ABBA - The Complete Recording Sessions - more about new features

Published January 11, 2015

These are interesting times at CMP headquarters.

As I revealed in my previous blog, Maria Nicholas has come on board as the designer for the revised, updated and expanded edition of ABBA - The Complete Recording Sessions. I have a few finished chapters of the book - finished in the sense that they have a structure, and a beginning, middle and end; there is still much information to be added to the texts. Earlier this week Maria took one of the chapters and created a sort of "test layout" for it. I learned two things from this: a) Maria knows what she's doing and the text looks really nice on the page, and b) there is no way this is going to be a 300-page book, as I thought might possibly be the case. We're looking at 400 pages - possibly more, but we'll see what happens as we fine-tune the page designs.

I certainly don't want this to turn into a massive, unmanageable book, so in order to keep the page count on a sensible level, some of the new features I intended to include in the book are now in jeopardy. After all, the story of ABBA's recording sessions, and how they created their music in general, is what this book is all about, so my number one priority will be to make sure that all those stories and details are included in the book.

That said, the features revealed in my previous blog will definitely remain. And another new feature that's also a sure-fire inclusion is the "sidebars", or "separate articles", focusing on interesting aspects related to ABBA as a musical entity. For instance, one such article could be entitled "Agnetha and Frida as vocalists". This article would focus on ABBA's two lead singers, their special qualities and methods, and so on. Another article could be "Janne Schaffer", giving the reader some background info on one of ABBA's most frequently used studio guitarists. If you have the original edition of ABBA - The Complete Recording Sessions, you will perhaps remember that the subjects mentioned as examples here are already featured in the text, but I think the book will benefit from presenting these indepth features as separate articles in the book - and with more detail, of course. I also have ideas for completely new themes to explore in these articles.

I will return with more information about the book in a future blog. As I'm writing this it's only 17 days until the crowdfunding campaign starts on Wednesday 28 January - exciting...!

More information about the updated version of ABBA - The Complete Recording Sessions can be found here. It's easy to be notified of updates about the book by following me on Facebook or on Twitter. (If you're worried that you're going to be inundated with updates and tweets, fear not - I seldom post things not related to my work, and you will usually only hear from me a few times every week, at the most.)

I will be talking about the revised edition of ABBA - The Complete Recording Sessions at an event hosted by the Facebook group ABBAtalk in London on 7 February 2015. More details and tickets here.


New features in ABBA - The Complete Recording Sessions

Published January 04, 2015

As promised in my previous post about ABBA - The Complete Recording Sessions, in this blog I will reveal some of the new features in the updated, revised and expanded edition of the book.

But first I'd like to announce that I now have a designer for the project. If you're a member of ABBA Intermezzo Fan Club you will be aware that they publish a very nicely designed magazine. The brains behind the look of the magazine is Maria Nicholas, and I'm very happy that she has offered her services to design my book.

Maria, based in the United States, is a designer by profession, and we've already started discussing various solutions for the layout and overall look of the book. I'm very pleased with what I've seen so far and feel confident that we will have a book that will be both stylish and reader-friendly. If you're interested in checking out her work, please visit her website (personally, I'm especially impressed by this example of her stellar work).

Now, over to the new features in the book. One thing that I want to accomplish with the new edition is to expand its scope a little. The original version of the book offered details of recording dates, mixes, the creative aspects of writing and recording ABBA's music, and plenty of commentary from the four ABBA members, engineer Michael B. Tretow and the musicians. That approach served me well, and it's not something I want to lose sight of for the new edition.

However, I also want to "open up" the book and bring in the outside world just a little. One subject I'd like to focus on in a little more detail is how ABBA's singles and albums were received at the time of their original release, and so I've decied to include a selection of contemporary review quotes - both good and bad. Let me tell you, the reviews I've assembled so far have been quite revelatory, and when you bring them together they provide a very clear picture of exactly how ABBA's music was viewed by the media at the time. For example, I hadn't quite realised just what a marked difference there was between a positive review of the Waterloo album in the Swedish press and one in the US press. I think you will find it just as interesting as I do.

Another new feature will be the stories behind the original Polar Music album sleeves (and single sleeves as well, where, admittedly, there may sometimes be less to say, but one or two interesting tidbits for some of the seven-inch sleeves will be included nevertheless). You may feel that you already know everything about the album sleeves, but I feel confident that I will be able to widen the perspective considerably and provide new, previously unpublished details. Or, if nothing else, bring together all the facts and stories into one place, which is also one of the goals of the book.

Well, those are some of the new features in the revised edition of ABBA - The Complete Recording Sessions. I will return with more details in a future blog. And don't forget that the crowdfunding campaign, hopefully making the book a reality, will start 28 January.

More information about the updated version of ABBA - The Complete Recording Sessions can be found here. It's easy to be notified of updates about the book by following me on Facebook or on Twitter. (If you're worried that you're going to be inundated with updates and tweets, fear not - I seldom post things not related to my work, and you will usually only hear from me a few times every week, at the most.)

I will be talking about the revised edition of ABBA - The Complete Recording Sessions at an event hosted by the Facebook group ABBAtalk in London on 7 February 2015. More details and tickets here.


More info about the new edition of ABBA - The Complete Recording Sessions

Published December 28, 2014

If you're interested in the stories and details of how ABBA wrote and recorded their music, there are exciting times ahead. After many years of requests from fans, I will finally go back to the book ABBA - The Complete Recording Sessions, which was first published in 1994, and present a revised and expanded edition. If all goes well, that is.

I've long wanted to revisit the book and ever since I started thinking seriously about it I've known that I would want to self-publish. Why? One reason is that by the very nature of the book - the details about how ABBA created their music - it was always going to be a "special interest" title, meaning that it would have a comparatively small readership but one that would be very interested in taking part of its contents. That would mean that although there might be publishers who would be interested in publishing the book, the edition would be so small that they wouldn't be able to offer me the kind of money I would need to spend adequate time on truly updating and improving upon the book (I should add that we're not talking about millions of dollars here, but even the relatively small amount I would need would be too much). However, by cutting out as many middle-men as possible, I would be able to put together a budget for the book allowing me to do such things as eat and pay the rent during the lenghty period of writing and researching.

Another reason for self-publishing is that I, as the author, want to have full control of the project. What will the book look like? My decision. When is the deadline for submitting the manuscript? My decision. When will it be published? My decision. This need for control is not because I'm a raging egomaniac, but simply because I want the book to be the best I could possibly make it - that would be my priority rather than having it out "in time for the Christmas market" or whatever other priorities a regular publisher would have (those priorities are completely understandable, but would be a hindrance for the kind of book I want to create). In other words, I want to make a book for the committed readers out there, rather than the casual browser.

The revised, upated and expanded edition of ABBA - The Complete Recording Sessions will be a lot thicker than the original edition - I'm looking at somewhere between 300 and 400 pages; probably closer to 400 than 300, actually. By comparison, the original edition comprised 128 pages. There will be A LOT more text in the new edition, plus all kinds of relevant illustrations, so that's why the book will be so much thicker.

With the ambitions I have, and the fact that I want it to be a good-looking, full-colour book, nicely produced and printed on nice paper, coupled with the fact that it's going to be a comparatively small edition, the book is going to be more expensive than the average book. The entire project has to carry all its costs. There is no financial backer investing in it from the goodness of his or her heart - the entire project will be financed by you, dear prospective reader. So, if you're interested in seeing this book become a reality, please back the crowdfunding campaign when it starts on 28 January 2015. And please spread the word to anyone you think might be even remotely interested in this book.

More information about the updated version of ABBA - The Complete Recording Sessions can be found here.

More details about the contents of the book in my next blog. It's easy to be notified of updates by following me on Facebook or on Twitter.

Oh, and if you want to hear me talk more about the revised edition of ABBA - The Complete Recording Sessions, I will appear live at an event hosted by the Facebook group ABBAtalk in London on 7 February 2015. More details and tickets here.


Revised, updated and expanded edition of ABBA - The Complete Recording Sessions in the works

Published December 16, 2014

I'm delighted to announce the forthcoming publication of an updated edition of my very first ABBA book, ABBA - The Complete Recording Sessions. Originally published in 1994, this revised version will incorporate all the new information that has come to light since the book was first issued. It will also feature hitherto unpublished or long-forgotten facts and stories that I've unearthed during my ongoing research on ABBA and their music.

Even more exciting: Björn Ulvaeus and Benny Andersson - and Polar Music International - have authorised me to listen to much more unreleased music than was possible in the analogue days of the early Nineties. When Björn, Benny, Michael Tretow and I spent a day listening to tapes back in 1993, none of the multi-track tapes or the alternate mixes were available in a digital format. Since then, however, all the tapes have been digitized, meaning that it's much easier to access the music. Needless to say, in 1993 I would have wanted to hear much more than I was able to hear during the six hours I spent together with Björn, Benny and Michael, so I'm excited to finally get this opportunity to really delve into the archives.

Moreover, the scope of the book will also be expanded in many other different ways, but without ever losing focus of ABBA's music. Perhaps even more importantly, the prose will be significantly improved - I'm basically re-writing the book from the ground up.

I am going to publish the book myself, so as not to be beholden to a publisher's requirements regarding design, deadlines and so on. I hope to be able to publish towards the end of 2016, but the date may change: making the book as good and as nice-looking as it can possibly be will be my main objective.

The researching, writing and publication of the revised and expanded edition of ABBA - The Complete Recording Sessions has been funded by a successful crowdfunding campaign, which ended 9 April 2015. However, it's still possible to pre-order a copy of the book. If you do, your name will be listed in the finished book together with all other contributors. Moreover, your book will be signed by me with a personal dedication. The book is available here.

A series of blogs about the revised and expanded edition of ABBA - The Complete Recording Sessions are available here.

Updated: Bright Lights Dark Shadows 2014 edition - why should you read it?

Published November 22, 2014

Earlier this year I published a thoroughly revised and updated edition of my biography, Bright Lights Dark Shadows - The Real Story Of ABBA. I was very happy with the outcome, but I find that I struggled a bit in explaining to people who'd already read the original edition of the book, published in 2001, why they would enjoy reading the updated version. Which is a shame, as I think the book is much, much better now, what with the impoved prose and structure, and the new bits of information scattered throughout the book

So, I thought: Why not ask those who read the updated version what arguments they would use to convince someone who was uncertain whether to read the book again or not.

Quite a few readers heeded the call and came through with their comments; click here to read them.

If you also want to add your five cents on the subject of, "I think you should read the 2014 version of Bright Lights Dark Shadows because...", I'd be grateful for your comments. Please send your contributions to and I will post them on the Reader reviews page.

Many thanks in advance.

More info about the book, along with ordering links, here. And signed copies are still available as well.

ABBA - The Complete Recording Sessions, 20 years on

Published October 31, 2014

I can't quite believe that it's been a full 20 years since my first ABBA book, ABBA - The Complete Recording Sessions, was published. But it's true: it reached bookshops around this time way back in 1994. It made quite a splash in the ABBA fan community at the time, and notwithstanding biographies such as Bright Lights Dark Shadows - The Real Story Of ABBA and ABBA - The Story, it has remained my best-loved book among hardcore fans.

I'm very much aware that there is a demand for an updated edition of ABBA - The Complete Recording Sessions, and it's something that I'd really like to do myself. Without making any commitment, I can at least say that at the moment it looks a little more promising than it has for a long while. Please note: This is NOT an announcement that an update of ABBA - The Complete Recording Sessions is imminent, I'm simply saying that there have been some positive developments recently. But it could very well go the other way, that the book is not updated in the near future. Either way, whenever I have some definite information, it will be posted on this site.

In the meantime, I leave you with this very nice apprecation of the book, originally posted by Edward Veldman on the Facebook group ABBAtalk earlier today. Enjoy!


In this year of anniversaries (and what a year is has been so far, with still some more goodies to come), there is one more anniversary that I just have to bring up.

At the end of October 1994 Carl Magnus Palm published his first ABBA book ‘The Complete Recording Sessions’. It was the start of a series of books, liner notes and internet articles by Carl Magnus that took writings about ABBA to a whole new, more serious and professional level.

Many people have referred to the book as the ‘ABBA Bible’, and I can only agree. It gives such a fantastic and detailed insight into the creative process of ABBA’s recordings and is an inexhaustible source of information on ABBA’s studio work. An essential read for every serious ABBA fan!

When I bought the Thank You For The Music box set in 1994 I read in the booklet about the release of this “meticulously researched” book and I immediately knew I had have it.

Remember, this was all in a time when we did not have access to the shared knowledge of ABBA fans around the world on the internet, and as Carl Magnus himself puts it, “very little of what had been written about them dealt with the creative aspects of their work.”

I got the book in February 1995, started reading it and haven’t really put it down since. I love reading about who played on what songs, on what dates songs were recorded (or discarded...) and what magic ABBA used to produce those phenomenal records.
It is always interesting to hear some new details in ABBA’s music when you know what to listen for and the wealth of details and previously unknown facts about their recordings have deepened my appreciation and love for ABBA’s music.

By the way, on Carl Magnus’ own website there is an extensive series of articles about the book, a must read!

A lot has happened in twenty years, and more details about ABBA’s recordings have surfaced since the book was published. I’m sure I’m not the only ABBA fan to say that I hope Carl Magnus will one day find the time and funding to write a fully updated version of this book.

But even it that never happens, I will forever be thankful for this fantastic piece of work.

Thank you Carl Magnus!


ABBA-related material on Björn Skifs DVD box set

Published July 28, 2014

Most long-time ABBA fans know who Björn Skifs is: singer, actor, comedian, pal of ABBA, lead vocalist on the Chess song 'The Arbiter', and so on - not to mention the first Swedish artist to reach number one on the Billboard singles chart (with 'Hooked On A Feeling' back in 1974).

In 2010 a massive DVD box set was released, entitled Björn Skifs XL3 Deluxe and chronicling his life and career up until the present day. I never got around to buying it when it was first released, but recently I finally invested, and made a couple of fairly interesting discoveries for the ABBA fan.

The box set follows the format of Frida - The DVD, with current interview clips with Björn Skifs followed by vintage television performances and video clips - indeed, this box set was produced by the same people who put together Frida's DVD. The life-and-career overview takes up three DVDs, while the remaining three discs feature three movies that Björn co-wrote and starred in: Strul, Joker and Drömkåken. None of the DVDs in the box set feature English subtitles.

Of interest to the ABBA fan and collector are the excerpts from the 1970 TV series När stenkakan slog. Frida was one of the singers in this production and many of her songs were released on Frida - The DVD, including 'Kalle på Spången' (performed by Frida, Björn Skifs, Sten Nilsson and Mona Wessman), which is also featured in this box set. However, Frida also takes part in another song included in the Björn Skifs box set, namely 'Flickorna i Småland'. The song itself is performed by Björn Skifs and Sten Nilsson, but Frida and Mona are extras, mainly seen from afar in the clip. Not a very prominent contribution, admittedly, but she is in it - and it's a commercial DVD release. Both clips can be watched here for those who will make do with Youtube picture quality.

Although Björn Skifs doesn't talk about his Chess experience in the interview segments, the box set also features the official video clip of his performance of 'The Arbiter'. Presumably, this clip will be included on the DVD included with the upcoming remastered edition of the Chess concept album, but I believe Björn's box set may be the first time one of the Chess videos has been commercially released on DVD (please feel free to correct me if I'm wrong in this regard).

CDOn are selling this box set at a bargain price at the moment, please use the convenient ordering links to the right.

An olive branch in the Language Of Love wars

Published July 04, 2014

A while ago on this very website I took a closer look at Björn and Benny's soundtrack work for the sexploitation films Language Of Love and The Seduction Of Inga - it wasn't always pretty but someone had to do it. And now I have some more information to share about 'Language Of Love', the song.

As you may recall, I surmised that despite the best efforts of Stig Anderson, 'Language Of Love' was in fact never released on record by artists outside Sweden. Well, a friend of mine, ABBA-and-related collector Frank Axelsson, was able to put me right. In his collection he had a cassette tape which a fellow ABBA fan had sent him about 25 years ago. The tape included a word-less "humming" version of 'Language Of Love', performed by a vocal group identified as The Olive Branch.

After a bit of googling I found that the track was indeed included on an album by The Olive Branch, issued as part of Decca Records' Phase 4 Stereo series of releases. Phase 4 Stereo started back in 1961, and the Olive Branch album, entitled Winds Of Change, was released about a decade later - in 1970 according to the label, in 1971 according to the sleeeve - by which time one gets the feeling that Phase 4 Stereo was used for easy listening releases in general, and perhaps not so much for showcasing stereo recordings as such. I wouldn't be surprised if The Olive Branch was nothing more than a number of session singers, assigned this group name for this particular album and never heard from again.

The Winds Of Change album was released in both the UK (Decca Phase 4 Stereo PFS 4223) and the US (London Phase 4 Stereo SP 44152),  with 'Language Of Love' appearing as track three on side two. But - uh-oh! - what's this? Neither the sleeve nor the label credits Björn, Benny and Jack Fishman with writing the song. Instead, the track is credited to "Loudermilk", those responsible obviously confusing the film tune with John D. Loudermilk's charming 1961 hit of the same name. These two takes on the subject are very different: whereas Jack Fishman opines that "when we talk of love, we don't need words," John D. Loudermilk seems to be of the opinion that, yes, there are in fact specific words to be used.

Could there be a better illustration of exactly how difficult it was for Swedish songwriters to have their music heard outside Scandinavia in the early Seventies? Not only did they have to fight to be taken seriously, but when they finally got one of their tunes recorded they had to suffer the indignity of not receiving proper credit for their work.

The actual recording does sound virtually identical to the humming version heard in the Language Of Love film, so I suspect it might be the same recording, albeit differently mixed. If this is correct, I guess it's The Olive Branch performing the version with lyrics as well, as heard over the opening credits. However, all the credits on the album cover - arranger, producer, sleeve designer, photographer - seem to indicate that the recording was made in England (the people involved were mainly active in the UK at the time), which contradicts Benny's recollection that the recordings heard in the film were made in the United States. Incidentally, the cover picture was taken by one Ethan Russell, while the album was designed by John Kosh: this team was also responsible for The Beatles' Let It Be album - I think they probably did a better job with the fab four than with The Olive Branch...

Finally, in my googling efforts I actually came across an mp3 file of the recording on The Olive Branch's album. It sounds very clear and un-crackly, as if it has been ripped from a CD. So far, however, I've been unable to track down a CD where this track appears. If you have better luck I'd love to hear from you, as I'm interested in the release history of this particular track.

Meanwhile: Enjoy!


Ted tribute album with tracks produced by Björn and Benny

Published June 24, 2014

June 4 saw the release of a tribute album to the late Polar Music recording artist Ted Gärdestad, whose first four albums were produced by Björn and Benny and also featured vocal backing from various combinations of the four ABBA members. Entitled För kärlekens skull - svenska artister hyllar Ted Gärdestad, the tribute album features an array of Swedish artists performing a selection of Ted's songs; one of them is Ted's daughter Sara Zacharias. Among artists with some kind of ABBA connection are Niklas Strömstedt, who wrote the Swedish lyrics for the Mamma Mia! musical - he contributes a version of 'Eiffeltornet' - and ABBA session guitarist Janne Schaffer, who does an instrumental version of 'The Reason'.

However, the main interest for ABBA collectors are the previously unreleased bonus tracks performed by Ted himself, for two of them - 'Kolapapperskung' and 'Pricken' - were produced by Björn and Benny. According to the liner notes the recordings were made in 1972, which suggests that they were part of the sessions for Ted's second album, simply entitled Ted. Don't expect any lavish production values, though: both of these songs were recordings of tunes Ted wrote at the age of ten and his vocals are only backed by acoustic guitar, bass and, on 'Pricken', kazoo.

The songs as such have been released on record before, on the 1975 album Kika digga ding, featuring songs from the Anders Hanser-produced television series of the same name (although the version of 'Pricken' comes from a radio programme entitled Pick-Up). However, they are not the same recordings as now featured on the tribute album.

For Ted fans there is also a previously unreleased and unheard track entitled 'I Know There's A Song'. The producers have taken Ted's lo-fi cassette demo and created a brand new backing track for it, along the lines of The Beatles' 'Free As A Bird' recording (where a John Lennon demo cassette tape received new backing from the surviving Beatles).

The Seduction Of Inga - Björn & Benny's sexploitation adventures, part 2

Published June 15, 2014

In a recent blog, I examined the story behind the film Language Of Love, for which Björn and Benny wrote the theme song. Around the same time - in fact, parallel with the Language Of Love commission - Björn and Benny also wrote music for another sexploitation film produced in Sweden. Both films had the same Swedish distributor, which may have had something to do with this sudden "deluge" of film soundtrack work.

In the autumn of 1969 American film producer Vernon Becker was putting together a follow-up to the internationally successful 1968 sexploitation flick Inga, to be filmed in Sweden. “Since the leading character of the film was a rock musician ["Rolf", played by singer Tommy Blom*, formerly of the group Tages, The Hep Stars’ main competitors during the Sixties], and there were scenes in a discotheque, I needed rock music for the soundtrack,” recalled Becker. “My lawyer introduced me to Stig Anderson[.] I only had a few thousand dollars, but I hoped to buy some older rock recordings from him. Stig told me he had a better idea.” That idea, of course, entailed involving his two protégés, Björn and Benny, in the project. Recalled Björn, ”Stig approached us with the offer of providing some of the music for this film. We thought ‘Wow, imagine writing music for a movie,’ and so we agreed to do it.”

Unfortunately, however, if they had hoped that this assignment would lead to a glorious future as film music composers, or to any kind of international fame, they were sadly mistaken – at least initially. Directed by obscure American director Joseph W. Sarno, the finished film, The Seduction Of Inga, featured an absurd plot that mainly served as an excuse to titillate the audience with allusions to various sexual “perversions” (lesbianism, incest etc.) and semi-nude scenes.

Today, although like Language Of Love the film has attracted some cult interest for those interested in trashy exploitation cinema of the era, its main curiosity value perhaps lies in the fact that Andersson/Ulvaeus contributed a few tunes to the film. But they did not write all of the music: there were also tunes by Peter Himmelstrand - a journalist (co-writer of Harry Edgington's 1977 biography "ABBA") as well as a prolific song writer and lyricist - and Sven-Olof Walldoff (ABBA’s string arranger up until 1976 and also their Napoleon-dressed conductor when they won the Eurovision Song Contest in 1974).

Here is a “who-wrote-what” run-down of the tunes and musical cues in the film. The timings all refer to the American version of the film, released on DVD by Seduction Cinema in 2004 (see ordering link to the right).

Björn and Benny’s contributions are limited to three tunes. ‘Inga Theme’ was of course the title song of the movie, and can be heard at several points throughout the film: at the start, and also in different variations both in terms of performance and mixing, for instance at 00:18:35, when the characters of Inga and Stig are driving out to Stig’s place and at 00:20:24, when Inga and Stig are discussing the latter’s book.

‘She’s My Kind Of Girl’ is heard on three occasions in the film: being “composed” by Rolf (Tommy Blom) at 00:12:03; performed in a scene at a club at 00:42:36; and finally as the end title music of the film at 01:19:40 (these last two instances both feature Björn and Benny’s recording with Tommy Blom’s vocals on top).

The third Andersson/Ulvaeus tune heard in the film is ‘Where Are We All Headin’’, an early instrumental version of a song that was re-recorded as ‘Nånting är på väg’ (“Something’s On The Way”) for Björn and Benny’s Lycka (“Happiness”) album in 1970: at 00:09:55 in the film when Inga is seen caressing herself; at 00:21:25 in a different version during a scene at the club; and finally in this different version again at 00:52:50 during the seduction scene between Rolf and his ex-girlfriend. Lyrics exist for ‘Where Are We All Headin’’, written by Jack Fishman (who also wrote the lyrics for 'Language Of Love'), although these are not heard in the film.

Peter Himmelstrand contributed two tunes. ‘Crash’ can be heard at 00:31:55 during a club scene and again at 00:40:35, during another club scene. A tune simply entitled ‘Vals’ (“Waltz”) on a tape box containing some of the titles from the Inga II sessions is probably the working title for ‘Barnen sover’ (“The Children Are Asleep”, later recorded in a vocal version by Frida on her first solo album), since it’s the only waltz in the movie. This tune is heard at 00:23:25, when Stig and Inga start kissing, and again at 00:31:12, when Stig and Inga make love. At some point this song also received words by English-language-lyricist-du-jour Jack Fishman, entitled 'Love Is Always Young', although these are not heard in the film.

Sven-Olof Walldoff is the composer of a tune entitled ‘It’s You Or Nothing’, the barely audible lounge music that features at 00:03:10 in the film; this song again has lyrics by Jack Fishman, although not heard in the film. Walldoff also composed ‘Greta’s Theme’, a largely improvised instrumental, bearing a strong resemblance to Spencer Davis Group’s 1967 hit ‘I’m A Man’ (indeed, although the tune is copyrighted as ‘Greta’s Theme’, on the tape box in the Polar Music archives the title is given as ‘I’m A Man’); this tune is heard during the club scene at 00:36:30 and again at 01:03:40 during the seduction scene between Stig and Greta.

Walldoff also received a composer credit for his arrangement of the Finnish folk song ‘Vem kan segla förutan vind’ (“Who Can Sail Without The Wind”), which recurs at several points throughout the film: for example at 33:50 as the character Stig leaves Inga to fly abroad; at 00:45:35 when Rolf and Inga are making out; and at 00:50:40 when Inga writes a letter to Rolf. (ABBA-related note: 'Vem kan segla förutan vind' is the song Agnetha sings a cappella during the interview part on BBC TV's Wogan show in 1988; her version appears at circa 06:20 in this clip.)

The Polar Music tape box featuring music from the film also lists a tune entitled ‘It’s Love’, registered as written by Sven-Olof Walldoff. This may possibly be the title of the otherwise unidentified classical-style chamber music heard in the sex club scene at 00:15:05, unless this is in fact a bona fide classical music piece or perhaps simply some library music.

Although filming presumably wrapped before the end of 1969, it would take more than a year until The Seduction Of Inga opened. The release in March 1970 of Björn & Benny’s ‘She’s My Kind Of Girl’ / ‘Inga Theme’ single (where the film is still credited under its working title, Inga II) indicates that Polar expected an imminent release of the movie. However, it was only on March 1, 1971, that the film opened in the Swedish town of Västerås under the title Någon att älska (“Someone To Love”) – it didn’t receive its Stockholm premiere until October 30, 1971. The English-language version, The Seduction Of Inga, opened in the United States in February 1972.

‘She’s My Kind Of Girl’ has sometimes been noted as the first recording to feature all four future ABBA members. But since it's impossible to hear any female voices on the track it is probably safe to conclude that the female half of ABBA did not contribute to this recording (the debut recording by Agnetha, Björn, Benny and Frida was of course the Björn & Benny hit single 'Hej gamle man!', recorded later in 1970).

The B-side of the 'She's My Kind Of Girl' single was ‘Inga Theme’. Although several decades later Benny would claim that, ”even if you [threaten to] murder me I can’t remember how it went,” consciously or subconsciously the organ intro on his and Björn’s recording of the song must have stuck in his mind at least for the following 12 years or so, since it was recycled for the first seven notes of the verse melody in ABBA’s 1982 recording ‘I Am The City’.

Upon release in 1970, ‘She’s My Kind Of Girl’ made no impact whatsoever in Sweden. It wasn't until two years later, when - through a curious series of events involving a Japanese publisher hearing and liking the song at the offices of a French colleague - the single was released in Japan that it finally achieved commercial success, reaching number seven on the sales chart and number one on the radio chart. Interestingly, according to, The Seduction Of Inga actually opened in Japan in November 1971 - might this have played a part in piquing the interest of the Japanese publisher, one wonders.

According to a Swedish press report in April 1970, Polar Music were toying with the idea of releasing a soundtrack album in the US and the UK. In his review of the 2006 CD reissue of Björn & Benny's Lycka album in The Official International ABBA Fan Club magazine, Peter Palmquist wrote that "the instrumental version of ['Language Of Love'] featured on an American promo LP for the movie Inga II", indicating that an album was in fact manufactured, although this writer has never seen any sign of it. I've asked Peter if he has further evidence of the existence of this album, but so far he's been unable to help me.

In the same review Peter writes that "the unreleased English versions of Nånting är på väg (Where Are We All Headin') and Livet går sin gång (Language Of Love) [...] have been circulating in fan circles." 'Language Of Love' is of course available from the film soundtrack, but I've yet to hear a vocal version of 'Where Are We All Headin''. If you are reading this and are one of those fans who have been able to circulate 'Where Are We All Headin'', or if you have information on the American Inga II promo LP, I'd love to hear from you (click "Contact" in the bottom left hand corner).

*Tommy Blom passed away on May 25, 2014.

Many thanks for their help with this story to Regina Grafunder of ABBA Intermezzo Fan Club, who provided me with copies of the sheet music for the music in The Seduction Of Inga, and Chris Patrick (author of Let The Music Speak), who helped me identify which song was which on the soundtrack.