resolution that never arrives, remain great and engaging. (The Visitors takes a similar thematic and atmospheric tack to Under Attack, while serving up a terrific 'releasing' chorus to boot.)
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Post by clumsylikeaclown on Jan 17, 2024 18:52:00 GMT
Kisses of Fire. Great song, but the way the first verse is mixed (I.e. way too quiet) takes it from being one of the better Voulez-Vous songs to one of the worst.
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Post by gary on Jan 17, 2024 20:08:06 GMT
Amazing how opinions differ! Like you, I’m not a big fan of Under Attack, and I always thought it was a weak single and swansong. But I think the chorus is excellent, and very catchy. The verses I find flat, monotonous and just plain dull.
Tiger and Kisses of Fire, on the other hand, are top-notch, and both worthy of being singles. I can’t fault them, except KoF’s intro is a bit too quiet!
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Post by HOMETIME on Jan 17, 2024 20:23:50 GMT
I agree with the comments on both Under Attack and Kisses Of Fire.
Apart from Under Attack's undercooked chorus, I think the second verse should have a bit more beef than the first. The track should build. And the synth solo is way too flimsy and nasal. I like the percussion and the bass in the verses, though.
For me, Kisses Of Fire needs a remix. The opening verse is too quiet and the transition to the chorus is a bit sudden. The tune and the singing are all great, but the bass end of the track feels too light. Even the piano sounds a bit tinny. Thicken the kick drum and the bass and you'd be most of the way there.
I'm a big fan of Lovers (Live A Little Longer) but I think the highest pitched of the backing vocals need to be mixed back a notch. In fact, if they were dropped an octave and given to the guys to sing, that chorus might properly smoulder. Love the string arrangement, the sultry vocal, and the way the rhythm track stops and starts without affecting the groove.
I think That's Me needs to be resolved with a proper ending. As it is, the fade feels like they lost their way or got a bit bored.
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Post by Deleted on Jan 18, 2024 8:23:53 GMT
Agree that KoF fits the bill here. Excellent song but not quite up there with the very best. Possibly needs a bridge to give it a bit more heft.
UA, L(LALL) & TM all fall well short for me, though, so don't really qualify in this particular category from my viewpoint.
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Post by foreverfan on Jan 18, 2024 11:38:04 GMT
I'll hear nothing bad about KOF, lol... a firm favourite......
As with all of these topics it's personal preference of course... for me the gentle intro, exploding makes the whole track magical.. should've been the A side.. not that I'm bias..lol
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Post by foreverfan on Jan 18, 2024 11:40:59 GMT
Ps... I have to agree about UA, and dare I say both in it's day , TDBYC, ironically which has become a favourite the other almost forgotten, ( talking general public here) ...
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Post by Michal on Jan 19, 2024 15:06:50 GMT
The mention of Kisses Of Fire is interesting. I've been listening to the song quite recently and couldn't help thinking what a banger it is! The quiet intro reminds me of the intro of the long version of Summer Night City - the chorus kicks in the same unexpected way. From then on it's brimming with energy and can't see anything wrong.
I'd probably nominate I've Been Waiting For You - beautiful melody, one of the best Agnetha lead ever, gorgeous backing vocals by Frida... BUT the "howling" sound of the backing track is the ingredient that makes it not as great as it could have been.
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ed
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Post by ed on Jan 19, 2024 18:04:20 GMT
This is a good topic to gloss over. I don't "get " "Should I Laugh Or Cry ". One of the ABBA songs I just can't warm to. I find it a strange song which doesn't seem to go anywhere To be honest the chorus is much better than the preceding verses. The same can be said of " Put On Your White Sombrero ". Another that doesn't win me over.
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Post by Michal on Jan 19, 2024 19:29:37 GMT
....I don't "get " "Should I Laugh Or Cry "... the chorus is much better than the preceding verses.... It's interesting how the views of the same song can be so diametrically different  For me it's the exact opposite. I love the verses and once the chorus comes, the song is spoilt for me. What we agree on though is that it's a strange song. And Benny will keep telling us, that the incompatibility of the verses and choruses in Just Like That is the main problem, when he doesn't have problem with this one, even choosing it as a bonus track for the recent CD and vinyl box... |
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Post by richard on Jan 19, 2024 22:11:46 GMT
I agree with Ed on this. Actually, I even regard the choruses of SILOC as one of the best things, musically, Benny ever wrote in ABBA! But I do also agree with Michal that there is more of a disjunction between verses and choruses of SILOC than there is between those of JLT. It's just that I think the verse-melody of the latter isn't done particularly well arrangement-wise - not that this melody itself somehow jars with the chorus. I used to think that but I don't anymore.
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Post by evilincarnate on Jan 20, 2024 10:47:40 GMT
I was actually wondering about “I’ve Been Waiting For You” as a contender for this thread but upon reflection, it’s pretty damn close to perfect. Agnetha’s lead vocal is incredibly moving and Frida’s harmonies are splendid. (The live version from ‘ABBA - The Movie’ is outstanding with Agnetha’s slight improvisation and exquisite phrasing). Maybe it could be less 'schlager' during the choruses, but that’s a minor quibble.
Ever since the release of the ‘Voyage’ album and hearing the two ladies harmonise with their mature voices, I’ve had a secret hankering for them to reprise this track in some manner, perhaps as an acoustic reinterpretation? It could be rather gorgeous, maybe even with Frida taking the lead?
Regarding, "Should I Laugh Or Cry ", I must declare it as one of my favourite ABBA tracks, definitely in my top ten. I always thought it was robbed of rightful inclusion on ‘The Visitor’s album, but I do understand that some degree of levity was perhaps required given the overall sombre tone throughout proceedings. That said, I think Frida’s lead vocal is one of her very best, searing through the subject matter with a sense of bitterness and pathos in equal parts. I always thought the juxtaposition of the serious verses with the lighter choruses was genius, but I might be alone in this assessment. Oh and the ‘strangeness’ is precisely what initially drew me to the song, sequestered away on a b-side - the ultimate buried treasure. In fact, this is the type of approach I would hope for if another ABBA album was forthcoming.
I agree that Benny’s issue with the compatibility of verse and chorus during “Just Like That” is perplexing, especially when there are songs in their catalogue that have more extreme twists and turns, but I happen to enjoy these anomalies. The progression of “Just Like That” is fine in my opinion, but whilst I really dig the saxophone during the choruses, I can’t bear it anywhere else in the song, especially the introduction. I always thought that if they had continued to work on the arrangement, it could have been slightly improved, but I’m glad it didn’t materialise as the Gemini version (an atrocity if ever there was one). Whatever the case, there’s no denying that the ladies’ vocals on the 1982 recording are sublime – it was Mr Grumpy who needed to catch up!
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Post by HOMETIME on Jan 21, 2024 12:35:18 GMT
[...] Regarding, "Should I Laugh Or Cry ", I must declare it as one of my favourite ABBA tracks, definitely in my top ten. I always thought it was robbed of rightful inclusion on ‘The Visitor’s album, but I do understand that some degree of levity was perhaps required given the overall sombre tone throughout proceedings. That said, I think Frida’s lead vocal is one of her very best, searing through the subject matter with a sense of bitterness and pathos in equal parts. I always thought the juxtaposition of the serious verses with the lighter choruses was genius, but I might be alone in this assessment. Oh and the ‘strangeness’ is precisely what initially drew me to the song, sequestered away on a b-side - the ultimate buried treasure. In fact, this is the type of approach I would hope for if another ABBA album was forthcoming. [...] I think the verses are superb. Frida does sarcastic so well (see also The King Has Lost His Crown). Her lead vocal is sublime and the use of heavy reverb is very well judged. The call-and-repeat backing vocals are fantastic and unusual. Brilliantly angelic harmonies pulling Agnetha so cleverly into the mix. The chorus is what I needed time to get used to. Maybe if the strumming pattern was a bit different and/or maybe in a lower harmony, it might make things gel more comfortably? A different/darker synth sound too, maybe? Lyrically, it's a peach of a song, moving between bitterness and sorrow. I think it fits the overall mood of The Visitors album really well and, sonically, it feel more at home than the surprisingly un-synthy TFTPOO (am I alone in thinking it's more organic/borderline acoustic compared to the rest of the album?) |
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Post by matt on Jan 21, 2024 21:51:49 GMT
If Move On removed Bjorn's spoken introduction or replaced it with Agnetha singing like the Spanish version, it would definitely be in my Top 10.
Hole In Your Soul has an awesome intro and the middle eight is among the best things they ever recorded, but the chipmunk vocals really ruin the song. The vocals are even like that in the Voyage show unfortunately,
I think the breathy vocals in Summer Night City also let it down ("when the night comes with action.."). In the Voyage show the vocals are belted out which make it soo ,much better.
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Post by Deleted on Jan 22, 2024 9:16:37 GMT
If Move On removed Bjorn's spoken introduction or replaced it with Agnetha singing like the Spanish version, it would definitely be in my Top 10. Hole In Your Soul has an awesome intro and the middle eight is among the best things they ever recorded, but the chipmunk vocals really ruin the song. The vocals are even like that in the Voyage show unfortunately, I think the breathy vocals in Summer Night City also let it down ("when the night comes with action.."). In the Voyage show the vocals are belted out which make it soo ,much better. My main 'issue' with SNC is that bloomin' hi-hat, which is much too tishy/intrusive for my liking. Not sure that this alone holds it back from classic status in my book, as the track just feels a little messy in general. But what an intro... Agree that HIYS is an archetypal nearly-but-not-quite song. Drumming needs to be a lot more oomphy, I think. Kick drum needs to pound and snare needs more thwack. Not a massive fan of MO (for me personally it's a decent song but no more than that), but I completely agree that the spoken intro was a misstep, particularly as it was so prominent right at the start of Side 2 - taking a bit of the wind out of The Album's sails (if not sales) after the majestic Side 1. |
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Post by mymamasaid on Jan 22, 2024 21:53:28 GMT
For me HIYS works really well in Voyage, and kinda ballsy to drop what many would consider a deep cut into a show which you woulda thought needs to cover the the lowest common denominator bases.
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Post by iiwftn on Jan 22, 2024 22:09:59 GMT
In a sub-section of this forum, I was listening to an ABBA radio special from about 1976 or thereabouts and at some point during it, Mamma Mia played.
I’m not and never have been a huge fan of the song, Mamma Mia. It’s a bit too twee for my taste and it also comes with the connotations of those movies and the casual/Channel 5-type ABBA laziness that most of us hate.
But on this recording, Mamma Mia sounded really good because there was a little bit of audio distortion that gave the song, and in particular the guitars a really gritty, ‘heavy’ sound to it (now my mind is trying to contend with a heavy metal version of Mamma Mia).
Now when I hear Mamma Mia, I always think of that radio special and wish the song had a more heavy, gritty edge to it.
To me, that would be incredible 🙂
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ed
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Post by ed on Jan 29, 2024 17:27:52 GMT
I find it fascinating how views and opinions differ with each perception of a particular ABBA track. I must admit "Summer Night City" isn't a favourite of mine. It may be a great disco anthem to many fans but I find it a bit repetitive and doesn't seem to elevate higher in my estimation. Sorry !
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For me it's the exact opposite. I love the verses and once the chorus comes, the song is spoilt for me. What we agree on though is that it's a strange song. And Benny will keep telling us, that the incompatibility of the verses and choruses in Just Like That is the main problem, when he doesn't have problem with this one, even choosing it as a bonus track for the recent CD and vinyl box...
