ABBA was always great at blending classical elements into whatever they were doing. It really elevates the music and showcases their versatility. This blending has really contributed to their timeless appeal. 100 years from now, people will still be enjoying ABBA songs on Mars with their holographic dance floors and AI DJs.
"I'm a Marionette" (1977) It is a great song by ABBA (8/9pts) which demonstrates its musical versatility to address the most varied genres with remarkable quality. In the first quarter of 1977 ABBA did a memorable concert tour of Europe and Australia, and part of their live performances were taken for the film "ABBA The Movie" for that tour ABBA prepared two surprises: a funny self-referential song. ("I am an A") and a mini musical called "The Girl with the Golden Hair", performed by its two female singers Agnetha and Frida dressed alike and with matching blonde wigs this mini-musical is the story of a town girl who wants to succeed as a singer, and when she achieves it she feels the distance of her affections and the pull of the consumption system and the absorption by the routine was reflected by four songs: Thank you for the music I wonder (departure) I'm a marionette Get on the carousel of the four interpretations, the first three are included for ABBA's fifth album: "The Album" (from the last one a paragraph was used to make another song, "Hole in your soul", also on the same album) "I'm a marionette" It is the most dramatic song, its lyrics reflect the pulling and manipulation suffered by the protagonist by the system, it's a powerful melody, sung with great energy by Agnetha & Frida These was the live perfomance at Australia 1977 you could see Agnetha & Frida with same clothes and blonde wigs, moving as a marionettes but the recording in studio, when ABBA return to Sweden, is more powerful too, a brillant ending to "The Album" My suggestion is react to "Thank you for the music" the first song of the mini musical and with the years, an ABBA hymn I hope to see you in future reactions to ABBA My best regards to You from Buenos Aires Argentina 🇦🇷 South America
"I'm a Marionette" is a great "hidden gem" in my opinion. It has really grown on me through the years and displays ABBA's musicality above just creating great pop songs. Styx's song "Mr. Roboto" features the lyric "Domo arigato, Mr. Roboto," which means "Thank you very much, Mr. Roboto" in Japanese.
Vocally, they are both singing on the same note rather than any harmonies overlaying it. It gives the vocal that metallic edge. The original cut featured in Abba The Movie is quite different from the album cut. It went through a few versions before settling on the final album version. The instrumental part was mostly the creative work of one of their backing guitarists who contributed a lot to their songs.
An excellent deep cut.Great lyrics,instrumentation,critical if not caustic on fame and the fickle world behind its shiny side and fab vocals by the girls as always.I've heard the cover version by Ghost and David Grohl but this original '77 recording is ireally top notch for me always up there.
The Girl With The Golden Hair is the name of ABBA's mini-musical: Four scenes: 1. Thank You For The Music 2. I, Wonder (Departure) 3. I'm A Marionette 4. Get On The Carousel (no studio recording, only LIVE - see ABBA - The Movie - '77) The song is not autobiographical. It is a critical look at the American-Britsh monopolistic, overlord/puppeteer, system of major pop and groups that are part of a major record label and the power they have over artists. ABBA/Polar Music were the misfits of the American-Britsh monopolistic big record label system. ABBA and their tiny home label Polar Music were self contained. Polar Music record label is iconic today, because of Stig Anderson and ABBA. Since Polar Music a was tiny independent record label, they did not have the distribution network all around the world. Enter Gorel Hanser. Gorel was hired by Stig Anderson in 1969 at age 20. She started as office worker at Polar Music. Then promoted by Stig to his secretary. Then quickly promoted to Polar Music VP. Gorel is the one that oversaw all the license agreements that Polar Music issues to record labels around the world. Example: RCA - Australia EMI - UK Atlantic Records - USA And an lots of other regional record label'a all over the world. These record labels around the world were kept on short contracts. The other major bands usually had one big record label that covered the world, which made those artists tributary slaves to the big record labels as the big record label become of owners of the artists. Today, Polar Music is a legacy record label and a very prestigious annual award. One to Popular genre. One to classical genre. Went a little long. But wanted to explain the unique nature of ABBA/Polar Music. The indie group and tiny record label that schooled the big record labels in many ways.
Re: grassroots support ABBA did not have a singular giant record label that covered the world, Polar Music had to introduce/export their music from Sweden directly to the people. How did they do this? 1. Eurovision Song Contest - Waterloo 2. Low budget music clips sent to TV program directors around the world. ABBA TV before MTV. 3. Lots of TV appearances of the core four around the world to introduce themselves and their music directly to the people. BOOM! The people responded. Then DJ's and radio stations started to play their records. It snowballed. Huge grassroots support. West Germany was the first big support outside of Scandinavia. Then Australia was HUGE. An English speaking nation that forced the Brits to notice -- ABBA was dominating the British and American artists on the Australia popular music charts. The British people responded. Huge support from UK for ABBA. ABBA, the self contained indie group was taking over the world. Except, one country, USA. The American awards shows, pretended ABBA did not exist. America had tons of ABBA fans, but the pop/rock monopolistic establishment pretty much ignored the self contained indie group - ABBA. ABBA/Polar Music went around the American-Britsh monopolistic system by engaging via "social media" of the 70's, since they lacked worldwide umbrella record label coverage. The ABBA/Polar Music Team: Stikkan 'Stig' Anderson Gorel Hanser ** Anni-Frid Lyngstad Benny Andersson Bjorn Ulvares Agnetha Falkskog Rutger Gunnarsson Michael B Tretow & ABBA's loyal and top tier session and touring musicians. ** The unsung hero. Gorel still works with ABBA today.
I do think it's about time for him to do some live stuff from the '77 filmed tour as featured in The Movie"."TIGER" (the opener to the gig) is for me an explosive sample!.
It's the third song in a mini musical consisting of Thank You For The Music, I Wonder and then I'm a Marionette. I think it's at least somewhat based on their experience in the industry, specifically Agnetha and Frida's. Being joyful and hopeful about singing in TYFTM, daring to try and leaving the safety of an ordinary life in the home town in I Wonder to then feeling like puppets after succeeding when everyone wants a part of them.
I Wonder ….part of the 3 part mini musical on the album……is my favourite…Benny’s piano is masterful and Frida’s vocal carries the emotion of the lyrics
ABBA was always great at blending classical elements into whatever they were doing. It really elevates the music and showcases their versatility. This blending has really contributed to their timeless appeal. 100 years from now, people will still be enjoying ABBA songs on Mars with their holographic dance floors and AI DJs.
"I'm a Marionette" (1977)
It is a great song by ABBA (8/9pts)
which demonstrates its musical versatility to address the most varied genres with remarkable quality.
In the first quarter of 1977 ABBA did a memorable concert tour of Europe and Australia, and part of their live performances were taken for the film "ABBA The Movie"
for that tour ABBA prepared two surprises:
a funny self-referential song. ("I am an A")
and a mini musical called
"The Girl with the Golden Hair",
performed by its two female singers Agnetha and Frida dressed alike and with matching blonde wigs
this mini-musical is the story of a town girl who wants to succeed as a singer, and when she achieves it she feels the distance of her affections and the pull of the consumption system and the absorption by the routine
was reflected by four songs:
Thank you for the music
I wonder (departure)
I'm a marionette
Get on the carousel
of the four interpretations, the first three are included for ABBA's fifth album: "The Album"
(from the last one a paragraph was used to make another song, "Hole in your soul", also on the same album)
"I'm a marionette"
It is the most dramatic song, its lyrics reflect the pulling and manipulation suffered by the protagonist by the system, it's a powerful melody, sung with great energy by Agnetha & Frida
These was the live perfomance at Australia 1977
you could see Agnetha & Frida with same clothes and blonde wigs, moving as a marionettes
but the recording in studio, when ABBA return to Sweden, is more powerful too, a brillant ending to "The Album"
My suggestion is react to
"Thank you for the music"
the first song of the mini musical
and with the years, an ABBA hymn
I hope to see you in future reactions to ABBA
My best regards to You from
Buenos Aires Argentina 🇦🇷
South America
Great. AGAIN !
🅰️🅱️🅱️🅰️ NEVER DISSAPOINT!
Take care, Ratty✌️
Love ❤ from Chile 🇨🇱🤗👍
"I'm a Marionette" is a great "hidden gem" in my opinion. It has really grown on me through the years and displays ABBA's musicality above just creating great pop songs.
Styx's song "Mr. Roboto" features the lyric "Domo arigato, Mr. Roboto," which means "Thank you very much, Mr. Roboto" in Japanese.
Thank you for the reaction. To me this is one of my all time favorite songs by anyone. Absolutely brilliant.
Vocally, they are both singing on the same note rather than any harmonies overlaying it. It gives the vocal that metallic edge.
The original cut featured in Abba The Movie is quite different from the album cut. It went through a few versions before settling on the final album version.
The instrumental part was mostly the creative work of one of their backing guitarists who contributed a lot to their songs.
Shows Benny and Bjorns musical theatric side.
An excellent deep cut.Great lyrics,instrumentation,critical if not caustic on fame and the fickle world behind its shiny side and fab vocals by the girls as always.I've heard the cover version by Ghost and David Grohl but this original '77 recording is ireally top notch for me always up there.
I've come to appreciate this more as an older woman now. Lovet it!
Love that instrumental break, it's excellent. Great song on the downside of fame. ABBA rock!
'on the downside of fame" yes indeed.
There was originally a fourth song in the mini musical that was never released. ‘Get on the carousel’. Another that had a fairground/circus style.
that guitar solo is the shit ... gotta play that part LOUD
The Girl With The Golden Hair is the name of ABBA's mini-musical:
Four scenes:
1. Thank You For The Music
2. I, Wonder (Departure)
3. I'm A Marionette
4. Get On The Carousel (no studio recording, only LIVE - see ABBA - The Movie - '77)
The song is not autobiographical. It is a critical look at the American-Britsh monopolistic, overlord/puppeteer, system of major pop and groups that are part of a major record label and the power they have over artists.
ABBA/Polar Music were the misfits of the American-Britsh monopolistic big record label system.
ABBA and their tiny home label Polar Music were self contained. Polar Music record label is iconic today, because of Stig Anderson and ABBA.
Since Polar Music a was tiny independent record label, they did not have the distribution network all around the world.
Enter Gorel Hanser. Gorel was hired by Stig Anderson in 1969 at age 20. She started as office worker at Polar Music. Then promoted by Stig to his secretary. Then quickly promoted to Polar Music VP.
Gorel is the one that oversaw all the license agreements that Polar Music issues to record labels around the world.
Example:
RCA - Australia
EMI - UK
Atlantic Records - USA
And an lots of other regional record label'a all over the world. These record labels around the world were kept on short contracts.
The other major bands usually had one big record label that covered the world, which made those artists tributary slaves to the big record labels as the big record label become of owners of the artists.
Today, Polar Music is a legacy record label and a very prestigious annual award. One to Popular genre. One to classical genre.
Went a little long. But wanted to explain the unique nature of ABBA/Polar Music. The indie group and tiny record label that schooled the big record labels in many ways.
Re: grassroots support
ABBA did not have a singular giant record label that covered the world, Polar Music had to introduce/export their music from Sweden directly to the people. How did they do this?
1. Eurovision Song Contest - Waterloo
2. Low budget music clips sent to TV program directors around the world. ABBA TV before MTV.
3. Lots of TV appearances of the core four around the world to introduce themselves and their music directly to the people.
BOOM! The people responded. Then DJ's and radio stations started to play their records. It snowballed. Huge grassroots support.
West Germany was the first big support outside of Scandinavia. Then Australia was HUGE. An English speaking nation that forced the Brits to notice -- ABBA was dominating the British and American artists on the Australia popular music charts. The British people responded. Huge support from UK for ABBA.
ABBA, the self contained indie group was taking over the world. Except, one country, USA.
The American awards shows, pretended ABBA did not exist. America had tons of ABBA fans, but the pop/rock monopolistic establishment pretty much ignored the self contained indie group - ABBA.
ABBA/Polar Music went around the American-Britsh monopolistic system by engaging via "social media" of the 70's, since they lacked worldwide umbrella record label coverage.
The ABBA/Polar Music Team:
Stikkan 'Stig' Anderson
Gorel Hanser **
Anni-Frid Lyngstad
Benny Andersson
Bjorn Ulvares
Agnetha Falkskog
Rutger Gunnarsson
Michael B Tretow
&
ABBA's loyal and top tier session and touring musicians.
** The unsung hero. Gorel still works with ABBA today.
Next react on Get On The Carrousel, there is a videocllip of it. (Live 1977) With some scenes from the ABBA movie in it.
I do think it's about time for him to do some live stuff from the '77 filmed tour as featured in The Movie"."TIGER" (the opener to the gig) is for me an explosive sample!.
p.s.And btw this edits of the clip is the best one imo.
th-cam.com/video/maw6ffdkMOQ/w-d-xo.htmlsi=pjn-8_JDRhKTypkt
Thank you, Ratty! 🫳
Absolutely LOVE this track!
It's the third song in a mini musical consisting of Thank You For The Music, I Wonder and then I'm a Marionette. I think it's at least somewhat based on their experience in the industry, specifically Agnetha and Frida's. Being joyful and hopeful about singing in TYFTM, daring to try and leaving the safety of an ordinary life in the home town in I Wonder to then feeling like puppets after succeeding when everyone wants a part of them.
I Wonder ….part of the 3 part mini musical on the album……is my favourite…Benny’s piano is masterful and Frida’s vocal carries the emotion of the lyrics
I love abba and styx!! 🎉❤
Great! The guitar solo reminds me Alan Parsons Project.