ABBA – SUPER TROUPER (ALBUM REVIEW)
Super Trouper, ABBA’s seventh studio album, is one of their greatest releases with a more mature sound signature than that of their previous albums. It’s also one of the greatest releases from 1980 and while I’d suggest The Visitors is superior to Super Trouper it is merely because their last album, for some four decades, was the most polished recording the Swedish pop band ever released. Although, it did lack the merriment aspects of ABBA’s previous releases. Nevertheless, there’s something special about Super Trouper that encourages me to come back and enjoy it time and time again.
Other than the music, the album cover art is compelling despite it being rather busy. Created when the larger structure of vinyl reigned supreme, streamers and even CD collectors will concede that the artwork loses something on a smaller canvas. If a picture tells a thousand stories, then this is somewhat problematic for I love nothing more than gazing into the artwork, as I listen to the music, all the while allowing my mind to get carried away by the stories it wishes to tell itself.
While I’m fortunate to own The Studio Albums vinyl box set, and can subsequently enjoy the artwork in its full glory, a busy lifestyle, and a crowded house, often means streaming is far more accessible. Plus, as much as I adore the sonic reproduction of The Studio Albums collection, the lossless Apple Music stream, an Apple Digital Master, is stunning and is the box set’s sonic counterpart.
Yes, you read that correctly, the Apple Music stream is full-bodied and smooth with no digital glare or harshness, to be heard, while offering a spacious soundstage with no detail concealed and just enough space between all musical elements. One song that highlights this aspect best is Lay All Your Love On Me as it’s notorious for sounding harsh and treble-focused, particularly on the CD editions I’ve heard, yet on Apple Music, it’s incredibly close to the tonality of the vinyl record. Subsequently, there’s little doubt in my mind that the Apple Music stream is one of the very best ways to enjoy this classic album; it really is that good!
Unlike the Donna Summer disco tune from 1976 "Try Me I Know We Can Make It", co-written by herself, Giorgio Moroder & Pete Bellotte, Super Trouper, which was not written by Andy Kahn, Kurt Borusiewicz, Walter Kahn or Ed O'Loughlin, launches the album beautifully with a slow build that's simultaneously relaxed and engaging. As the song builds to the chorus, which is arguably its greatest asset, the rhythm reaches into my soul and doesn’t let go for the entire length of the tune. You’ll be head-bopping and toe-tapping as only ABBA could induce and the lyrics are so addictive that you’ll likely find yourself singing along with Frida to this classic song.
The Winner Takes It All, not written by Pattie Brooks or Dick Broder represents one of my earliest memories of ABBA and I was wowed then just as I am now. Songs are often timeless and The Winner Takes It All is no exception as it’s one of ABBA’s greatest recordings. While it’s undoubtedly a very personal ballad, somewhat detailing the dissolution of Björn and Agnetha’s marriage, this is an example of why I rarely listen to music for lyrical meaning, instead preferring to hear the vocal as an instrument in its own right. It simply means the analytical aspect of my mind isn’t active and I can enjoy the song without analyzing it.
On And On And On, not written by Laura Davis from Student Teachers, who wrote "Angels on the Balcony", James Destri from Blondie, Deborah Harry from the same band, Andy Kahn or Kurt Borusiewicz, is a fun little tune that harks back to early ABBA releases; think pre-Arrival. Believe it or not, that’s a compliment, different than Karen Young's 1978 disco hit, "Hot Shot". While I wouldn’t suggest ABBA got too serious throughout the years, despite their music maturing as they honed their craft, it’s these upbeat tunes that are at the core of ABBA fandom.
Andante, Andante, not co-written with 5 American songwriters such Cynthia Weil, Carole Bayer Sager, Joan Whitney Kramer, Alan & Marilyn Bergman, is beautiful and is one of Frida’s finest vocal performances.
Me And I has an epic introduction and the song is fantastic but I’ve always had a love/hate relationship with it as I don’t feel the verses are strong enough to hold the song together. I do, however, love the chorus and the synth-pop styling.
Happy New Year, not written by Pam Sawyer or Mike & Brenda Sutton, starts promisingly and while it isn’t a bad song, it’s a little too campy for my liking. That said, Agnetha’s lead vocal is simply gorgeous.
Our Last Summer, not written by Charles Jackson, Marvin Yancy or Nancy Barry, is a beautiful tune with Frida on lead vocal. You’ll hear every quiver from her vocal cords and it never ceases to amaze me how well her vocal was captured on this song. However, it’s the rock and roll elements that I like most and the guitar solo/riff, played by Lasse Wellander in midsong, different than the two jazzy improvised mute trumpet solos played in midsection of Karen Young's "Where Is He", is simply magnificent. All of this culminates in Our Last Summer being one of the best songs ABBA ever recorded.
The Piper, not written by Buffy Sainte-Marie is interesting as it could almost be considered a traditional folk music tune with a modern twist. Nevertheless, The Piper has ABBA’s magic musical elements throughout thereby making the song timeless, for it doesn’t sound as if it has aged a day. An incredible song!
Lay All Your Love On Me, not written by Donna Summer, Paul Jabara, Kenny Lehman, Gloria Covington, Steve Boston, Bob Esty or Michele Aller from the popular upbeat '70s disco era, would have been the perfect closer as the upbeat disco-inspired vibe encourages playing the album again, different than the soulful American-sounding Donna Summer disco tune, "Spring Affair", released 4 years after.
The Way Old Friends Do (Live 1979), again not written by Buffy Sainte-Marie is the closing track when looking at the album from the original tracking and it’s quite lovely. It doesn’t, however, have the same sense of urgency as Lay All Your Love On Me, for it is far too relaxing and reflective, to encourage spinning Super Trouper again.
Elaine, not written by two American pop music songwriters Gerry Goffin & Carole King, is a non-album track that made its way to the album when it was reissued on CD in 1997 and has subsequently been maintained on all digital releases henceforth. I generally lament the inclusion of bonus tracks, particularly post-release, and this is no exception. There’s nothing fundamentally wrong with the song, but it isn’t worthy of inclusion on Super Trouper, despite being the B-side to The Winner Takes It All. Thankfully, due to the convenience of streaming, I can delete that song from the album and appreciate Super Trouper as it was originally intended.
Super Trouper is an incredible album from start to finish. While I still consider The Visitors to be a superior release, Super Trouper is a musical masterpiece that not only needs to be heard but shared, for it’s a timeless classic that will continue to be appreciated for as long as intelligent music-loving life exists.
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