Here are a few thoughts on why I decided to write the book…
I wanted to redefine the public perception of ABBA. Knowing full well I faced an uphill battle against the hype, the glam and the image (allperpetuated of course by the interminable army of tribute bands) only made me more determined to see it through. I accept the fact that kitch sells records, but surely the doubters must concede that ABBA’s staying power is aforce worthy of exploration beyond the “simple unpretentious melodies” theme served up by journalists.
My aim with the book was to ensure ABBA’s musical credentials were given the attention they deserve, and to rekindle and restore that one-time euphoria we’ve all experienced at some point in our years of fandom. (Something that has waned considerably for some, tarnished in part by years of overkill from the formula-based tribute army and Mamma Mia! publicity machines no doubt). Remember that sense of wonder and elation when you heard an ABBA song for the very first time? Remember when that song massaged your emotional nerve centre in the most intoxicating way?
I want all my fellow fans (and also the detractors!) to be intrigued by the fact that “The Winner Takes It All” and “Super Trouper” have a chordal musical progression in common. That Frida could sing as high as Agnetha in falsetto register and did so with style – as upper harmony vocalist – on several ABBA songs. That Benny and Bjorn re-used good melodic hooks often during the ABBA years (as a teaser, hum the opening verse bars of “Dum Dum Diddle” and “The Way Old Friends Do”). That identical melodic verse phrases reappear in the choruses of some songs. That the importance of “the power of three” (do-re-mi) was a pivotal force in the construction of ABBA’s melodies. That some songs fell a little short of the ABBA blueprint for success, and musical insights given as to why. That “The Winner Takes It All” is the quintessential example of ‘musical economy’. That “The Visitors” is not far behind it. That B-sides and cast-asides like “Crazy World”, “Put On Your White Sombrero” and “Just Like That” deserve their moments in the sun; excerpts from each (complete with chord charts) appear in print for the very first time!
I’ve had a fabulous time delving into the archives to discuss my insights into what makes us feel the way we do about ABBA. When a grinning Björn said, “Why us? Why me?” for the umpteenth time on that 2001 BBC doco series “Walk On By – The Story Of Popular Song”, a spark within me ignited. Four years later, I set out to give the oldest member of ABBA some answers. It’s been a heaven-sent task to examine, in a relaxed and non-academic way, what ABBA did to create music that continues to endear. I hope it will be one in the eye for the “Neil McCormicks” of this world! (I might even send Neil a copy, although I’m under no delusion that I’ll convert him.)
And to think my book will be unveiled to the world in the same month as the burst-of-adrenalin release of “Mamma Mia! The Movie” on DVD, which is sure to give those of us who enjoyed the film a chance to relive the buzz of the first viewing on the silver screen. What a happy coincidence. Like everything though in life, nothing good lasts forever. Regardless of outcome, I draw much pride and a sense of closure now that the book has been completed. The fact that my production editor (an old school mate who’d never bought an ABBA record in his life) rang me one evening, compelled to seek out not just a compilation, but at the very least a box set, made me realise I’d struck the right chord. As the blurb on my back cover says, “don’t we all have an ABBA album somewhere which we would like to enjoy rediscovering?”
Here’s to our individuality as ABBA fans, and our right to enjoy ABBA’s music if, when and how we want to!
