If Voulez Vous was their disco album, the followup, Super Trouper, a slang term for the giant spotlights used in their live shows and stadia, maintained a sound consistent with winning albums like their self-titled effort and Arrival, but with the energy of Voulez Vous. The result is one of their best albums.

And it did give them two more UK #1 singles, making a total nine. One is the title track, sung by Frida, about a singer who's going to be blinded by the giant spotlights on the stage of her concert, but won't mind, because somewhere out there, among the thousands of people, is her loved one. "Feeling like a number one?" Chartwise, definitely. Its B-side is the galloping "Elaine." This was a B-side? Should've been an A-side, as its frantic energy recalls other barnburners like "So Long" and "Tiger."

The other #1 is the bittersweet "The Winner Takes it All," a song inspired by Bjorn and Agnetha's divorce, but more about the pain of such a split-up. The song veers from the couple's split to an analogy to the judges decision in some competition. There's a biting sense of predestination, of one not being in control of one's destiny: "The gods may throw a dice/their minds as cold as ice/and someone way down there/loses someone dear."

The Top Ten single "On And On And On" with a mighty insistent stomping drums and synth rhythm, blaring synths, and an energy rivalling their previous albums.

"Andante Andante" is indeed an andante song. In music, it means moderate tempo, faster than adagio, but slower than allegretto. It makes a leisure slow-dance song, highlighted by the usual harmonies by the ladies.

With a fanfare like keyboard synth opening that continues throughout the song, "Me and I" explores the dual nature many people have, Jekyll/Hyde, and how normal it can be is encapsulated in the snappy chorus, "We're like sun and rainy weather, sometimes we're a hit together/me and I/gloomy moods and inspiration, we're a funny combination/me and I." And not to worry: "I don't think I'm different or in any way unique/think about yourself for a minute/and you'll find the answer to it/everyone's a freak." One of the best songs here, and it's definitely allegretto allegretto.

Another andante andante song is "Happy New Year" and the group is definitely one for New Year's Resolutions and new starts, where the vision of "a world where every neighbour is a friend." The fact that it had just turned 1980, and how ABBA was a group of the 70's, makes Agnetha wonder "what lies waiting down the line, in the end of 89." Oh, if only they knew!

Frida sings in the wistful "Our Last Summer," a personal song by Bjorn, the fond remembrance of a teenage summer in Paris during the Summer of Love, and how the feelings haven't changed years later.

I first heard "Lay All Your Love On Me" when the Information Society covered it on their first album. After hearing the original, I detect a hint towards 80's techno in this song of how an initial meeting with someone yields possessiveness and jealousy on the part of the affected party. The choir-like harmonies in the chorus give this song a kind of hallowed atmosphere. One of my favourites here. Definitely allegretto allegretto.

And now for an adagio adagio song, the Auld-Lang Syne atmosphere of "The Way Old Friends Do," recorded live at Wembley Stadium, with the harmonies, orchestra, and synths reaching a heavenly pitch. The farewell-type aura of this song seems to herald their imminent dissolution.

"Put On Your White Sombrero," sung by Frida, was only put on the Thank You For The Music box set and finally here when Bjorn finally decided that it was actually a good song. There are cowboy motifs in this goodbye song of someone who thinks life is a movie and rides off into the sunset for some meeker senorita.

However, ABBA's penultimate album shows them still in top form, with stronger sounds, well-constructed songs and melodies, with little indication that their next album would be their last. And it's official: instead of Arrival, I deem this my favourite album by them. It's super, troupers!

I'll admit that among the first anime I focused on watching were the LA Blue Girl, Angel of Darkness, and Twin Doll series because of the graphic violence and violations committed against women. However, after reading Susan Napier's study on Anime, I was noticeably enlightened and focused on getting certain quality titles. Napier, who teaches Japanese literature and culture at UTex, Austin, argues that anime has historical roots, from woodcarvings by Hiroshige Ando in the 19th century, the Edo Period of the Tokugawa period, such as the erotic kibyoshi books, to Zen cartoons in the medieval era, and even the Kabuki traditions.

As to why has anime become so popular with the release of Akira in 1988, the answer lies in the genres diversity in themes, the fact that it's not as predictable or sanitized as the child-geared Disney cartoons, and of course there's that unique visual style of those big-eyed, small waists, long-legged miniskirted women. But the characters are more human and thus realistic, not straight black-and-white, but cases where heroes have some negative qualities and villains some positive ones. And depending on the genre, anime reaches out to all age groups. It's also an art form, and dramatic and intellectual in the same way independent films should be.

Females are more assertive and stand out as role models for young girls, whether it be San from Mononokehime, the klutzy but powerful Usagi of Sailor Moon, or Miko and Miyu, the demon fighting sisters in the graphically adult LA Blue Girl. Compare that to wimpy heroines in Disney movies, where ironically, the more assertive females are the villains (Medusa in the Rescuers, Ursula in Little Mermaid, and the Evil Queen in Snow White). But they are also seen as nurturing and supportive (q.v. Belldandy in Oh My Goddess).

However, anime also stands as a resistance against American-style globalization in pop culture. Apart from the reasons listed, I sometimes think Americans who like anime do so for the same reason, to find other outlets, for the same reason certain people want foreign films to get away from the usual Hollywood grind.

Napier examines certain sub-genres in anime: post-nuclear, elegy, the carnival, the graphic adult anime, and mecha, underlying that the first three are the most significant.

Akira is viewed as a study of the post-apocalyptic society as well as teenage alienation; the former is a reminder that Japan was the only nation to have an atomic bomb dropped on it.

The fantasy element is examined in the "magical girlfriend" subgenre in Oh My Goddess! and Video Girl Ai, which goes beyond the movie star onscreen stepping into real life in The Purple Rose of Cairo.

Neon Evangelion is examined by Napier in the examination of the mecha genre. There's clearly a technophobic dynamic explored in live-action movies like Terminator and Robocop, of the dangers of technology gone amuck. And video games like Robotron 2087, I'd like to add.

The elegiac mode harkens back to a nostalgic yearning for something long gone, which in Japan's case involves the traditional countryside life that has been abandoned due to post-war industrialization, such as Only Yesterday, discussed in length. However, it can also indicate loss or a search for something, exemplified by the cyborg agent Kusanagi's search for her human soul in Ghost In The Shell.

And yes, there is a section on Miyazaki Hayao, whose then-latest film, Mononokehime, broke Japanese box office records and won Best Picture at the Japanese film awards for 1997. The still must-be-reissued Nausicaa and the Valley Of The Winds, a post-nuclear tale that was a favourite of Aum Shinri Kyo leader Asahara Shoko, the cute Tonarino Totoro (My Neighbour Totoro), examining the assertiveness of the sisters Satsuki and Mei, and Mononokehime, studying the man versus nature (the wild gods), but also technology (iron) versus nature, and some more assertive females, the title character San, Moro, the she-wolf who raised her, and Lady Eboshi, leader of the iron-forging village who wants to clear the forests.

A good start in learning the what and whys of anime, with with college-level discourses by Ms. Napier.

The groups Foreigner, Foghat, Styx, Journey, Air Supply, and the subject of this review, REO Speedwagon, can cause a lot of debate among music fans due to the "corporate rock" effect that took place in the 1970's, where artists' albums were guaranteed platinum sales if they became part of the well-oiled machinery that may have yielded hits on the radio, but remained in an uninspired and uninnovative cozy rut. As someone into all kinds of music, I find myself in a very untenable position. I like REO Speedwagon, yet I like classic punk and disco, two genres of music that broke the musical cul-de-sac America seemed to be going into.

Having established that, the Hits, which came out a year after REO's last studio album of the 80's, 1987's Life As We Know It, encapsulated material from their R.E.O. 76 album up to Life As We Know It, with two new songs. The first one, the intense and yearning "I Don't Want To Lose You," was written by the team of Tom Kelly and Billy Steinberg (Heart, Bangles) and the languid "Here With Me," which was a close cousin to "In My Dreams" released the previous year.

Life As We Know It was released when I first got into them and,"That Ain't Love" was quite a rocker by their standards, as I had the preconception that they were mellow rock like latter day Chicago, but no, this fiery affirmation that "say what you want to hear, do what you want to do" ain't love, told me otherwise.

However, the third single, co-penned by lead singer Kevin Cronin and ace songwriter Tom Kelly, "In My Dreams" sounded more what I expected to hear, soaring lead vocals, inoffensive harmonies, in other words, the mainstream rock ballad. The two singles represented the two kinds of songs mainly done by REO, love songs and leaving songs.

Now, for their two signature tunes, "Keep On Lovin' You" and "Can't Fight This Feeling" their two #1s from Hi Infidelity and Wheels Are Turning respectively. A fiery guitar on the first and the trademark 80's synths and lovey-dovey vocals on the second. There was a time when I couldn't tell them apart from Chicago, the harmonies and sound were so alike. That has been rectified.

Speaking of Hi Infidelity, one of my favourites by them, "Take It On The Run" with that "heard it from a friend" rumour-mongering that leads to a fed up "I don't want you around." This sports one of their best fiery guitar solos.

Of course, they got started on the road to big status with the boisterous "Roll With The Changes" from You Can Tune A Piano..., which was their first Top 40 hit. Yes, there is a piano in this song. Also on that album was "Time For Me To Fly," which set the standard for the #1 songs they eventually made. But the sound that places them in the 70's is best represented by "Keep Pushin'" from R.E.O., as does the hard-rocker "Back On The Road Again," which the most hard-driving track here.

A live version of the title track to their Ridin' The Storm Out album finishes this collection, which seems to overlap the First Decade and Second Decade compilations, but for someone who grew up in the 80's, the Hits will do just fine. While not innovative, at least REO comes through with a consistent and familiar sound, slightly altered with synths in the 80's, be it harder stuff or rock ballads.

OK, Mike Chapman is best known for producing Blondie and writing songs with Holly Knight for countless artists (Heart, Tina Turner, etc.) but who would have thought he was able to jump-start Lita Ford's solo career into gear? After the forgettable Dancing On Edge and Out For Blood, Lita Ford switched labels from Polydor to BMG, got Sharon Osbourne as her manager, and some songwriting help from her producer as well as Nikki Sixx and Lemmy Kilimeister. Result: an album with a harder-edged sound and which yielded her two best charting singles.

"Back To The Cave" demonstrates Lita's fiery guitar-playing abilities and a sound that outdoes Slippery When Wet-era Bon Jovi, but then, she ups the mileage on the next song. "Can't Catch Me" with its express train guitar and organ keyboards is by far the best song here. Small wonder, as Motorhead's Lemmy wrote this. The sound more than makes Lita's point that she's no Sandra Dee, nobody to pushed around, and someone who appreciates a little taste.

The Chapman-penned "Blueberry" is a guitar rocker with Ron Nevison-like keyboard fills, but nothing that dilutes the metal in this song. With a refrain like "I'll be blue for you" and a line, "I take him hard, make it hard against the wall," well, figure it out.

Then comes the single that got Lita into the Top 40 for the first time. With metal guitar riffs and keyboards, but with pop sensibilities without diluting its power, "Kiss Me Deadly" seemed to be one exception to non-thrash groups that weren't churning out pop metal but still making it in the charts--I count Def Leppard, Cinderella and Motley Crue as other heavier than average charting groups, for example.

Which reminds me; "Falling In And Out Of Love" was co-written by Nikki Sixx of the Crue, where the protagonist does the title in her daydreams and fantasies after a real love yielded a cold winter.

"Fatal Passion" ends the heavy metal streak on this album, as things become more tempered soundwise and thematically for the next three songs, starting with the haunting keyboards and drums of "Under The Gun," soon to be accompanied by guitar.

Seeking some solace after the disillusionment of "Broken Dreams" and longing for a naive idealistic outlook of yesterday is underscored by a heavy guitar and keyboards.

The final song, "Close My Eyes Forever," a sobering and melancholy song of betrayal and regret that drove one to death was both sung and written by Lita and Ozzy, with terminal overtones: "And when we sleep, would you shelter me/in your warm and darkened grave." A tragic operatic aura of a final sleep is created by the synths in the last chorus repeat. Given what Ozzy went through with the "Suicide Solution" trials, I was surprised no-one went after him and Lita for this song.

In the early 80's, it was impossible for Lita Ford to get into the mainstream. In 1988, with groups like Bon Jovi, Europe, Poison, and Motley Crue having paved the way for hard rock/metal for mass acceptance, it was possible for Lita, and with results that outdid most male metal bands. Third time's the charm, with some deadly kissing metal.

Canadian rock during the 80's: there's Bryan Adams, Rush, Glass Tiger, and the Toronto-founded Loverboy. When it comes down a definitive single by them "Turn Me Loose" is definitely a candidate, with its pulsing bass, chugging guitar, and the hunger apparent in Mike Reno's voice when he says "I gotta do it my way or no way at all" which more or less sums up the fierce mindset of the protagonist.

The other is the hard-hitting guitar and synth workout of the anthemic "Working For The Weekend" from Get Lucky, of which this is the best single from one of their best albums. Three other songs from this album are the hard rock hoochie-coo of "Lucky Ones," the pounding "When It's Over" and the not-too impressive "Take Me To The Top."

Of the songs that I heard when I became aware of them, the first one, "Lovin' Every Minute Of It" and its pounding tribal rhythms, synths and chanting, sported some backing vocals that make it sound more like Def Leppard. Yes, the song was written by a certain Robert "Mutt" Lange, although it lacks the lustre of his later works, it does have his signature. The other single from the Lovin' Every Minute Of It album, the synth ballad "This Could Be The Night," was clearly trying to capitalize on Reno's duet with Heart's Ann Wilson on "Almost Paradise" (not on this compilation) and made the group sound more like Foreigner. Still a memorable ballad. And as if that weren't enough, they repeated the formula on their contribution to Top Gun, "Heaven In Your Eyes," which is the best of the hard rock ballads, what with the hard-hitting power vocals and guitars in the chorus.

"Notorious" from their last studio album, was quite a kicker, produced as it was by Bruce Fairbairn and co-written by Jon Bon Jovi and Richie Sambora. Their last stab at greatness was enhanced by a video featuring a bevy of beauties representing girls who were "every mother's nightmare, every schoolboy's dream." Although I find the belted wish of "I want to be your slave" a bit demeaning.

The Bob Rock-produced "For You" and "Ain't Looking For love" are harder-edged numbers with more emphasis on guitar and power vocals in the chorus. Ditto for "The Kid Is Hot Tonite," from their first album, is what the early Cars would sound like if they had the hard-driving guitars in the chorus. The keyboards could easily fit on a Cars album. Mike Reno's intense vocals and Paul Dean's hard guitars encapsulated the power formula of Loverboy, and what made it work. After that, it was a matter of whether the song itself was good.

The exclusion of "Dangerous" from Lovin' Every Minute Of It or "Almost Paradise" might make this incomplete to some. Still, a worthy compilation of a band that in a timely manner broke up right at the end of the 80's, leaving behind one brand of 80's hard rock.

Known as the breakthrough anime film that helped the genre reach transpacific shores, and a film that broke Japan's box office records, beating out Return Of The Jedi, Akira spawned many series inspired by it, many of them taking place in nihilstic post-nuclear settings or characters named Tetsuo.

The nihilism of Neo-Tokyo in 2019 is a place wracked by civil disobedience, anti-government terrorists, political paralysis and corruption among the ruling Supreme Council, police crackdown on political dissidents, members of a doomsday cult calling for a purification by fire, and the youth biker gangs consisting of alienated youths.

Tetsuo is a not so significant member of such a gang, only visible because of his friendship with Kaneda, a youth who has sort of been an older brother to him, always helping him out of scrapes and coming to his rescue. In chasing and beating up members of a rival group of bikers called the Clowns, so-called because of the masks they wear, Tetsuo has an accident and a run-in with a tiny wizened creature, who it turns out is one of three children with psy powers. Tetsuo is taken to a secret hospital, where he is experimented on by the scientists there. He breaks free though, his latent psychic powers awakened by his encounter with the child.

The chief government scientist is simultaneously intrigued and fearful of the powerful potential within Tetsuo. "Maybe we shouldn't touch that power-the power of God. But we have to. We have to touch it and control it." However, the colonel, a stern military figure who is more cautious and is protective for the safety of the three psy-powered children, warns the scientist not to be reckless and to have Tetsuo killed if he can't be controlled. The colonel seems to be the only capable government official portrayed. He wants stability and he isn't too crazy about what neo-Tokyo is, but he wants to be able to control things without them getting out of hand instead of the politicians in the Council who only bicker among themselves on dwindling budget funds and are only in it to remain in power.

However, there is an underlying resentment and anger within Tetsuo, not only because he is a disaffected youth, but he has been bullied, with Kaneda always coming to his rescue, and that itself turns into resentment against his benefactor. But there's also an underlying wish to be somebody, marked by the scene where he is poked fun of when he is sitting on Kaneda's powerful red motorbike, whose futuristic design is another hallmark of the movie. And the pent-up rage and frustration has very destructive repercussions. Kaneda himself becomes involved with Kei, a female revolutionary whom he manages to save twice and thus thinks they should have a connection.

Many of the themes that pop up in anime come out here. The opening scene of a brilliant white globe of light engulfing Tokyo in 1988 is a reminder that Japan was the only nation that had an atomic bomb dropped on it. And the rebuilt Yoyogi Stadium, where the 2020 Olympics is to be held in the movie, is a reminder of the 1964 Tokyo Olympics and the stadium, symbolizing the renewed Japan that rose from the ashes of WW2.

The devastating scenes of destruction, particularly the havoc wreaked upon neo-Tokyo accomplishes much that a live action film couldn't, but it's the hallucinatory sequences involving giant teddy bears bleeding milk and Tetsuo's final transformation into a hideous pulsating being that are the visual highlights of the film, which can either repulse or fascinate the viewer.

Series like Speed Racer, Tetsuan Atomu (Astro Boy), and Kimba the White Lion may have led the pack in the early days of anime, but Akira was the one that pushed the anime genre into full prominence.

In the same year that I discovered Carole King--Tapestry, of course--I found out she had a new studio album out. Upon hearing it, I was surprised how unchanged the music was overall, though sporting synths and a snatch of light 80's pop, and how her voice wove the same tapestry back in the 1970's. However, some of the songs are depictions of the darkness one feels in the threatening world.

The mid-paced title track, with its reflective keyboards, can be summarized with "city streets-they can be heaven, they can be hell," and from the POV of the scared and lonely someone for whom the streets are the latter, and wishing for them to give her dreams of hope. Eric Clapton is on lead guitar, with an unmistakable solo at the end.

Some of the synth rhythms of "Sweet Life" recall "I Feel The Earth Move." Putting on a brave face and realizing that it is a sweet life can be difficult, even when it's difficult just to get out of bed. How many can relate to this?: "You feel like you're getting older and older and nobody seems to care/it isn't what you do, it's who you know, ain't that the way it is any more/makes you keep on wondering...what are you living for."

Songs like mid-paced "Lovelight" with its fluttery midi-piano and the leisurely but reflective "I Can't Stop Thinking About You" might belong on a Tapestry Part II-the Next Strand.

With its pronounced synths, "Legacy" could be a Journey song a la "Only The Young." Leaving a legacy of goodness is the key here. "When it all comes down, it's gotta begin with you" she sings, after listing people stealing from each other, things getting wasted, burned out, used up, of which she says "Hey, that ain't the way it oughta be."

Clapton returns on lead guitar while King does piano and an organ recalling Procol Harum's "Whiter Shade Of Pale," on the elegiac and resigned "Ain't That The Way," a summary of life itself: "so it goes/you never know what's gonna happen/you never know, but something always does/and sometimes in quiet desperation/you realize it's never gonna be the way it was." Probably the best song here. Another Tapestry-like song.

Speaking of which "Homeless Heart" recalls the title track to Tapestry sound-wise. The self-torture of remembering laughter, only to have it turn to tears, and asking over and over "Why did you let me go?" leads the protagonist to surrender to her homeless heart. And thematically, "Someone Who Believes In You" becomes this album's "You've Got A Friend." with "when you're searching for that rainbow, I'll help you find it." And the line "just follow where I lead" seems to be "Where you lead I'll follow" (q.v. "Where You Lead" from Tapestry) turned around. This is one of two songs here co-written with Gerry Coffin, the other being the upbeat having a wild night on the town of "Midnight Flyer," with sax by Branford Marsalis.

Despite Tapestry being an unbeatable masterpiece, Carole King does well with this late 80's effort, mainly due to songs but a set of professional musicians to back her up, especially drummers Steve Ferrone (Duran Duran) and Omar Hakim (Sting). With proper marketing, this could've been a Tapestry for the 80's.

Rather than wait for the standard domestic CD of The Artist Formerly Known As Ginger Spice, I ordered the limited edition which had the CD and a video for her leadoff single "Look At Me" as well as an interview with her. But of the Spice Girls, Geri Halliwell's epithet Ginger was appropriate, as she was the most vivacious, tied for most assertive along with Scary Spice, and the one with a flare for drama. Schizophonic is a great showcase for Geri's voice apart from her former bandmates, and it's incredible to believe that this eclectic mix was produced by Absolute, one of the co-producers of the Spicey's first two albums.

The brassy and jamming "Look At Me" is basically about how image-obsessed we are and the various masks people put on fitting whatever image they want to present. Per the interview, Geri says she's laughing at herself, especially when she sings "I am a drama queen if that's your thing. Baby I can even do reality." A standout track.

"Lift Me Up" shows Geri equally home with mid-paced ballads, backed as she is by string-synths and soul-style backing vocalists. Even more heartfelt is "Walkaway," underlying the conflict in abandoning loneliness for something else, yet pulled by that feeling that it's okay to be just one. The orchestral arrangements rise in pitch towards the end to match the feeling.

The Spanish guitars and other musical motifs in "Mi Chico Latino" is a nod to Geri's Spanish heritage--she's half Spanish.

"Goodnight Kiss" is a throwback to nighttime cafe jazz, and although Geri's no torch singer, the piano and sax work well to give the atmosphere. Call it above average for the genre.

"Bag It Up" recalls 70's disco and soul, especially with the loud brassy horns, and per the interview, it's a battle between opposites, and genders. However, she makes it clear she's wearing the trousers between the two, and she even tweaks gender roles: "men are from Venus, girls are from Mars." The most vivacious track here. I couldn't help noticing the backup singers listed: Pepsi and Shirley. Is it the Pepsi and Shirley who backed up Wham!, I wonder?

Per the interview, "Sometime" is a reflective track searching for peace of mind featuring a strong bass and piano backing. After the beginning electric sitar and an Indian female vocalist, "Let Me Love You" yields to a post-Spice pop merged with the Beatles' Indian-influenced music in the chorus.

With the spoken "It's important to learn to laugh at yourself Don't take life so seriously," the funky upbeat "You're In A Bubble" is a slap those who don't go by that intro, and for them to "call the police, cause your karma's in trouble."

After the video, where she puts on four personas, the sister, virgin bride, and white collar workaholic, and the vamp, and even her Ginger self in a funeral procession for that persona, she explains her obligations to other causes, such as a cancer benefit and UN spokesperson, that initially entailed her departure as early as October 1997, but whose cancellation made her question her role in a larger scope. She describes her time with the Spices as a whirlwind marriage that ended when she decided to leave the peak of the pop mountain they had climbed, with no rancor shown.

Filled with good-natured brassy pop and soft reflective numbers, Schizophonic indeed belies its etymological meaning, a split sound. More exciting than Emma Bunton's first solo effort and definitely a far cry from Mel C's solo debut. For her second release, she screamed and went a little bit faster, but I've already talked about that. Oh, and the keychain has "Geri Halliwell" on one side, "Look At Me" on the other, and it still holds my keys.

Two songs that were inspired by the laid back Eagles/Fleetwood Mac sound were "Eagle" and "The Name Of The Game." The former, a number with a slow but steady beat, is overlaid with the signature sound of synths and guitar, and the fluttery synths that A Flock Of Seagulls would use in the intro of "I Ran." The other was another UK #1, but despite the jangling guitars and horns, ABBA seems miscast appropriating that sound.

However, the best song by far is the catchy danceable UK #1/US #3 hit "Take A Chance On Me," with its rapid-sung "take a chance chance" by the men, where I detect feel the "t-k-ch" beat that Bjorn originally got in his head when jogging.

Parts of the ballad "One Man, One Woman" is Eagles-ish, until the synths and the twin harmonies of Agnetha and Frida come in for the chorus. I wonder if this song of a love falling apart but with the assurance that they'll make it through the hard times may have been an indication that the hectic schedule ABBA went through was taking its toll on Bjorn and Agnetha, who would be divorced with the next album, Voulez-Vous.

The country-ish "Move On," featuring a flute, is a nod to experiencing life, going through its journey and moving on to the next experience.

ABBA had made a mini-musical titled "The Girl With The Golden Hair" consisting of a few songs. One of those songs, "Hole In Your Soul," left the musical, and its slamming frantic rocking Elton John sound, kind of like "The B-tch Is Back," doesn't fit the musical's sound. One of the better tracks here.

Two versions of "Thank You For The Music" are on here--a more contemporary arrangement, for the Golden Hair musical, and another where Agnetha based on vocal style on Doris Day. In this song, the title girl reveals that she's a born star and seeks to share her gifts with the rest of the world by being a star. With the ballad "I Wonder," she actually leaves her town, only to be trapped in stardom in the frantic swirling orchestra of "I'm A Marionette."

ABBA slightly falters with this selection, as the US sound doesn't suit them too well, but it did them good in the US, as it sold very well there. As a result, the album is merely good, not great. Rank this slightly above Waterloo and below Voulez-Vous.

By the time Voulez-Vous was released in 1979, the disco era was in full swing, the mirror ball still glittering ablaze. Hence many of the tracks are suitable for the old platforms and flared trousers. However, the usual Agnetha ballads are there, and great ones too. Unfortunately, Bjorn and Agnetha announced their divorce before the album's completion, although their professional relationship would continue as before.

After a quick strings, a funky disco beat and synths kick in to intro "As Good As New," which describes the spirit ABBA has since the merely great Album. A standout track.

The title track, another candidate for Studio 54, has as backing musicians members of the group Foxy, the pulsing bass and burst of horns in tune with the disco era. That's followed by Frida's vocal on the inspirational ballad "I Have A Dream," on that dream or fantasy that make life worth living.

Put on your dancing shoes for the next four songs. "Angeleyes," about a louse who likes to hypnotize young girls with those eyes, is sung from the POV of a former victim. "The King Has Lost His Crown," when he loses his new girl, so the song goes in this Frida-lead song.

I've always liked the catchiness of this tune, but ever since seeing Johnny English, hearing this elicits a snicker out of me. The single "Does Your Mother Know", sung by Bjorn, with its leading bass keyboards and rock guitar, on a young lady who may be out having a good time without her mother's knowledge. It's also the track Rowan Atkinson's character is doing a karaoke to in an embarrassing bathroom sequence, funny faces and all, played to the audience at the coronation scene in the movie. My favourite track here.

"If It Wasn't For The Nights" is just asking to be included on a Pure Disco or Best of Disco compilation with the strings and drums, and the theme of the nights being an escape after an unrewarding day, much like Tony Manero of Sat. Night Fever.

"Chiquitita" is one of Agnetha's better ballads, and was the song they did at the UNICEF benefit concert less than a week before the divorce announcement of Bjorn and Agnetha. The engaging measured rhythm in the chorus reminds me a bit of the Beatles' "Don't Pass Me By." The B-side, "Lovelight," is more upbeat.

Frida announces the medical claim that "Lovers (Live A Little Longer)," which gives lovers a chance to live twice in this swinging disco number. That's followed by the high energy "Kisses Of Fire."

The bouncy Bee-Gees' sounding "Summer Night City" was another song that didn't make it on the original release, odd, as it was a Top Ten hit in many countries. And if anything fits disco, it's yet another song originally left off Voulez-Vous. "Gimme! Gimme! Gimme! (A Man After Midnight)" with its piercing flute sound, bass, and string-synths is perfect for those dancing shoes and poofed up Afros, as it was also included on the Pure Disco 2 compilation. It's what "Money Money Money" would be dressed up in disco instrumentation.

A marked improvement over The Album, and given the near year it took for the album, where for a while, every other song idea was rejected, Voulez-Vous stands out as one of ABBA's best albums, and I detect a more concentrated effort at perfection, and it shows.