Peter shared a post that I did back in February of this new and timely song by ABBA, and now I return the favour of this great version that he posted. Two different takes of a beautiful song.
With ABBA’s return, I though it an ideal time to post this poem that was included in my first collection, Heading North, published by Nordland Publishing.
I’d written it whilst sat up one late Autumn night, listening to an early Agnetha Fältskog song, composed in her native tongue when she was just sixteen. A downpour occurring just beyond the limits of that darkened room contributed to the general mood: she was singing of a doomed love affair; I was thinking of other times.
You guys have heard me say it before: I’m a creature of nostalgia. That’s nothing new. (Literally.)
I’ve often thought, without having a death wish, that, of the gang I used to hang with in my youth, I hope I’m not one of the last to go as I don’t think my heart could take the sentimental overload.
I was born in ‘71, which means that in three months time I’ll be fifty. I’m sharing that half a century milestone this year with some of my favourite albums: The Doors’ La Woman, Lennon’s Imagine, and the Stones’ Sticky Fingers, among others. Music that I’ve connected with and taken with me across the decades.
Last night I watched the reveal about the quite astonishing return, after all this time, of ABBA, unveiling not only a whole new album (Voyage) and two songs from it, but also a concert that is being planned in London with the aid of technology.
ABBAtars, no less.
I saw this photograph of the four Swedes dressed up in the outfits that they wore to help create these new altar egos. They look like something out of the 80’s science fiction movie Tron.
The finished result, based on their look in 1979.
Experiencing the two new songs from this first album in forty years transported me right back in time to the first family home that we all shared back then. I’d only be about five years old, my brother eighteen months younger. My folks had a cassette player on the wall unit by the door, with an early ABBA compilation album primed to play. My Mum introduced us: “Ladies and gentlemen, let’s hear it for . . . ‘THE MURRAY BROTHERS!’” We’d both be playing drums on an upturned bin and a biscuit tin respectively, while we sang along.
That was, of course, the seventies, the hazy, intangible seventies, where my affected memory always reconstructs those times in the brightest and gaudiest of colours.
My Dad is no longer with us, and my Mum no longer remembers ABBA (Alzheimer’s), but those happy days (and that group in particular) is something I’ve brought along with me to this very day. And that connection has been reinforced by listening to this new material.
Both songs (maybe more so because of the lens that I experience them through) are rich in sentiment. The first one, I Still Have Faith In You, is a ballad sung by Frida, about the special relationship shared by all four group members. I thought that this one was just okay, maybe a grower, the emotion of it coming more from the accompanying video that shows the four of them in their prime, until replaced by the ABBAtars that appear towards the end.
But it was the Agnetha-led second song, Don’t Shut Me Down, that cranked up the feels a notch. I wasn’t expecting the emotional punch that took me right back to my crude beginnings.
It sounds like classic ABBA, recognisable ABBA, and when Frida joins in it demonstrates that, no matter their age, when those two singers combine those two voices, magic is created.
It’s a magic sorely needed in our world, a magic capable of time travel.
And like all true nostalgists, I see hidden meaning and significance in everything. Making it relatable and personal, I excitedly informed my wife:
North and South Korea getting together for coffee and now Abba bringing out new material. I think I’ve slipped into a parallel world. Probably some time during the school holidays.
We recently had a Dutch student stay with us, and a conversation about famous Dutch people provoked two inevitables:
1. My son contributing every single footballer from the Netherlands that he could think of,
and 2. the namedrop of Vincent Van Gogh.
“Van Gogh!” exclaimed my daughter, “wasn’t that him that bit off his own ear?”
What followed were some incredible attempts by my children to fit their ears into their mouths, a feat surely impossible unless they were elephants.
Later that evening I finished a biography I was reading of The Mamas and the Papas. If ever there was a group that was destined not to stay together it was these guys. Remember that great 90’s film The Commitments, about an Irish group that imploded just as they were about to hit the big time?
It was like that. You had Michelle who was married to John; John who was friends with Denny; Denny who was friends with Cass; Cass who was both in love with Denny and friends with Michelle.
Then, just as they were about to sign a recording contract with a record company, Michelle and Denny had an affair. John was angry with Denny. Denny felt guilty about cheating on his friend and upsetting Cass. Cass was angry with Denny and Michelle. Michelle was angry because John blamed her and not Denny. And on and on ad nauseum.
Now it was time to make music. Somehow they managed to last two years.
John, much in the way of songwriters both before and after, used the turmoil in his life to create art. Just like Abba, where the recently divorced Björn came up with the lyrics of The Winner Takes It All and gave it thoughtfully to his ex-wife to sing,
John wrote I Saw Her Again about this betrayal and the group took their medicine and recorded it. Probably with many sideways glances.
From this I began to think of the recently deceased Dolores O’Riordan. Although the cause of death in that London hotel has yet to be disclosed, and it would be wrong to speculate, there are tales of depression and breakdowns, bipolar and a suicide attempt, all in the wake of her terrible experience as a young girl when she was sexually abused between the age of eight and twelve by a man known to her family.
A man who, though she never publically named, approached her at her father’s funeral, as she had long dreaded, tearfully apologising for what he had done.
I thought once again about how artists turn pain into art; about creative tension, struggle and catharsis. How some need to somehow get it out in their work.
And, with Dolores’ personal disclosures, witnessed the heartbreak of this Cranberries song, Fee Fi Fo, shared below complete with lyrics.
Three new year-themed songs to ease your way into 2017. An official video from Abba; a song from Jeff Buckley; a live performance from U2. Take your pick.
I’m rubbish at art, I wish I could draw. Anna can-here are sketches inspired by the lyrics of When All Is Said And Done by some of her fellow Swedes that you may know as Abba. I love them. Even picked up a pencil. Put it back down again.