Abba’s music is characterised by its ability to evoke both joy and sorrow, reflecting the highs and lows of life. More than a decade ago, the band’s four members retreated from media focus only to reappear for individual interviews with the music journalist Jan Gradvall. These dialogues, first published in the Swedish business paper Dagens Industri, established an immediate connection and trust that led to further conversations and became the basis for the insightful The Book of Abba – Melancholy Undercover (Faber, £20).
This volume not only presents individual discourses with Benny Andersson, Agnetha Fältskog, Anni-Frid Lyngstad Reuss, and Björn Ulvaeus, but also explores the evolution of Swedish pop music, from “schlager songs” and “progg wave”, to the condemnation of rock music by the Communist party, SKP, as “a manifestation of American cultural imperialism”.
From this political and cultural milieu, Abba’s hit songs such as Waterloo, Dancing Queen, Mamma Mia, Knowing Me, and Knowing You emerged, as well as best-selling compilation albums like Abba Gold. The “melancholy” referred to in the book’s title, reveals Andersson, originates from the Nordic folk music he was raised on and the alcohol-drinking traditions, coined “the vodka belt”, adopted by Nordic and Baltic countries to counter the harsh winter months with almost 18 hours of darkness each day. As Andersson puts it, “The darkness emerges when you play.”
Across the pond, there was a different kind of darkness in Greenwich Village, New York City, specifically in the pathway from the dressing rooms to the stages of the countless venues which hosted musical giants such as Billie Holiday, Tom Paxton, and Bob Dylan. In his book Talkin’ Greenwich Village (Hachette, £28), David Browne details these venues’ decline with a resigned tone, highlighting the more bourgeois establishments that replaced them.
Through a mix of careful writing and thorough research, including interviews with over 150 members of the music industry, Browne successfully revives the 1960s music scene. Although Dylan, the most renowned product of Greenwich Village, features in the book, the narrative focuses on a variety of artists including Judy Collins and Carolyn Hester, and many others who aren’t as widely known, all with their unique tales to tell. One interesting anecdote involves Dave Van Ronk advising the young Dylan in 1961 to leave his 30s hero-worship of Guthrie behind and embrace the spirit of the 60s, guidance which Dylan evidently heeded.
Eric Clapton, the British guitarist, gave similar sage advice to Fleetwood Mac’s original guitarist Peter Green, warning him that his choice of clothing could hinder his stardom. While Green’s tenure with the band was short-lived, Fleetwood Mac prospered. Dreams: The Many Lives of Fleetwood Mac, authored by Mark Blake (Nine Eight Books, £22), provides a detailed chronicle of the band’s history, dynamics, and line-up changes and leaves the reader with a feeling of constant conflict and drama, akin to the book’s title.
This chronicle uncovers a range of entertaining and eye-opening stories, including a 2018 incident where during an awards speech, Stevie Nicks accused her ex-band member, Lindsey Buckingham, of smirking at her publicly, leading to his expulsion from the band. Dreams were frequent in Fleetwood Mac’s history, though, not always pleasant.
In his book, “Behind the Moon: Five Early ‘90s Indie Albums”, Tim Blanchard (published by Crackle & Hiss, priced £14.99), captivates the reader as he embarks on a journey with five iconic albums from the early 1990s. He delves into the nuances of Reading, Writing and Arithmetic of The Sundays, Viva Dead Ponies by The Fatima Mansions, Jordan: The Comeback by Prefab Sprout, Drift by The Apartments, and I’ve Seen Everything by Trashcan Sinatras. Through meticulous linkage with music industry lingo, societal influences, and the manifestation of life’s essence in a monotonously dreary era, he bravely highlights something bigger than simple commercial aspiration.
His insightful, scholarly writing style, coupled with snappy notations, brings these almost-ignored musical compositions back into the spotlight for the aficionados. He further enhances the book with vivid character portrayals, including an amusing description of Cathal Coughlan, former Microdisney and Fatima Mansions singer.
Musical artist John Grant, in his debut book, The Illustrated Lyrics (published by Abacus Books for £30), envisions his melodies and photographs as mini films. He is a polyglot, with proficiency in German, Icelandic, Russian, and Spanish, and moderate fluency in French and Swedish. This linguistic expertise reflects in his intense lyrical compositions which he elegantly intersperses with his personal photographs – a collection of his life’s artwork. Though selecting standout lines from his lyrics isn’t recommended, as each one bears significance, his works such as Queen of Denmark, GMF, and Glacier have indeed shattered barriers with their unmatched wit and intellect.
Are you already considering your Christmas gift list and have loved ones who are a fan of Dolly Parton? You might want to contemplate gifting them “Dolly Parton: All the Songs. The Story Behind Every Track”, a book authored by Simon Benoit, Damien Somville and Lalie Walker. This $60, robustly designed book provides an in-depth exploration of Parton’s impressive discography over a span of seven decades, from 1950s to her 45th solo album – 2022’s Run, Rose, Run. While the book’s evaluations may not dig too deep into each song, it provides a balance of detailed descriptions without the load of over analysis, satisfying ardent fans of Parton.
Moving on, are you interested in something beyond mere trivia and facts? “Uncommon People: Britpop and Beyond in 20 Songs” by esteemed music journalist Miranda Sawyer, priced at £25, might pique your interest. The book critically inspects popular tracks by prominent bands like Blur, Suede, Oasis, Pulp, Radiohead and Ash, presenting them in the context of aligning creativity and identity within the pop music realm. With first-hand experience in the era’s London music landscape, Sawyer offers insightful choices and comments. Adding to the mix, she boldy states, “Britpop wouldn’t have happened without Blur,” and offers a light-hearted descriptor for Ash’s Irish contribution – “a youthful tribute to the ultimate manic pixie dream girl on the dance floor”. This compelling book provides a smooth journey through time, place, and the vibrant Britpop music scene.