I was just wondering if I was the only one who wasn't aware that there are two different versions of these songs - the ones Agnetha released on single (those we all know from various compilations) and the ones that appeared on the original Swedish cast recording of Jesus Christ Superstar. Obviously, on the single version of Nu Ska Du Bli Stilla the Judas' and Jesus' parts are missing but I always believed they were somehow edited out of the mix so that Agnetha could release it as a solo single. I had no clue that she re-recorded both songs. Her solo versions sound much better and it's not only because the singers who played Judas and Jesus were simply horrible IMO Still the original versions are quite charming and I'm cursing myself for not buying the cast recording when it was freely available... It's practically impossible to get it these days.
...because the singers who played Judas and Jesus were simply horrible IMO …
Here's a treat: the guy who played Jesus "singing" the Marseillaise right before Sweden-France at the UEFA Euro 1992. The French team were so paralyzed by this act of psychological warfare that they never touched the ball in the first half… (I wonder who prepared that cheat sheet.)
One of Agnetha's greatest vocal achievements came in another song from JCS, What's The Buzz? Not only does she maintain excellent pitch and separation between the semitones, she does it while Jesus is wailing away in the background.
...I always believed they were somehow edited out of the mix so that Agnetha could release it as a solo single. I had no clue that she re-recorded both songs...
Her solo versions are sung in a higher key than the cast ones
Frida recorded these songs too.
I haven't realized that, it was the different arrangement that took my attention in the first place. It seems Agnetha sings the songs with less power but extra dose of tenderness on the cast recording. I've never liked Frida's versions which lack emotions in my opinion...
@jensj2, Thanks for sharing that, I couldn't stop laughing!
On their own albums, Agnetha and Frida would have been free to choose the key that suited them best. So it is significant that there is half an octave difference on 'I Don't Know How To Love Him'. This is rather more than might be expected of a mezzo and a soprano, given their shared leads and close harmonies in ABBA. It offers support for Bjorn's comment that their magical 'third voice' arises from Agnetha operating slightly lower than her ideal key and Frida reaching some way above hers.
...their magical 'third voice' arises from Agnetha operating slightly lower than her ideal key and Frida reaching some way above hers...
Personally I've always preferred if Agnetha wasn't forced to sing too high (with certain exceptions such as her amazing performance in Hole In Your Soul) - there's something magical in the way she sings Move On for instance. And when Frida harmonizes above her, it sounds almost heavenly And we all know the miracles they can work when singing in usison.
And I think that one the reasons why her solo-material after ABBA wasn't as good as the ABBA-songs was because her producers didn't push her to use her voice as much as B&B did. On Eyes Of A Woman it get's especially apparent that Agentha chose to sing many songs in a rather low key, using her higher pitched voice only for the harmonies. I won't let you go e.g. would have been in a much higher key had Benny been the producer.
Does anybody know why the song Could We Start Again, Please is not featured on the Swedish cast recording? It would have been Agnetha's number and it's a pity it's not on the album. Was it actually left out of the stage version as well?
I'm told the song "Could we start again, please ?" wasn't in the original musical version but was written especially for the movie (in 1973) and I think the Swedish cast version dates from 1972. Tim Rice and Andrew Lloyd Webber (Composers) did the same for Evita when it was filmed with Madonna. They wrote "You must love me" to be included in the movie version (and they won an Oscar for this song !).