Agnetha Fältskog
A

"The queen of hearts is back in town, the queen of hearts still wears the crown..." Carrying forward the noble legacy of the legendary quartet was a task bordering on the impossible; the demigods Benny and Bjorn didn't even try, and Frida gave up after a timid approach, far from convinced and convincing, but Agnetha... she might have made it, she was the queen of hearts, the charismatic face and voice of ABBA: beautiful, lovable, brilliant, with a joyful and silvery voice capable of waking the dead. Yet, leaving aside her vast production in her mother tongue even before forming the most famous symmetrical combo in history, solo Agnetha Faltskog remains a mysterious object. Years change and so do fashions, it's true, many offerings far less worthy than hers have gained much more attention, but objectively AF's post-ABBA solo albums don't have much to offer except for a few pleasant and fun singles, and even she decided to throw in the towel after a few years, retreating to a peaceful life interrupted only by the "My Colouring Book" of 2004, a cover album of old jazz/swing classics not exactly memorable. A decidedly low-key career for one of the most iconic figures in pop history, which, however, unexpectedly managed to give a surprise ending in 2013, to the delight of her most devoted fans (yours truly...) and few others, but that's okay.

63 years and not feeling it: Ms. Faltskog is still herself, with the same smile, the same simplicity, the same unmistakable voice that doesn't feel the weight of years; her album is simply titled "A", that capital initial that identified her during the quartet days, able to shine on its own for the first time even without BBA. "A" is an exquisite album, a bit retro, a bit nostalgic, and with such a past behind her, it seems more than justified, but above all undeniably candid and sincere: Agnetha Faltskog doesn't even try to be "young", to flirt with dubstep, collaborate with Bob Sinclar, or other nonsense like many of her peers in a desperate search for attention, and she manages to present a series of songs that already sound like little instant-classics, for ABBA-addicts like myself but not only. The theatrical impact, the brilliance, the sing-along choruses musical style: among all the shades and characters interpreted during the ABBA period, Agnetha chooses to wear again the guise of the golden-haired girl, now grown up and a bit out of fashion, but always with the enthusiasm of the glory days, as amply demonstrated especially by the initial triptych, the sumptuous crescendo of "The One Who Loves You Now", the smoother and more dynamic momentum of "When You Loved Someone", characterized by a very captivating arrangement that combines classic and modern, and the perfect interplay between orchestrations and acoustic guitar of a nostalgic yet brilliant "Perfume In The Breeze". Agnetha's inimitable interpretative charisma reaches its peaks in the ballads, the slight melancholy, the sweetness, and the passion of "I Keep Them On The Floor Beside My Bed", the electronic "Bubble", dreamy and ennobled by a delicate and suggestive chorus, and the theatrical "I Was A Flower", an emotional impact and melodic perfection that rivals the classic "The Winner Takes It All" but with much more "drama", a regal stride that draws out genuine emotions.

"Back On Your Radio" is another beautiful moment, deviating from the orchestral splendor of the album by offering a more light-hearted, cheerful, and spring-like sound, with melodic perfection and Agnetha's sweet voice ensuring an immediate and delightful catchy effect, just as the brilliant revival of "Dance Your Pain Away" is very enjoyable, skillfully reusing the formidable groove of "Voulez-Vous". The only real flaw of "A" is a less convincing "I Should've Followed You Home", a song that would have quite dynamic and interesting development, but is ruined by a somewhat predictable refrain and especially by the presence of the mediocre Gary Barlow, the supposed heir of George Michael, who compared to Agnetha looks like a pigeon before a golden eagle; a small lapse in style, what do you say, do we forgive her? I absolutely do, and not just for the love and gratitude I will always feel for Agnetha and the ABBA, who "raised" me musically, showing me my path and dimension, but especially because "A" is truly a worthy epilogue for a bright and radiant voice, a Singer from whom the new generations would have much to learn; unfortunately, there is no worthy successor in sight, and thus this return is even more welcome. In proper proportions, "A" reminds me a lot of Elton John's "The Diving Board", artists from another era but irreplaceable, still precious even now, and so I wish to conclude this review as I concluded Elton's: everyone be quiet, Agnetha sings.