Geminism

Gemini's second effort, "Geminism," is a more eclectic mix, lacking the unity of mood and sonics of the first album. It was recorded in 1986 and 1987, at Polar Studios, and released in 1987. Six of the ten cuts are by B & B, and Björn contributed to a seventh. Geminism is still available for purchase, in CD format.

Geminism
CD: Polar POLS 418 {Sweden}

01. TLC
02. Beat The Heat
03. Mio My Mio
04. Ghost Town
05. I Am The Universe
06. Sniffin' Out The Snakes
07. I'm A Bitch When I See Red
08. There's No Way To Fool A Heart
09. Wild About That Girl
10. Nearly There

Produced by Benny Andersson, Anders Glenmark and Bjorn Ulvaeus
Songs 1, 3 - 5, 7 and 10 written by Benny Andersson - Bjorn Ulvaeus,
2 and 6 by Anders Glenmark - Ingela Forsman,
8 by Benny Andersson - Ingela Forsman
9 by Anders Glenmark - Bjorn Ulvaeus - Dan Sundqvist

Mio my Mio is probably the most famous song on the album, and it is a sweet, evocative, nostalgic piece. Karin's voice is well shown off. Jan Wickman, writing to ABBAmail more than a year ago, said:

I remember vaguely Benny praising Karin in an interview in a Swedish magazine
after the "Gemini" album just had been released. He was reported to have
admired her vocal range saying that she could reach even higher notes than
Agnetha and lower than Frida. And this was supposed to be so rewarding for
the composer who thus got an additional octave to play with.

I have not been able to track down the article or interview, but Karin's voice is capable of gyrotechnics, as her work on this album demonstrates. The question is whether this impressive use of her voice is also the richest way to employ it. For a distinct contrast, listen to her solo album, Karen Glenmark, released in 1996.

But forward now down to the final cut in Geminism, the irresistable Nearly There. Benny provides an uptempo, infectious tune, and the lyric takes Slow Emotion to the edge of consumation. Karin again provides the solo. And, for a historical bonus, Björn initiates his on again, off again, love affair with rhymes on the English suffix "...tion".

Nearly There

A faint attraction, a flicker of desire
But not substantial, enough to light a fire
That's all it was, all it had a chance to be
That's what I thought, but it came out differently
And now I feel something grow
I feel strange, I don't know where I'm going

And it's yooouuuu

You're such a revelation

You could really make me care

Keep on baby 'cause you're nearly there

I can feel no hesitation

Don't stop, baby don't you dare

Keep on going 'cause you're nearly there

You meet a stranger, it happens all the time

A certain interest, you get along just fine

When least expected, there's something going on

A funny feeling, indifference all but gone

Now I was a true nonbeliever

Now I feel the symptoms of fever

Must be you, you're such a revelation

You could really make me care

Keep on baby 'cause you're nearly there

I can feel no hesitation

Don't stop, baby don't you dare

Keep on going 'cause you're nearly there

You are such a revelation

You could really make me care

etc.

The sometimes morose tone of the first album is largely absent in this second project, and nowhere is this more evident than in Nearly There. T.L.C. is also lighthearted and delightful, and Wild About the Girl is a bit of a rocker. When the lyrics turn tough, the emotions displayed are more on the surface and simpler (e.g. Beat the Heat, I'm a Bitch When I See Red).

If anything on this album bridges back to the first album, it is There's No Way to Fool a Heart. Written by Anders Glenmark and Ingela Forsman, it is a serious ballad with Anders on the lead vocal, with some ABBA-like harmony flourishes.

For a fascinating additional look at the musical "hooks" used in Geminism, read Ian Jones' analysis.

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