By Carl Magnus Palm

ISBN-10: 1783230495

ISBN-13: 9781783230495

"This re-creation of the best-selling ABBA ebook has been up-to-date to incorporate info of Mamma Mia!'s notable good fortune and the continued lives of Björn Ulvaeus, Benny Andersson, Anni-Frid Lyngstad and Agnetha Fältskog, their song and their own lives. It has additionally been considerably revised throughout.

As generations of latest enthusiasts become aware of ABBA's undying song, Frida, Agnetha, Benny and Björn stay quite shadowy, secretive figures. Their marriages, own break-ups and superficial biographical information are good known...but who precisely are ABBA?

How did Norwegian orphan Anni-Frid turn into a real-life princess?
How did folksy Benny and Björn develop into a world pop strength to rival Lennon & McCartney?
What occurred to blonde Agnetha who smiled much yet by no means relatively regarded happy?
And what percentage billions have Abba been provided to reform?

World popular ABBA professional Carl Magnus Palm's acute realizing of the tradition of his local Sweden bargains a distinct perception into the crowd, and their occasionally darkish own stories.

Bright lighting darkish Shadows: the genuine tale of ABBA is the final word account of the increase and fall of a mythical staff and a biography of infrequent belief.

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Additional info for Abba: Bright Lights Dark Shadows (updated edition)

Sample text

Music comes about by performance. You cannot say that a musical score is music (otherwise music would be like painting). Attending a performance of music is as though you were watching someone paint (someone who may have a fairly good idea of what he is going to paint—and you do not), and seeing the resulting painting at the same time. But you could see the painting only moments at a time and when the painter is finished the painting would again be gone. You would be left with no more than El ec tr icit y and Mus i c ( 1968) 35 you could remember of it.

The emphasis in making such a piece falls on forethought and planning, assuming great confidence in these, a confidence that may have to draw considerably on what is tried and tested and perhaps on what is simply familiar. There may be a tendency to look backward. If the music includes unpredictable elements however, you do not aim so directly at an end; you may in fact ignore it. Instead, you must pay attention to immediate and practical matters: how a given sound or superposition of sounds may at any moment come into being, in thought, decision, and physical action.

Hum is common too, but more unobtrusive and complex (rather like the buzz that one gets in one’s ears). And the range of sound qualities that circuits generate on their own or produce by modifying sounds fed into them seems, from what I have heard so far, fairly confined; more so, for example, than what a group of, say, seven instruments could manage without electricity. But the effect that circuits can have on the timing of sounds and rhythm may be exceptional: the surprise of a sound’s appearance or departure—sometimes a sound is caught at a given pitch and intensity and holds for a very long time, for instance, then abruptly vanishes without decline or decay; the slightly unpredictable delays between the action of performance and the emergence of sound from a loudspeaker; the sudden dead blackouts of all sound, except perhaps for a residual hum in the air; and the rhythmic continuities of pulse generation.

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Abba: Bright Lights Dark Shadows (updated edition) by Carl Magnus Palm


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