AH-HAH
ABBA lyrics were often scorned, and the victim of this disrespect is generally Björn Ulvaeus. However, Ulvaeus was tutored by Stig Anderson, from whom, presumptively, he inherited an early 60's lyric mentality: keep it simple, keep it superficial, include one lyrical hook. There is some irony that biographies of Anderson laud him for his prolific production such lyrics, while Ulvaeus is criticized for the same tendencies in his early work. Plainly, the frame of expectation for pop/rock lyrics shifted significantly just as Björn was settling into his craft.
I contend, however, that Björn's is lyrical output, during the ABBA period and overall, is nonetheless an extraordinary achievement. And he accepted the task of composing lyrics in a foreign language (English).
That said, one notices along the way that Björn found some reliable "crutches" to use in this 'second language.' One, on which I have elsewhere commented, is the reliance on the "tion" suffix to gain his rhymes. Recently, I read this interesting exposition by Philip McGrath, of Sydney, Australia, which focuses on the "Ah-hah" device, which I believe Björn successfully employed both to satisfy the meter and to ratchet the lyric's emotional load. Here, with Philip's permission, is his catalog:
"Has anyone ever noticed just
how often ABBA use "a-ha" in their songs? I love the way they get away
with it so often, it's very camp and endearing. I especially like
'Angeleyes'...... Here are a few songs I found, please add more if you
can:
Knowing me, Knowing you, a-ha
There is nothing we can do
(Knowing Me, Knowing You)
Voulez-Vous, a-ha, take it
now or leave it
(Voulez-Vous)
If I said I care for you, aaaaaaaaaaaaaaaaaah-aaaaaaaaaaaaaaaaa
Could you feel the same way
to I want to know, the name of the game
(The Name of the Game)
cue mandolins
aaaaaaaaaaaaaaaaaaaaah-aaaaaaaaaaaaaaaaah-aaaaaaaaaah-aaaaaaaaaaaaaaaaaa
ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh-aaaaaaaaaaaaaaaaaaaah-aaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaahhh-haaaaaaahhaaaaaaaaaahhhhh-haaaaaaaaaaaaaa-haaaaaaaaaa
They passed me by, all of
those great romances
(One of Us)
ah-ah-ah, ah-ah-ah-ah-ah-ah
ah-ah-ah, ah-ah-ah-ah-ah-ah
ah-ah-ah, ah-ah-ah-ah-ah-ah
ah-ah-ah, ah-ah-ah-ah-ah-ah
(Angeleyes)
Oh yes, I'm sure my life was
well within its usual frame
The day before you came...
ahhhhhhhhhhhhh,ahhhhhhhhhhhhhhhhh,aaaaahhhhhhhhhhhhh
ahhhhhhhhhhhhh,ahhhhhhhhhhhhhhhhh,aaaaahhhhhhhhhhhhh
ahhhhhhhhhhhhh,ahhhhhhhhhhhhhhhhh,aaaaahhhhhhhhhhhhh
(exquiste Frida vocals)
(The Day Before You Came)
cue guitars
ah-haaaaaaaaaa aaaaaah-haaaaaaaaaa-haaaaaaaaaa-hhhhaaaaaaaa
ah-haaaaaaaaaa aaaaaah-haaaaaaaaaa-haaaaaaaaaa-hhhhaaaaaaaa
Here's to us, one more toast
and then we'll pay the bill
Deep inside, both of us can
feel the autumn chill
(When All is Said and Done).
Honey Honey, how you thrill
me, a-ha, Honey Honey
Honey Honey, nearly kill me,
a-ha, Honey Honey
(Honey Honey)
a-haaaaaaaaaaaaaaaaaaaaaaaaaaaa,
all the things I could do
If I had a little money, it's
a rich mans' world
(Money Money Money)
One of these days, aaaaah-aaaaaaah-aaaaaaah
Gonna tell him I dream of
him every night
(When I kissed the Teacher)
So you're free, a-ha, at last
(you're a new woman)
And beginning to forget the
past (lucky woman)
(Hey Hey Helen)
a-ha, a-ha, a-ha, you paint
the world and use all colors
a-ha, a-ha, and then you find
it all comes out too bright
(Hole In Your Sole)
You think you're gonna make
me soft with your fancy car, a-ha-ha,
But I can tell you all of
your tricks ain't gonna get you far, ah-ha-ha
(So Long)
Philip's piece evoked the desired reaction in a few other
students of ABBA lyrics:
I know what's waitin' there
for me
Tonight I'm loose and fancy
free
ahhhhh-ahhhhhh
When the night comes with
the action
I just know it's time to go...
<cue synthesizers>
aaah, aaah, aaah
The morning breeze that ripples
the surface of the sea...
"TLC ah-hah, won't you give it to me, give it to me, give it to me"
"A-ha, mmm, look what you've
done...'
and "A-ha, mmm, my turn to
run..."