>>ABBA, Swedish Europop group that was among the most financially productive social occasions in the arrangement of encounters of popular music. During the 1970s it governed the European charts with its engaging pop tunes. People included performer and support player Benny Andersson (b. December 16, 1946, Stockholm, Sweden), lyricist and guitarist Björn Ulvaeus (b. April 25, 1945, Gothenburg, Sweden), and vocalists Agnetha Fältskog (b. April 5, 1950, Jönköping, Sweden) and Anni-Frid Lyngstad (b. November 15, 1945, Narvik, Norw

>>The get-together began to happen as expected in 1969, when Andersson and Ulvaeus, who had previously collaborated on different society and pop endeavors, met Lyngstad and Fältskog. Despite collaborating musically, the four consolidated off illogically, with Andersson getting drawn in with Lyngstad and Ulvaeus dating Fältskog. The gathering of four showed up as the club exhibit Festfolk, a name picked to play on two words with practically indistinct enunciations in Swedish: festfolk, connoting "party people," and fästfolk, a 1970s slang term for "attracted couples." Ulvaeus and Fältskog were hitched in 1971, and Andersson and Lyngstad adhered to this equivalent example in 1978. While Festfolk fail to get a proceeding in Sweden, the tune "People Need Love," which the get-together recorded as Björn and Benny, Agnetha and Anni-Frid, was an unpretentious hit in 1972. The following year the foursome finished third in the Swedish passing round of the Eurovision Song Contest, with the single "Ring, Ring." Encouraged by that accomplishment and named ABBA—an acronym derived from the people's first names—by the social occasion's boss, Stig Anderson, the band returned to Eurovision in 1974 and got the top prize with the tune "Waterloo." The ensuing single filled in as the anchor for the assortment of a comparative name, conveyed that year.

>>Longer than a year after the triumph at Eurovision, ABBA (1975) truly settled the social affair as an overall pop miracle. The singles "Mamma Mia" and "S.O.S." were enormous hits in Europe, Australia, and North America, and the band got a handle on the emerging music video format to profit by the gathering of four's shared charisma. ABBA's 1977 release, Arrival, showed up at the United States at the height of the disco craze, and it outfitted the social event with its sole American number one single—the engaging and surely club-obliging "Moving Queen." The Album (1978) meant a departure of sorts: regardless of the way that its victor single, "Face a Challenge on Me," was a stunning, assuming clear, pop tune of dedication, various tracks insinuated an progressive rock influence, and therefore the assortment's resulting side was overpowered by a "downsized melodic" named "The Girl with the Golden Hair."

>>While The Album marked a tasteful development for ABBA, singular relations inside the band suffered when Ulvaeus and Fältskog isolated before the conveyance of Voulez-Vous (1979). The pair promised that their partition would not impact the band's yield, but Super Trouper (1980) featured a collection of tunes, most strikingly "The Winner Takes It All" and "Lay All Your Love on Me," that misled a melancholic tendency that was absent in past records. Andersson and Lyngstad isolated during the account of The Visitors (1981), and the reggae rhythms of "One of Us" did little to cover the overwhelming perspective of the band. This ensuing partition wind up being a ton for the social affair, which disbanded in 1982.

>>After the demise of ABBA, Fältskog and Lyngstad set out on sensibly powerful execution jobs, and Ulvaeus and Andersson collaborated with lyricist Tim Rice to create Chess (1984), a thought assortment and stage melodic that conveyed the startling radio hit "One Night in Bangkok." Although the band routinely curbed pieces of tattle about a likely assembling all through the following years, ABBA's music never really left the popular consciousness. Various social occasions performed ABBA tunes with fluctuating degrees of commitment, and British dance pop band Erasure gave an entire EP (fittingly titled ABBA-esque [1992]) to ABBA covers. The music of ABBA was moreover a device on the big screen, expecting a central part in both the plots and soundtracks of such films as The Adventures of Priscilla, Queen of the Desert (1994) and Muriel's Wedding (1994).

>>Ulvaeus and Andersson joined their shared love of musical theatre with the ABBA back stock to produce Mamma Mia!, a romantic comedy that showed up on London's West End in 1999 and was henceforth seen by a large number of people far and wide. A film version of the play, starring Meryl Streep, was one of the top overall entertainment world draws of 2008, and a sequel, Mamma Mia! Here We Go Again, appeared in 2018. The get-together was drafted into the Rock and Roll Hall of Fame in 2010

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