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Post by jorgen01 on Jan 21, 2018 21:34:39 GMT
Do you think that the songs in the album of the musical "Chess" should have been sung by Agnetha and Frida? Were there any these kinds of plans? Any rumours about it?
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Post by foreverfan on Jan 22, 2018 7:57:54 GMT
Good question..
However the answer for me is No, obviously history dictates, there are to many choral/ male lead tracks, and above all it wouldn't have been " that project called Chess" it would have been another ABBA album.
Off the top of my head, Merano, wouldn't work, One Night In Bangkok, no , plus many others. That all said and it has been said many many times before, "I Know Him So Well " is the only obvious track that would have worked, and could've been ABBAs 10th number one here in the UK, but they were all going there separate ways, and as far as I know the girls never sang a note!!
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Post by Deleted on Jan 22, 2018 8:43:45 GMT
Would have been interesting to hear Agnetha have a crack at 'Heaven Help My Heart'. But I can't think of any others that might have gone up another notch with the A&F treatment. I love 'Chess' and am pretty happy with it just the way it is.
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Post by shoshin on Jan 22, 2018 15:30:36 GMT
^^ Agnetha did sort of have a crack at Heaven Help My Heart, when she did the Every Good Man demo.
I took the OP's question a different way to the previous two responses. For sure, as it turned out the Chess album wasn't particularly fertile ground for their vocal talents. But I think there is enough circumstantial evidence to suggest that B & B had the girls in mind for their project, from 1977 when an interviewer brought it up in the context of the well received 'Girl With The Golden Hair', and maybe through to January 1983 when Agnetha recorded Every Good Man.
In the 1977 interview, A & F both seemed as keen as B & B to use the mini-musical as a springboard for a future change of musical direction. Much later, in the November 1982 'Saturday Superstore' interview with just Benny and Agnetha, I have never seen Benny so uncomfortable in answering a viewer's telephone question about future ambitions. He referred to the rumoured 'pop opera' and said that he felt the need to do something different, but mumbled that he didn't mean on his own, while trying to make eye contact with Agnetha for reassurance. Indeed, I have read a translated article from a Swedish (correction, Dutch) journal in which Agnetha said that Bjorn had tried to get her to play one of the Elaine/Barbara parts (I forget which), but that she had told him that it wouldn't work. Media sources can be sensationalist and unreliable. But Agnetha did record the Chess demo for B & B, and of course she had experience of playing the lead in a major musical production.
In summary, it seems to me likely that B & B would have wanted to keep A & F on board if at all possible. They knew the girls' ranges and capabilities so well. Dispensing with that would be like throwing away a favourite trusted instrument and crossing fingers that a brand new one wouldn't harm the creative process. The girls were undoubtedly in the frame at an early point, so the question would be when did that idea lose its traction? My guess would be that the Frida/Benny split, together with the timing of Frida's solo album and its initial success, probably saw off the possibility of A & F as leads. This in turn affected the Chess songs that B & B went on to compose, so the final result was never going to look as if it was written for the ABBA girls.
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Post by Zeebee on Jan 22, 2018 22:10:44 GMT
Since this thread is about the songs from Chess, I'm going to move this thread to the Musicals, Covers, and Tributes section.
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Post by shoshin on Jan 22, 2018 23:42:58 GMT
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Post by Deleted on Jan 23, 2018 8:00:21 GMT
<abbr> </abbr>Bjorn asked her to play Svetlana. Great info. Surprised it was Svetlana he had Agnetha in mind for. I must admit, I've never seen (or heard) 'Chess' and thought it was lacking A&F. It'd be interesting to know what they would have done with the roles, of course, but I'm not sure it would have been a definite upgrade. Just different. And, possibly, not quite as good. (Just my opinion!)
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Post by shoshin on Jan 24, 2018 14:10:10 GMT
<abbr> </abbr>Bjorn asked her to play Svetlana. Great info. Surprised it was Svetlana he had Agnetha in mind for... Me too. The article gives the impression that this was in relation to the stage show, but the album preceded it. Barbara didn't then go on to play the part on stage, so maybe Elaine Paige was a shoo-in for Florence and they were just looking for a Svetlana.
Barbara suffered from terrible stage fright throughout her career. One of my all-time favourite YouTube clips is when, suddenly taken ill but allegedly consumed by nerves, she misses her cue and Karin Glenmark saves the day magnificently. The bemused look on Tommy's face, just before then just after Karin bursts in, is priceless. Karin's professionalism and vocal commitment brings tears to my eye every time I watch it.
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Post by Michal on Jan 24, 2018 20:08:39 GMT
shoshin, this incident is legendary but I have never seen it. Thanks for sharing! It sends shivers down my spine...
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Post by Deleted on Jan 24, 2018 20:36:29 GMT
Ditto. Amazing, amazing clip. Quite extraordinary. World-class-plus from Karin G, there. And what a piece of music that is. You know, in my weaker moments, I actually think that B&B peaked with 'Chess'!!! (Apologies if that's heresy.) I remember when it first came to London's West End, at (very roughly) the same time as Les Mis. I thought Les Mis was overrated bigtime and couldn't work out why 'Chess' wasn't accorded the same accolades. Still can't! Going to have to listen to it all the way through again tomorrow. Exceptional piece of work. It's back at London's Coliseum (never did like that spelling!) later this year, of course. I hope they do it justice. Not sure the casting's been announced yet.
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Post by Michal on Jan 24, 2018 21:15:38 GMT
Heresy? Because we're on an ABBA Forum? :-) Then I'll readily join the club of heretics as I not only think Chess is exceptionally good (and for B&B definitely a step forward) but I'm convinced they surpassed it with Kristina... that is an absolute masterpiece!
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Post by gary on Jan 25, 2018 11:09:42 GMT
Well, I don’t think that B&B peaked with Chess (that happened from 1975 to 1978 - that is, from SOS to Take A Chance On Me - the best run of singles by anyone ever) but I do think that Chess is a fantastic piece of work, particularly musically. The story isn’t so great, although Tim Rice does his usual excellent job, but there are more good songs in it than any other musical (with the possible exceptions of Evita and The Sound Of Music). But I have a pretty low tolerance for musicals in general.
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Post by Deleted on Jan 25, 2018 15:38:32 GMT
Well, I don’t think that B&B peaked with Chess (that happened from 1975 to 1978 - that is, from SOS to Take A Chance On Me - the best run of singles by anyone ever) but I do think that Chess is a fantastic piece of work, particularly musically. The story isn’t so great, although Tim Rice does his usual excellent job, but there are more good songs in it than any other musical (with the possible exceptions of Evita and The Sound Of Music). But I have a pretty low tolerance for musicals in general. A very fair point of view, of course. Their ABBA stuff is magnificent and that body of work - not least the run of singles you highlight - is more than a match for just about everyone else and is equalled by very, very few. But I think the 'Chess' stuff has an extra dimension (not just lyrically). Just for a bit of fun, here's how a 'superbattle' between ABBA and David Bowie might look, for example, focusing on their respective peak-period singles (just my own opinion, of course, and UK-based): SOS v Starman - tie Mamma Mia v John I'm Only Dancing - ABBA win (v. easily) Fernando v Jean Genie - Bowie win (comfortably) Dancing Queen v Drive-In Saturday - ABBA win (just) Money Money Money v Life on Mars - Bowie (comfortably) Knowing Me Knowing You v Sorrow - ABBA win (v. easily) Name of the Game v Rebel Rebel - Bowie win (just) Take a Chance on Me v Rock 'n' Roll Suicide - tie ABBA 4 / Bowie 4 - ABBA win on tie-break as they have more 'very easy' wins! Good game! (I've omitted 'Laughing Gnome' as it was a re-release from a completely different era, unlike 'Life on Mars')
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Post by Deleted on Jan 25, 2018 20:16:17 GMT
Thisboycries - 'Sorrow' should not count. it was not a David Bowie Song. It was first recorded by USA Group, The McCoys, in 1965. (Best known for 'Hang on Sloopy'). In 1966 The UK Duo, The Merseys, took it to No.4, in the UK. David Bowie covered it in 1973 & took it to No.3 in the UK - but it was a virtual note by note copy of The Merseys version.
Regarding 'Chess', I know a lot of people into Classical Music & all regard 'Chess' as inferior to 'Kristina'. I agree. I feel that 'Chess' is over-rated & 'Kristina' is hardly known outside Sweden & Finland etc. But, I hear far better consistency when I listen to 'Kristina'. If Benny & Bjorn had only written it in English & about something that had a Global connection, it would have been huge in the West End & Broadway. However, it is about Swedish Emigrants, to the 'New World' & it was just too obscure to be a Global success.
In the 1980's, Sir Tim Rice claimed that 'One Night In Bangkok' had outsold every ABBA Single, around the World. That was just not true. It sold about 3,000,000 to 3,200,000. 'Money, Money, Money' had similar Sales. But both were outsold by several ABBA Singles. Such as: 'Mamma Mia', (around 3.5 Million), 'S.O.S.', (about 4 Million), 'Waterloo', (5.5 Million), 'Fernando',(about 6 Million), 'Dancing Queen', (well over 6 Million) etc. Sir Tim Rice just wanted people to think that his 'Project', with Benny & Bjorn, was even bigger than ABBA. The 'Chess' Album barely sold a Million Globally, and 'Arrival' alone sold 10,000,000 to 11,000,000, for ABBA.
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Post by shoshin on Jan 26, 2018 11:08:05 GMT
... Mamma Mia v Man with the Child in his Eyes - ABBA win... I can reason with you no longer
These head-to-heads deserve a thread of their own, especially as the Chess discussion was already progressing pretty well. If you set one up, maybe Mike (Zeebee, moderator) could channel a few of these entries into it, to get the ball rolling?
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Post by Deleted on Jan 26, 2018 14:21:03 GMT
Excellent idea - will do so immediately!
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Post by Zeebee on Jan 29, 2018 22:15:09 GMT
I have moved those posts. Unfortunately, they're before what was originally the first post in that thread, because they were posted here before Barry started that thread. There doesn't seem to be any way I could move what originally was the first post in that thread back to the top of the page.
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Post by shoshin on Jan 29, 2018 23:16:41 GMT
shoshin , this incident is legendary but I have never seen it. Thanks for sharing! It sends shivers down my spine... Here's a better upload of it, clearer and with the sublime prelude to the vocals
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Post by Michal on Jan 31, 2018 19:32:14 GMT
Great to see Benny playing. Thank you!
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Post by Alan on Feb 1, 2018 20:12:51 GMT
Regarding whether I Know Him So Well could have been ABBA’s 10th UK number one, the jury is still out. Anyone watching repeats of Top of the Pops on BBC Four at present will know that this song is the “current” number one.
I haven’t seen all the episodes yet but on the ones I have seen, there has been no mention of ABBA or Bjorn and Benny whatsoever. Tonight, Simon Bates introduced the video as “Tim Rice’s song” so it was apparently more cool to name-check him than ABBA or B&B.
This is as I remember it, and in some ways I’m glad my memory serves me well, but hearing it again makes it all the more brutal. At this point, ABBA had been written out of pop history. Not to be mentioned and as quickly as possible forgotten about.
Therefore my opinion remains that I Know Him So Well would not have been a hit for ABBA. Elaine Paige and Barbara Dickson certainly weren’t “cool” in 1985, and Tim Rice even less so, but ABBA were lower still. They were the unmentionables.
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Post by Deleted on Feb 4, 2018 9:17:23 GMT
Yes, Alan - I also noticed Batesy's rather odd air-brushing of B&B out of the 'credits' for IKHSW. I think if it had been an ABBA single in, say, 1984, it would have been lucky to break into the Top 40 at all. For me, it was the fact that Frida's magnificent IKTSGO single didn't chart in the UK in 1982 that really showed how savagely ABBA were being excised from the British public's list of listen-to artists and stuck in the 'has beens' pile. Even 'Bangkok' only secured a pretty modest chart run here. And, of course, Agnetha's solo stuff barely made a dent in '83. Yet, as you say, Elaine and Barbara weren't exactly 'hip' figures in '85. Was IKHSW one of those number ones that the 'mums and grannies' propelled to the top? (Obviously I bought it too - but I'm not sure I knew anyone else who did.)
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Post by foreverfan on Feb 4, 2018 15:05:02 GMT
^^^ Interesting take, and my memory isn't that good !! I must admit, I found it very disappointing that Frida and IKTSGO failed to make the top 40, such a good track for the time and with Phil Collins producing and heavily influenced, it should've been a top 10, and everything else failed miserably. Agnetha deserved much more as well, particularly WYAAM, again not even making the top 40. Were the media that harsh back then on anything ABBA related. If so surely IKHSW, would not have been number one for 4 weeks. B&B must have been mentioned at some point on the TV or radio, or was it just a quirk of fate that it was number 1, The UK has a tendency to get the more unusual track to that position. as for Barbara and Elaine, well as good as they are in there own genre, they never made the big time single wise.... Ironically today , radio 2 here in the UK, play IKTSGO , once in a while, never anything else from Frida, and occasionally the odd Agnetha track, but the last time for IKHSW, apart from the odd yesteryear count down .....never.. a twist of fate.... So perhaps and of course we will never know, if IKHSW had been ABBA, it wouldn't have made it...emmm interesting thought...
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Post by WATERLOO on Feb 9, 2018 9:33:42 GMT
That interview with Agnetha might be true in terms of content but these are definitely not her words, she would never say Björn, dear, neither in English nor in Swedish (Björn, snälla – I just can't picture her saying that in an interview in 1985).
I think after the divorce of Benny and Frida it was pretty unlikely that A&F participated in Chess. Agnetha maybe as she seemed rather comfortable throughout the 80s. But Frida I guess needed her time apart from the group and from her former husband.
And quite frankly, I don't see any advantage in any of the two women to sing on the album. Chess is not an ABBA-record and I don't hink A or F or both singing on it would have improved it. In fact, i think Chess would have received less recognition if it had been promoted by an album that was basically ABBA with some other people singing on it.
The two perfect points for the four working together again were in 1992 and 1999 when ABBA Gold and Mamma Mia gave the ABBA-brand a giant push. But in 1992 Agnetha was unavailable because of her mother's suicide and in 1999 both her and Frida's private lives made both think about anything but working again with ABBA. Thus, the chapter seems closed, sadly.
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Post by Deleted on Feb 9, 2018 15:03:12 GMT
1982 was an even worse Year for Queen, than it was for ABBA. They too released 3 Singles that all failed to reach the UK Top 10. But, at least ABBA's most recent Studio Album was a UK No.1 - 'The Visitors'. Queen could not even reach the UK Top 3 with 1982's 'Hot Space'. It stalled at No.4.
Had Queen split at the end of 1982, I'm sure that we'd now have some Queen Fans predicting that nothing Queen could do after 1982 would have been a success. That they were 'right' to split in 1982. That they'd become too unfashionable to be big in the rest of the 1980's.
The same old arguments that some ABBA Fans give as to why it was 'right' that ABBA gave up in 1982.
Both Queen & ABBA first Charted in the UK within 6 Weeks of each other. Queen in March 1974 and ABBA in April 1974. Both had a truly awful Chart Year in the UK in 1982.
Queen decided to try again - which they did in 1984. Guess what? Their 1984 'comeback' was a huge success - a No.2 Single, a No.3 Single & a No.6 Single. A No.2 Album, with 'The Works', & it was their longest stayer in the UK Top 10 - 25 Weeks.
Had Queen split up at the end of their awful 1982, we'd have some Queen Fans saying that it was the 'best thing they could have done'. That any 'come backs' would have been failures. That 'no-one liked Queen any more'. The same old - pointless - arguments that we hear from those who say the same things about ABBA, had they tried to make a 1984 or 1985 'come back'. With ABBA's talent, I'm sure that they too would have ended up big again - just like Queen.
Incidentally - It was Queen's 1984 'comeback' that eventually saw them over-take ABBA in UK Singles & Albums Sales. Between 1974 & 1982 ABBA sold more UK Singles & Albums than Queen. Then, Queen had a 2nd Career, from 1984 on-wards & they outsold ABBA. Of course, by ending in 1982, ABBA did not have a 2nd career. Both Acts have been huge via 'Hits' Albums in the 1990's & beyond, of course.
Then we have the Myth that ABBA could not sell Records after they split up. This is nonsense. During the 1980's they sold around a Million Compilation Albums in the UK. With 'The Hits 2' and 'The Collection', (a Double Album), selling 200,000 UK copies - each - by 1990. Not bad for an Act who are supposed to have been unable to sell Records in the 1980's, and in 1990 & 1991.
Then we had 'The Hits', 'The Hits 3', 'Love Songs' & 'The Collection 2', (another Double Album), selling around 150,000 each in the UK.
People see that none of the 6 Albums mentioned were UK Album Chart Hits. This has caused them to think that all of them were 'flops' & they sold poorly. Wrong! They were all Budget Albums - low priced - and 'Banned' from the main UK Album Chart. But all of them sold well over 100,000 each, with 'The Hits 2' & 'The Collection' each getting a UK Gold Disk, for Sales of over 200,000. (Budget Albums have to sell 200,000 to go Gold. Full priced Albums 'only' need to sell 100,000 to go Gold).
Here are ABBA's 2 UK Gold Disks - 200,000 Sales each - from 1990 - when a Myth has arisen, that, 'No-one was interested in ABBA anymore, after they split in 1982':
The Collection -- Gold Album -- Awarded on 01.10.1990 -- Released on 09.06.1987
ABBA The Hits Vol. 2 -- Gold Album -- Awarded on 09.06.1990 -- Released on 15.02.1988
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Post by Deleted on Feb 9, 2018 16:12:21 GMT
Interesting.
My personal view (which absolutely no-one is required to share) is that Queen had a bad 1982 because the records they released were Grade-A useless. They'd only just had a massive No.1 with Bowie at the fag-end of '81 but then followed it up with comfortably the lamest material of their career. But, fair play to them, they went away and ticked the 'must try harder' box - and better times duly followed with the improved 'The Works' (although that was to prove something of a watershed in the US for well-known video-related reasons). Live Aid added further momentum, of course. I also think Queen could ride their 'blip' because they were still seen as a rock band, not just as a frothy pop band, and thus had more inherent 'credibility' (whatever that means) and 'staying power' in the eyes of a big slice of the record-buying public. ABBA obviously shifted a lot of units in the '80s, but, to my mind, there's a BIG difference between selling compilations rooted in past glories and getting punters to take 'new material' to their hearts. If Frida's IKTSGO and ABBA's TDBYC could be pretty much cast into the abyss by British record-buyers, I'm struggling to believe that any new product with an overt ABBA imprimatur would have fared well in the mid '80s.
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Post by shoshin on Feb 9, 2018 23:22:07 GMT
That interview with Agnetha might be true in terms of content but these are definitely not her words, she would never say Björn, dear, neither in English nor in Swedish (Björn, snälla – I just can't picture her saying that in an interview in 1985)... Agnetha uses 'dear' here, with Benny rather than Björn, but in a similar 'good friend, not husband' kind of way
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