Meryl Streep sliding down a banister wrapped in a teal feather boa, Amanda Seyfried donned in a fluffy white veil, the crystal blue water off Damouchari Beach — these are likely the first images that come to mind when thinking of the Swedish pop group ABBA. However, while “Mamma Mia: The Movie” (2008) is a little under two decades old, the album that holds the movie’s title track turns 50 on April 21. According to ABBA’s official website, this self-titled third record “was arguably where they finally came into their own.” To celebrate the 50th birthday of this shining album, Cat’s Collection presents five standout ABBA tracks that demonstrate their diverse talent.
‘Mamma Mia’ (1975)
Tick tock, tick tock, tick tock — Benny Andersson’s piano pulses at the onset of this powerhouse track. The rhythmic beat, soon sliced by Björn Ulvaeus’ electric guitar, immediately sets a tone of uninhibited desperation and desire that runs rampant throughout “Mamma Mia.” “I’ve been cheated by you since I don’t know when / So I made up my mind — it must come to an end,” lead vocalists Agnetha Fältskog and Anni-Frid Lyngstad declare at the onset of the track. However, as infatuation prevails, the pair’s menacing threat soon falls by the wayside. In the pre-chorus, the curtain lowers on an unrelenting lover: “Just one look and I can hear a bell ring / One more look and I forget everything, woah.” The facade of callousness fully shatters in the energetic chorus as Fältskog and Lyngstad admit, “Mamma mia, here I go again / My my, how can I resist you?”
While this quick transition from goodbye to googly eyes is a relatable fall from grace for any scorned lover, the true magic of this track is the production by Andersson and Ulvaeus. The persistent piano enlivens the thirsting lyrics, almost imbuing the song with its own heartbeat. The guitar cuts through the air and subtle xylophone riffs keep the audience engaged. The track soars and swells, never falling short sonically. Like the lyrics declare, it is almost impossible to retain “control” under the influence of this intoxicating arrangement.
‘Dancing Queen’ (1976)
It is almost impossible to discuss ABBA without acknowledging their most-streamed song, “Dancing Queen.” While my first-year dorm’s Songfest rendition — “this is the Complex dream” — permanently altered my listening experience, the original “Dancing Queen” retains a devoted fan base for good reason. “Dancing Queen” embodies ABBA’s unrelenting magic.
The track opens with a strong hook as the group sings, “You can dance, you can jive / Having the time of your life / Ooh, see that girl, watch that scene / Diggin' the dancing queen.” Even if you cannot in fact “dance” or “jive,” this track will make you want to try. This song is as empowering as it is energetic, forcing the listener into optimistic submission — like brainwashing, but catchier. The harmonies envelop you, the beat entices you and the lyrics boost your confidence tenfold. It is no surprise Rolling Stone named “Dancing Queen” ABBA’s best track. Just like the “young and sweet, only seventeen / Dancing queen,” this track is forever youthful, forever timeless.
‘Gimme! Gimme! Gimme! (A Man After Midnight)’ (1979)
On “Gimme! Gimme! Gimme! (A Man After Midnight),’ ABBA pulls no punches with an unapologetic dive into electro-pop. Electric strings reverberate throughout the introduction before Fältskog and Lyngstad deliver a robotic harmony. The track is cinematic in both its production and lyrical performance, as Fältskog narrates the emotional unraveling of a desperate woman. Alone in her flat, staring into the midnight sky, “There’s not a soul out there / No one to hear my prayer,” she howls at the moon.
The chorus is both subdued and sweltering. “Gimme, gimme, gimme a man after midnight / Take me through the darkness to the break of the day,” the group sings. After the chorus, Andersson returns with additional synth riffs to further emphasize these gnawing desires. In the solitude of the night, only ABBA’s musings pierce the darkness, advocating for a lonely lover to find her proper company. In its glittering, eerie melancholy, “Gimme! Gimme! Gimme!” reflects ABBA’s dynamic appeal.
‘The Winner Takes It All’ (1980)
“The Winner Takes It All” showcases a different element of ABBA’s musical prowess: the ballad. Unlike the aforementioned tracks, “The Winner Takes It All” substitutes creative production for candid lyricism. Opening with a solemn piano and soft harmonic ad-libs, this track offers a glimpse beyond the glitter and glamour of ABBA’s pop hits. “I don’t wanna talk about things we’ve gone through,” Fältskog muses. While her voice remains dominant, her words express defeat: “Nothing more to say, no more ace to play.”
Fältskog continues with a powerful chorus as she sings, “The winner takes it all / The loser standing small.” The group compares love to a game with only one victor. Departing from the unapologetic desire of “Gimme! Gimme! Gimme!” and “Mamma Mia,” in “The Winner Takes It All,” Fältskog resigns herself to loneliness and romantic oblivion. “Somewhere deep inside, you must know I miss you / But what can I say? Rules must be obeyed,” she sings.
“The Winner Takes It All” claims a top spot among ABBA’s discography for exactly this reason — unlike their peppy tracks oozing optimism, “The Winner Takes It All” displays vulnerability and defeat. Such resignation demonstrates the group’s sonic diversity and adaptability. After all, it is unrealistic to always be the dancing queen.
‘Thank You For The Music’ (1977)
“I’m nothing special, in fact I’m a bit of a bore,” Fältskog sings at the onset of “Thank You For The Music.” While King Carl XVI Gustaf and Queen Silva of Sweden, who delivered the royal orders of knighthood upon each member of ABBA in June 2024, might disagree with this claim, Fältskog’s peculiar declaration surely draws listeners in.
The self-deprecating lyrics eventually relent when Fältskog admits, “But I have a talent, a wonderful thing / 'Cause everyone listens when I start to sing.” More than a bait and switch, this opening finds ABBA acknowledging their privileged position as pop stars and their debt to their devoted fans — an exchange that reinforces the mutual benefaction of listening to their music.
Andersson, Ulvaeus and Lyngstad soon join Fältskog for a goosebump-inducing chorus. “So I say thank you for the music, the songs I'm singing / Thanks for all the joy they’re bringing,” the group sings. While the track is perhaps less sonically impressive than the band’s other Andersson-Ulvaeus arrangements, the group still presents an evocative and emotionally resonant track dedicated to their true love — music.
