01. Mamma Mia (Benny Andersson, Stig Anderson, Björn Ulvaeus) – 3:32
02. Hey, Hey Helen (Andersson, Ulvaeus) – 3:15
03. Tropical Loveland (Andersson, Anderson, Ulvaeus) – 3:03
04. S.O.S. (Andersson, Anderson, Ulvaeus) – 3:21
05. Man In The Middle (Andersson, Ulvaeus) – 3:00
06. Bang-A-Boomerang (Andersson, Anderson, Ulvaeus) – 3:02
07. I Do, I Do, I Do, I Do, I Do (Andersson, Anderson, Ulvaeus) – 3:15
08. Rock Me (Andersson, Ulvaeus) – 3:04
09. Intermezzo No.1 (Andersson, Ulvaeus) – 3:45
10. I've Been Waiting For You (Andersson, Anderson, Ulvaeus) – 3:38
11. So Long (Andersson, Ulvaeus) – 3:05

Personnel:
- Benny Andersson – synthesizer, piano, clavinet, vocals
- Agnetha Fältskog – vocals
- Anni-Frid Lyngstad – vocals
- Björn Ulvaeus – guitar, vocals
+
- Ulf Andersson – alto saxophone, tenor saxophone
- Ola Brunkert, Roger Palm – drums
- Bruno Glenmark – trumpet
- Rutger Gunnarsson, Mike Watson – bass
- Janne Schaffer, Bjorn Utvous, Finn Sjoberg, Lasse Wellander – guitar

ABBA's self-titled third album was the one that really broke the group on a worldwide basis. The Eurovision Song Contest winner "Waterloo" had been a major international hit and "Honey, Honey" a more modest one, but ABBA was still an exotic novelty to most of those outside Scandinavia until the release of ABBA in the spring of 1975. "I Do, I Do, I Do, I Do, I Do," a schmaltzy tribute to the sound of '50s orchestra leader Billy Vaughn, seemed an unlikely first single, and indeed it barely scraped into the Top 40 in the U.K. But in Australia, it topped the charts, causing the Australian record company to pull its own second single, "Mamma Mia," off the album. This far more appealing pop/rock number followed its predecessor into the pole position Down Under and also topped the charts throughout Europe. "Bang-A-Boomerang," another big production, was less memorable and had less of an impact, but "S.O.S." brought ABBA back to big success in the U.S. and the U.K., pulling along the first two singles. Beyond these tracks, the LP-only songs showed off the group's eclecticism, from the crunchy hard rock guitar riff that propelled "Hey, Hey Helen" to the ambitious instrumental "Intermezzo No. 1," which showed off Benny Andersson and Björn Ulvaeus' classical leanings and foreshadowed their bigger composing projects of the 1980s. ABBA was a surprisingly effective synthesis of pop and rock styles, surprising because the non-English-speaking world had not produced such effective Anglo-American-style contemporary music before, at least for more than a song or two. --- William Ruhlmann, Rovi

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Disc 1

1. Gammal Fäbodpsalm (Live) (1:44)
2. Voulez-vous (Live) (4:11)
3. If It Wasn't For the Nights (Live) (5:18)
4. As Good As New (Live) (3:26)
5. Knowing Me, Knowing You (Live) (4:30)
6. Rock Me (Live) (3:34)
7. Chiquitita (Live) (5:34)
8. Money, Money, Money (Live) (3:57)
9. I Have a Dream (Live) (6:51)
10. Gimme! Gimme! Gimme! (A Man After Midnight) [Live] (5:34)
11. S.O.S. (Live) (3:30)
12. Fernando (Live) (4:13)

Disc 2

1. The Name of the Game (Live) (3:09)
2. Eagle (Live) (6:10)
3. Thank You For the Music (Live) (3:52)
4. Why Did It Have To Be Me? (Live) (4:32)
5. Intermezzo No.1 (Live) (4:06)
6. I'm Still Alive (Live) (4:29)
7. Summer Night City (Live) (5:28)
8. Take a Chance On Me (Live) (4:25)
9. Does Your Mother Know (Live) (3:58)
10. Hole In Your Soul (Live) (4:39)
11. The Way Old Friends Do (Live) (3:05)
12. Dancing Queen (Live) (5:52)
13. Waterloo (Live) (3:51)

Agnetha Fältskog - ‎Anni-Frid Lyngstad - ‎Benny Andersson - ‎Björn Ulvaeus

A new ABBA live album will be released this September as part of the group’s 40th Anniversary Celebration. ABBA Live at Wembley Arena presents the complete concert at the famous London venue from 10 November 1979.

The headline news is that this release brings us a ‘new’ ABBA song called I’m Still Alive. This track was performed on the night but never released commercially anywhere. Unusually, it’s a collaboration between Agnetha (music) and Bjorn (lyrics). The full track listing for the concert is below. If you are wondering what Gammal Fäbodpsalm is, it’s an instrumental piece of music (written by Swedish composer Oskar Lindberg) used to open the concerts. --- superdeluxeedition.com

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01. Eagle (Andersson, Ulvaeus) – 5:50
02. Take A Chance On Me (Andersson, Ulvaeus) – 4:03
03. One Man, One Woman (Andersson, Ulvaeus) – 4:34
04. The Name Of The Game (Andersson, Stig Anderson, Ulvaeus) – 4:51
05. Move On (Andersson, Anderson, Ulvaeus) – 4:41
06. Hole In Your Soul (Andersson, Ulvaeus) – 3:40
The Girl With The Golden Hair:
07. Thank You For The Music (Andersson, Ulvaeus) – 3:48
08. I Wonder (Departure) (Andersson, Anderson, Ulvaeus) – 4:30
09. I'm A Marionette (Andersson, Ulvaeus) – 4:02

Personnel:
- Benny Bror Göran Andersson – keyboards, vocals
- Agnetha Åse Fältskog – vocals
- Anni-Frid Synni Lyngstad – vocals
- Björn Kristian Ulvaeus – acoustic guitar, electric guitar, vocals
+
- Ola Brunkert – drums
- Lars Carlsson – flute, saxophone
- Malando Gassama – percussion
- Rutger Gunnarsson – bass
- Roger Palm – drums
- Janne Schaffer – guitar
- Lasse Wellander – gitar

ABBA's fifth album was a marked step forward for the group, having evolved out of Europop music into a world-class rock act over their previous two albums, they now proceeded to absorb and assimilate some of the influences around them, particularly the laid-back California sound of Fleetwood Mac (curiously, like ABBA, then a band with two couples at its center), as well as some of the attributes of progressive rock. That they did this without compromising their essential virtues as a pop ensemble makes this album seem even more extraordinary, though at the time nobody bothered to analyze it -- The Album was simply an incredibly popular release, yielding two British number one singles in "The Name of the Game" and "Take a Chance on Me" (which made the Top Five in America, their second-best showing after "Dancing Queen"), and achieving the quartet's highest-ever showing on the U.S. LP charts, reaching the Top 20 and selling a million copies in six months. The opening number, "Eagle," dominated by synthesizers and soaring larger-than-life vocal flourishes, is followed by the more lyrical "Take a Chance on Me," with its luminous a cappella opening. The whole album is like that, effortlessly straddling hard rock, pop/rock, dance-rock, and progressive rock -- though the hits tend to stand out in highest relief, there are superb album tracks here, including the driving, lushly harmonized "Move On" and "Hole in Your Soul," which provides guitarist Lasse Wellander with a beautiful showcase for his lead electric playing. The second side of the album is dominated by material from a "mini-musical" called Girl with the Golden Hair that Benny Andersson and Björn Ulvaeus wrote for the concerts on their just-ended tour intended to be used in a dramatically coherent storytelling context. Two of its songs, "Thank You for the Music" and "I Wonder (Devotion)," are less exciting than the straight rock material found elsewhere on the album, though the former became a popular concert number for the quartet, while the latter is the kind of lushly melodic, moodily reflective song that could easily have graced a Barbra Streisand album of the era. The closer, "I'm a Marionette," however, is a startlingly bold attempt to recast the influence of Kurt Weill in a hard rock mode, ending The Album on a high note, musically and artistically. --- William Ruhlmann, Rovi

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01. Waterloo (Benny Andersson, Stig Anderson, Björn Ulvaeus) - 2:46
02. Sitting In The Palmtree (Andersson, Ulvaeus) - 3:36
03. King Kong Song (Andersson, Ulvaeus) - 3:11
04. Hasta Mañana (Andersson, Anderson, Ulvaeus) - 3:08
05. My Mama Said (Andersson, Ulvaeus) - 3:11
06. Dance (While The Music Still Goes On) (Andersson, Ulvaeus) – 3:11
07. Honey Honey (Andersson, Anderson, Ulvaeus) – 2:54
08. What About Livingstone (Andersson, Ulvaeus) – 2:53
09. Watch Out (Andersson, Ulvaeus) – 3:44
10. Gonna Sing You My Lovesong (Andersson, Ulvaeus) – 3:36
11. Suzy-Hang-Around (Andersson, Ulvaeus) – 3:08

Personnel:
- Benny Andersson – piano, Moog synthesizer, mellotron, vocals
- Agnetha Fältskog – vocals
- Anni-Frid Lyngstad – vocals
- Björn Ulvaeus – guitars, vocals
+
- Ola Brunkert – drums
- Christer Eklund – saxophone
- Malando Gassama – percussion, conga
- Rutger Gunnarsson – bass
- Per Sahlberg – bass
- Janne Schaffer – guitar
- Sven-Olof Walldoff – strings

"Waterloo" was the ABBA single that established the sound of the paired voices of Agnetha Faltskog and Anni-Frid Lyngstad on the airwaves around the world, as well as presenting the boldest early manifestation of the group's music. Having had a modest international hit the prior year -before they were a permanent group -- with the exuberant "Ring, Ring", which charted in much of Europe (though not in England, or in America), ABBA needed something much stronger for a follow-up and came back with this catchy tune, originally titled "Honey-Pie". Manager and lyricist Stig Anderson had found the new name -- which scanned perfectly -- in a quote from a reference book and the rest of the song simply fell into place. It was duly recorded in sessions held between December of 1973 and February of 1974. The opening is one of the more aggressive in their early output, guitar power chords by Janne Schaffer with Bjorn Ulvaeus resounding in front of heavily accented drumming, supported by wailing tenor saxophone (by Christer Eklund) while Benny Andersson's piano pounded and chimed away, the whole record lofted skyward by the soaring paired vocals, singing a lyric that equated military defeat and romantic conquest that was unmistakable in any language. The piano and guitar riff, the latter courtesy of were unmistakable in their own right, but those elements and the song's beatm and the texture of the record (especially the middle section where the sax came in) all recalled "Da Doo Ron Ron" by the Crystals just a little bit --indeed, it's easy to visualize a medley of one song sliding into the other without missing a beat. The result was a roaring success in the Eurovision Song Contest in the spring of 1974 and a chart-topping hit in England, Ireland, Germany, Norway, and Belgium, a top-five hit in the rest of Western Europe, and a number six charting single in America -- Phil Spector, then busy reissuing his old hits, might've marveled at ABBA's achievement and sound. --- Bruce Eder, Rovi

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01. The Visitors
02. Head Over Heels
03. When All Is Said And Done
04. Soldiers
05. I Let The Music Speak
06. One Of Us
07. Two For The Price Of One
08. Slipping Through My Fingers
09. Like An Angel Passing Through My Room
+
10. Should I Laugh Or Cry [Intro Version]
11. No Hay A Quien Culpar
12. Se Me Està Escapando
13. The Day Before You Came
14. Cassandra
15. Under Attack
16. You Owe Me One

Agnetha Fältskog – lead vocals (2, 4, 6, 8, 11, 12), co-lead vocals (I Am The City), backing vocals
Anni-Frid Lyngstad – lead vocals (1, 3, 5, 9, 10, 14, 16), co-lead vocals (I Am The City), backing vocals
Benny Andersson – synthesizers, keyboards, backing vocals
Björn Ulvaeus – acoustic guitar, guitar, mandolin, lead vocals (7), backing vocals
+
Ola Brunkert – drums
Rutger Gunnarsson – bass, mandolin
Janne Kling – flute and clarinet
Per Lindvall – drums (on "Soldiers" and "The Visitors")
Åke Sundqvist – percussion
Lasse Wellander – acoustic guitar, electric guitar, mandolin

ABBA's final album was recorded during a period of major personal shakeups, principally in the decision by Benny Andersson and Frida to follow the same route to divorce that had already been taken by Björn Ulvaeus and Agnetha Faltskog. Both male members of the group would soon remarry, but at the time, despite all of these changes in their circumstances, The Visitors was never intended as ABBA's swan song -- they were to go on recording together. That may explain why, rather than a threadbare, thrown-together feel, The Visitors is a beautifully made, very sophisticated album, filled with serious but never downbeat songs, all beautifully sung and showing off some of the bold songwriting efforts. The title track is a topical song about Soviet dissidents that also manages to be very catchy, while "I Let the Music Speak" sounds like a Broadway number (and a very good one, at that) in search of a musical to be part of, and "When All Is Said and Done" is a serious, achingly beautiful ballad with a lot to say about their personal situations -- even "Two for the Price of One," a lighthearted song sung by Björn Ulvaeus about answering a personal advertisement, offered several catchy hooks and beautiful backup singing. "Like an Angel Passing Through My Room" ended the original album on a hauntingly ethereal note, but not as any kind of larger statement about the quartet's fate. The intention was to keep working together, but Andersson and Ulvaeus' growing involvement with their stage project, Chess, prevented any further work together by the group beyond three songs, "The Day Before You Came," "Cassandra," and "Under Attack" -- they're all present as bonus tracks on the 2001 remastered edition (in gatefold packaging), along with the orphaned B-side "Should I Laugh or Cry" from the same sessions as The Visitors, and only add to the appeal of the original album. ---Bruce Eder, AllMusic Review

Zupełnie inna od poprzednich okładka. Inna, bardziej stonowana kolorystyka. Inna konfiguracja. Dotąd zawsze, uśmiechnięci, stali razem. Teraz – cztery osobne sylwetki. Twarze smutne, obojętne. Już wiedzą, że czas zakończenia pięknej wspólnej przygody nieuchronnie się zbliża. W tle obraz Erosa pędzla Juliusa Kronberga. Jakby symboliczne podsumowanie.

Przychodzi na myśl beatlesowski album „Abbey Road”. Identyczna sytuacja: cztery osoby, którym wspólne granie już dawno przestało sprawiać przyjemność. Które mają siebie nawzajem dosyć, są sobą znudzone, zrażone do siebie, które nawet nie próbują kryć wzajemnej niechęci. Ale wchodzą jeszcze ten jeden raz do studia. Częściowo też dlatego, by wypełnić kontrakt i mieć wreszcie spokój. A w rezultacie powstaje płyta znakomita, lepsza niż wszystkie poprzednie. Jakby za wszelką cenę chcieli zejść ze sceny w wielkim stylu. Mimo konfliktów. Mimo przeciwności losu.

Muzycznie „The Visitors” to ewolucja poprzedniej płyty, „Super Trouper”. Bardziej wyrównana, bez słabszych punktów. Pełne, wielobarwne, żywe brzmienie, z dużym udziałem różnych barw i brzmień syntezatorów. Z dbałością o każdy, najmniejszy szczegół. Dyskotekowe, nieco plastikowe dźwięki i rytmy już ostatecznie trafiły do lamusa. Całość jest też mniej przebojowa, bardziej osobista, introwertyczna. Zdecydowanie płyta do słuchania, skupienia, nie do bezrefleksyjnej zabawy.

Całość otwiera utwór tytułowy. Zaczyna się z wyciszenia, efektownymi pejzażami syntezatora. Potem dochodzi głos Anni-Frid. Utwór powoli rozkręca się, brzmienie robi się coraz gęstsze, bogatsze. Sporo tutaj zmian tempa, logicznie wynikających z siebie przekształceń (chwytliwej) melodii. Lyngstad swoim głosem znakomicie buduje paranoiczny klimat tego utworu. Głównym tematem są tu prześladowania dysydentów w nie określonym z nazwy kraju (choć nietrudno się domyślić – kraj bloku wschodniego). Dzwonek do drzwi w środku nocy i nagły atak paniki… Prawie sześć minut wciągającego grania. Pierwsza z wielu pereł na tej płycie.

„Head Over Heels” to jeden z nieco lżejszych fragmentów płyty. Ironiczny opis modnej celebrity, oprawiony w chwytliwą, efektownie poprowadzoną przez syntezator melodią zaśpiewała Agnetha. Kolejny utwór to pierwsze na płycie bezpośrednie odniesienie do osobistych problemów, tym razem Benny’ego i Fridy – „When All Is Said And Done”. Niesamowite skompresowanie emocji w niewiele ponad trzech minutach muzyki. Mniej gęstej niż poprzednio, oszczędniejszej. Do tego znakomity tekst o rozpadzie więzi między dwojgiem ludzi.

„Soldiers” byłby li tylko dość prostą, chwytliwą piosenką. Ale ważny jest tu tekst; w roku 1981 ten ironiczny komentarz na temat ludzi dotkniętych obsesją militaryzmu musiał brzmieć dość ponuro, zwłaszcza w Europie Wschodniej.

„I Let The Music Speak” to prawdziwa perła na tej pełnej pereł płycie. Znów rzecz złożona, kilkuczęściowa. Spokojne, fortepianowo-syntezatorowe otwarcie. Dochodzi śpiew i więcej syntezatorów, brzmienie gęstnieje, utwór przechodzi w drugą, podniosłą zwrotkę, elektroniczne, barwne tło uzupełnia klarnet. Potem dołączają jeszcze efektowne, wielopiętrowe wielogłosy w musicalowym refrenie… Niezwykle efektowne wyznanie miłości do muzyki jako sensu życia. A zarazem dowód na dużą wokalną elastyczność i wszechstronność Anni-Frid.

„One Of Us” to jedyny większy przebój singlowy z tego albumu i najbardziej znany jego fragment. Kolejny utwór dotykający personalnych problemów, rozpadu więzi uczuciowych. Tę melancholijną balladę efektownie uzupełnia brzmienie mandoliny. „Two For The Price Of One” to parę minut odprężenia – po raz pierwszy od dłuższego czasu w roli głównego wokalisty występuje Bjorn Ulvaeus.

„Slipping Through My Fingers” znów wprowadza melancholijny nastrój. Bjorn napisał ten utwór, obserwując swoją kilkuletnią córkę. Głównym tematem jest niezauważalne i nieustanne przemijanie, przepływanie czasu. Mniej tu syntezatorów, więcej gitar, tej akustycznej i tej elektrycznej. Piękne przygotowanie do utworu finałowego.

Zupełnie niesamowicie kończy się ta płyta. Osnową „Like An Angel Passing Through My Room” jest tykanie zegara. Cichy motyw pozytywki. Trochę syntezatorów, dyskretnych, wtopionych w tło, nie narzucających się. I Anni-Frid. Sama w pustym pokoju, w środku nocy. Gdy wszystko gaśnie i milknie. Gdy wszystkie demony, wszystkie ponure myśli, wychodzą z kryjówki na zewnątrz... Iście bajkowe, oniryczne zakończenie.

Na srebrnej płytce jest jeszcze trochę dodatków. Wszystkie wyszły na singlach w tym czasie, bądź jako B strony bądź jako dania główne. Wyróżnia się „The Day Before You Came” – całkowicie już elektroniczny, oparty na nieco funkowym rytmie, kapitalnie pokazujący, że choć Agnetha ma nieco mniejsze od koleżanki walory wokalne, to jednak jest znakomitą, wszechstronną wokalistką.

Mimo wielu propozycji, mimo chwilami wręcz szalonych ofert finansowych – powiedzieli: nie. Nie będzie kolejnego rozdziału. Ze względów personalnych i artystycznych. Tym bardziej cieszy, że pożegnali się doskonałym albumem. Ze srebrnego krążka, w zremasterowanej, oczyszczonej cyfrowo wersji (znów powtarzam: żadne 128 kb/s broń Boże) – ta piękna, wysmakowana płyta po latach broni się znakomicie. Dobre wino albo jeszcze lepiej korzenny grzaniec, wolny wieczór – i miłego słuchania. ---Piotr „Strzyż” Strzyżowski, artrock.pl

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CD1:
01 – Ring Ring (English Version)
02 – People Need Love
03 – Love Isn’t Easy (But It Sure Is Hard Enough)
04 – She’s My Kind Of Girl
05 – Waterloo (English Version)
06 – Honey, Honey
07 – Dance (While The Music Still Goes On)
08 – Sitting In The Palmtree
09 – So Long
10 – Crazy World
11 – I’ve Been Waiting For You
12 – I Do, I Do, I Do, I Do, I Do			play
13 – S.O.S.
14 – Mamma Mia
15 – Medley Pick A Bale Of Cotton On Top Of Old Smokey Midnight Special
16 – Fernando
17 – Dancing Queen

CD2:
01 – Money, Money, Money
02 – When I Kissed The Teacher
03 – Happy Hawaii
04 – Knowing Me, Knowing You
05 – The Name Of The Game
06 – Hole In Your Soul
07 – I’m A Marionette
08 – Lovelight
09 – Take A Chance On Me
10 – Eagle
11 – Thank You For The Music
12 – Summer Night City
13 – Chiquitita				play
14 – Does Your Mother Know
15 – Voulez-Vous
16 – Gimme! Gimme! Gimme! (A Man After Midnight)

CD3:
01 – I Have A Dream
02 – Angel Eyes
03 – The Winner Takes It All
04 – Super Trouper				play
05 – Happy New Year
06 – The Piper
07 – On And On And On
08 – Our Last Summer
09 – Elaine
10 – Put On Your White Sombrero
11 – One Of Us
12 – Head Over Heels
13 – The Day Before You Came
14 – Under Attack
15 – When All Is Said And Done
16 – You Owe Me One
17 – I Let The Music Speak

ABBA was a Swedish pop group formed in Stockholm in 1972 which consisted of Anni-Frid "Frida" Lyngstad, Björn Ulvaeus, Benny Andersson and Agnetha Fältskog. They became one of the most commercially successful acts in the history of pop music, topping the charts worldwide from 1972 to 1982. ABBA sold over 375 million records worldwide, which made them the fourth best-selling popular music artists in the history of recorded music. They still sell between two to three million albums a year. ABBA was the first pop group to come from a non-English-speaking country that enjoyed consistent success in the charts of English-speaking countries, including the UK, the U.S., Canada, Ireland, South Africa, Australia and New Zealand. Apart from reaching the top of the charts in different countries like Mexico, Argentina, Brazil, Colombia and Peru among others, ABBA also released a compilation of their hit songs in Spanish.

During the band's existence, Fältskog and Ulvaeus were a married couple, as were Lyngstad and Andersson–although both couples later divorced. At the height of their popularity, both relationships were suffering strain which led ultimately to the collapse of the Ulvaeus-Fältskog marriage (in 1979) and the Andersson-Lyngstad marriage (in 1981). In the late 1970s and early 1980s these relationship changes began appearing in the group's music, as they produced more introspective lyrics with different compositions.

After ABBA broke up early 1983, Andersson and Ulvaeus achieved success writing music for the stage while Lyngstad and Fältskog pursued individual solo careers with varying success. ABBA's music declined in popularity until several films, notably Muriel's Wedding and The Adventures of Priscilla, Queen of the Desert, revived interest in the group, spawning several tribute bands. In 1999, ABBA's music was adapted into the successful musical Mamma Mia! that toured worldwide. A film of the same name released in 2008 became the highest grossing film in the UK that year. The group was inducted into The Rock and Roll Hall of Fame on 15 March 2010.

ABBA – szwedzki zespół muzyki pop, w skład którego wchodzili: Anni-Frid Lyngstad, Benny Andersson, Björn Ulvaeus i Agnetha Fältskog. Jego działalność muzyczna przypada na lata siedemdziesiąte i początek lat osiemdziesiątych. Nazwa "ABBA", przyjęta w 1973 r., jest akronimem utworzonym z pierwszych liter imion członków zespołu (Agnetha, Benny, Björn, Anni-Frid). Zespół tworzyły dwa małżeństwa: Agnethy i Björna oraz Anni-Frid z Bennym. ABBA uważana jest za jeden z najlepszych muzycznych zespołów XX wieku. Zespół sprzedał ponad 370 milionów płyt na całym świecie, co czyni go jedną z najbardziej kasowych grup w dziejach.

ABBA zyskała międzynarodową popularność dzięki chwytliwym utworom z prostymi tekstami. Wraz ze wzrostem ich popularności dostawali coraz więcej propozycji koncertowych, co wiązało się ze wzrostem rzeszy fanów w: Europie, Australii, Ameryce Północnej. Podróżowanie stało się sporym problemem, szczególnie z powodu Agnethy Fältskog, która bała się latania i dodatkowo nie chciała opuszczać na zbyt długo swoich dzieci. Z tego powodu menadżer zespołu położył spory nacisk na kręcenie teledysków. Zespół kontynuował również wydawanie studyjnych albumów. Wraz ze wzrostem popularności zespołu, małżeństwa członków zespołu (Benny z Fridą i Björn z Agnethą) zostały zaniedbane, a relacje pomiędzy członkami zespołu zmieniły się. Efekt jest zauważalny w kompozycji muzyki i w twórczych tekstach utworów.

W 1976, podczas jedynego pobytu w Polsce, zespół nagrał w TVP program telewizyjny "ABBA w Studio 2", który wyemitowano 13 listopada. 5 lipca 2008 zespół w pełnym składzie spotkał się i pozował wspólnie do zdjęć przy okazji szwedzkiej premiery filmu opartego na musicalu Mamma Mia! inspirowanego utworami zespołu. Było to pierwsze od ponad dwudziestu lat publiczne spotkanie zespołu. W 2010 r zespół uzyskał nominację do Rock and Roll Hall of Fame.

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01. Gimme! Gimme! Gimme! (A Man After Midnight) 04:51
02. Mamma Mia 03:33
03. Dancing Queen 03:53
04. Super Trouper 04:14
05. S.O.S. 03:23
06. Summer Night City 03:35
07. Money, Money, Money 03:07
08. The Winner Takes it All 04:56
09. Chiquitita 05:27
10. One of Us 03:57
11. Knowing Me, Knowing You 04:04
12. Voulez-Vous 05:08
13. Fernando 04:15
14. Waterloo (English Version) 02:47
15. The Name of the Game 04:54
16. I Do, I Do, I Do, I Do, I Do 03:17
17. Take A Chance on Me 04:02
18. I Have A Dream 04:45

Featuring most of Swedish pop icon ABBA's number one international hits, Number Ones is a stellar single-disc collection that well represents what made the group so popular. While there are superb double-disc collections like Definitive Collection and the exhaustive box set Thank You for the Music for fans who want more than a single-disc compilation can offer, Number Ones equals the standard Gold: Greatest Hits in both song choice and listenability. Here you get such classic Europop hits as "Dancing Queen," "Knowing Me, Knowing You," "Waterloo," "Take a Chance on Me," "Mamma Mia," and others. In fact, if you are simply looking for the most recognizable ABBA songs all in one place, you cannot do better than this. ---Matt Collar, ROvi

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01. Ring Ring - 3:04			play
02. Another Town, Another Train - 3:11
03. Disillusion - 3:03
04. People Need Love - 2:43
05. I Saw It In The Mirror - 2:32
06. Nina, Pretty Ballerina - 2:51		play
07. Love Isn't Easy (But It Sure Is Hard Enough) - 2:53
08. Me And Bobby And Bobby's Brother - 2:50
09. He Is Your Brother - 3:17
10. She's My Kind Of Girl - 2:43
11. I Am Just A Girl - 3:01
12. Rock'n Roll Band - 3:08
13	Merry-Go-Round	3:25
14	Santa Rosa 	3:02
15	Ring Ring (Bara Du Slog En Signal) (Swedish Version)	3:08

Personnel:
- Benny Andersson - piano, keyboards, vocals, mellotron, producer
- Björn Ulvaeus - acoustic guitar, guitar, vocals, producer
- Agnetha Fältskog - vocals
- Anni-Frid Lyngstad - vocals
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- Ola Brunkert, Roger Palm - drums
- Rutger Gunnarsson, Mike Watson - electric bass
- Janne Schaffer - acoustic guitar, electric guitar

Ring Ring is the debut studio album by the Swedish pop group ABBA. It was released in Scandinavia and a limited number of other territories, including West Germany, Australia, South Africa and Mexico, in 1973. The album was a chart-topping album in Belgium, and a big success in Holland, Norway and South Africa.

The album was re-released in Australasia in 1975, but was not released in the United Kingdom until 1992, and the United States until three years later. The re-release artwork for the album uses the name "ABBA", although at the time of the album's original release, the name ABBA had not yet been coined, and instead was awkwardly credited to "Björn & Benny, Agnetha & Frida". Ring Ring was first released on CD in Sweden in 1988; a West German CD release followed in 1990 (later released internationally). The album has been reissued in digitally remastered form three times; first in 1997, then in 2001 and again in 2005 as part of the The Complete Studio Recordings box set.

The original 1973 Polar Music version of the album opens with "Ring Ring (Bara Du Slog En Signal)", the Swedish version of the track, and places the English language version as track four on Side B. The track "She's My Kind of Girl", included on the international editions, is in fact a song by Björn & Benny which dates back to 1969, which was a hit in Japan, and had also been included on the B side of the English version of the "Ring Ring" single in Scandinavia. The album also features a song co-written by Agnetha Fältskog. Although she had composed much of her Swedish solo output, the song "Disillusion", for which she wrote the music, is the only song released on an ABBA album to feature a songwriting contribution from her. When the first song "People Need Love" was recorded in the Spring of 1972, the group was just one of many projects the four members were involved in. Only after the title track, "Ring Ring" became a hit, did the four decide to go on working together as a permanent group.

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01. Super Trouper – 4:11			play
02. The Winner Takes It All – 4:55
03. On And On And On – 3:40
04. Andante, Andante – 4:38
05. Me And I – 4:54
06. Happy New Year – 4:23			play
07. Our Last Summer – 4:19
08. The Piper – 3:26
09. Lay All Your Love On Me – 4:34
10. The Way Old Friends Do (Live) – 2:57

Personnel:
- Agnetha Fältskog – vocals
- Anni-Frid Lyngstad – vocals
- Benny Andersson - synthesizer, keyboards, vocals, producer
- Björn Ulvaeus – acoustic guitar, vocals, producer
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- Janne Schaffer, Lasse Wellander – guitar
- Rutger Gunnarsson – bass, guitar
- Mike Watson – bass
- Ola Brunkert, Per Lindvall – drums
- Åke Sundqvist – percussion
- Janne Kling – flute, saxophone
- Kajtek Wojciechowski – saxophone
- Lars Carlsson – horn

Super Trouper is generally considered Abba's finest album. The overheated disco flourishes of Voulez-Vous were dropped and the sequencing was very nearly perfect. What's more, silly lyrics metamorphose into things of wrenching beauty. The overall tone is rather somber--the unraveling of the band members' relationships underscores every track--but as usual Abba turn melancholy into uplifting pop music. This digipack version of the 1981 album includes two extra songs. "Put on Your White Sombrero" was recorded during the Super Trouper sessions but was replaced on the album by the title track; it's in the band's Spanish vein and comes with a throbbing synthesizer hook. "Elaine," meanwhile, was the B-side of "The Winner Takes It All" single. An uptempo number, "Elaine" is far from being a throwaway. --Elisabeth Vincentelli

Super Trouper is the seventh studio album by Swedish pop group ABBA, first released in 1980. Led by the international hit "The Winner Takes It All", Super Trouper was the group's sixth chart-topping album in the UK. It was also the best-selling album in Britain for 1980. Super Trouper was first released on CD in 1983 by Atlantic Records, again in the 1980s by Polar International, and in the 1990s by Polydor in the USA. The album has been reissued in digitally remastered form four times; first in 1997, then in 2001, again in 2005 as part of the The Complete Studio Recordings box set and as a Deluxe Edition (containing a bonus DVD) in 2011. The previous year's divorce between Björn and Agnetha was explored in "The Winner Takes It All", and the members' lives in Stockholm high society circles coloured the lyrics for "On and On and On". Other well-known songs on the album include the hit single title track "Super Trouper", as well as the electro-dance of "Lay All Your Love on Me".

Probably due to the disco backlash of the time, the album saw ABBA returning to a more straight-forward pop sound, as opposed to the preceding (and noticeably more dance-oriented) Voulez-Vous album.

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01. As Good As New – 3:22
02. Voulez-Vous – 5:08				play
03. I Have A Dream – 4:43
04. Angel Eyes – 4:20
05. The King Has Lost His Crown – 3:32
06. Does Your Mother Know – 3:13
07. If It Wasn't For The Nights – 5:08
08. Chiquitita – 5:25				play
09. Lovers (Live A Little Longer) – 3:28
10. Kisses Of Fire – 3:16
11. Summer Night City (Full Length Version) 	4:20
12. Lovelight 	3:46
13. Gimme! Gimme! Gimme! (A Man After Midnight) 	4:52
14. Dream World 	3:39
15. Voulez-Vous (Extended Remix, 1979 US Promo) 	6:11

Personnel:
- Agnetha Fältskog – vocals
- Anni-Frid Lyngstad – vocals
- Benny Andersson – synthesizer, keyboards, vocals
- Björn Ulvaeus – banjo, guitar, vocals
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- Rolf Alex, Ola Brunkert, Joe Galdo, Roger Palm – drums
- Malando Gassama, Åke Sundqvist – percussion
- Rutger Gunnarsson, Arnold Paseiro, Mike Watson – bass
- Paul Harris – piano
- Ish Ledesma, Janne Schaffer, George Terry, Lasse Wellander – guitar
- Nils Landgren – trombone
- Lars Carlsson, Anders Eljas – horn
- Janne Kling – wind
- Halldor Palsson, Johan Stengård, Kajtek Wojciechowski – tenor saxophone
- Jan Risberg – oboe

Voulez-Vous ("Do You Want" in French) is the sixth studio album by Swedish pop group ABBA, released in 1979. It was the first ABBA album to be recorded at Polar Music Studios in Stockholm, and the only ABBA album to include a studio recording made outside Sweden. Some of the songs were secretly written and demoed at Compass Point Studios in Nassau, Bahamas, and the title track was recorded at Criteria Studios in Miami. Voulez-Vous sold more than 400,000 copies in UK in its first week of release. Voulez-Vous was first released on CD in 1984. The album has been digitally remastered and reissued four times; first in 1997, then in 2001 and in 2005 as part of the The Complete Studio Recordings box set, and yet again in 2010 for the Voulez-Vous Deluxe Edition.

1979's VOULEZ-VOUZ, the Swedish foursome's sixth album, was probably their commercial pinnacle, as nearly half of the album's ten tracks became substantial hits. The discofied title track, the anthemic "I Have A Dream," Bjorn Ulvaeus' vocal showcase "Does Your Mother Know?" and the UNICEF benefit single "Chiquitita" were inescapable on AM radio in the waning days of the '70s. However, those tracks aren't the album's only merits, as the bittersweet "Angeleyes" and the downright spiteful "The King Has Lost His Crown" are among ABBA's best and most beloved songs. In 1979, ABBA were the biggest-selling band in popular music. The slick yet substantial VOULEZ-VOUS shows why this position was justified.

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