Something's Going On

Frida

Product Details

• Audio CD (March 16, 1999)
• Original Release Date: 1982
• Number of Discs: 1
• Label: Polygram Int'l
• ASIN: B000005S07
• In-Print Editions: MP3 Download
• Average Customer Review: 4.0 out of 5 stars  See all reviews (45 customer reviews)
• Amazon.com Sales Rank: #145,824 in Music (See Bestsellers in Music)

Editorial Reviews

Amazon.com

Frida mostly sang backup harmonies behind Agnetha in Abba: she was the group's dark side. Her clear, clean voice was fine in itself, though limited--and shorn of the songwriting team of Björn and Benny, its limits are most apparent. Something's Going On is a dreadful signifier of its time: all early-'80s, bad new-wave production and quirky drum fills, courtesy of producer Phil Collins. Other than the Russ Ballard-penned title track (which at least has a decent tune) and Rod Argent's reflective, rather sweet "Baby Don't You Cry No More," there's little of merit on Anni-Frid's first post-Abba solo album. To hear her so badly supported just makes one yearn for Abba's glory moments all the more. --Everett True

Customer Reviews

Most Helpful Customer Reviews

18 of 18 people found the following review helpful:

4.0 out of 5 stars FRIDA / Something's Going On, February 2, 2000

By	T. Kavanagh "tony" (Ireland) - See all my reviews (REAL NAME)

By the time Frida got around to recording her first English-language solo album in 1982, the public had decided that enough was enough, ABBA-wise. As it turns out, even the band themselves felt that ABBA was running on fumes at this point. Their singles were no longer reaching the UK Top 10 (including, bafflingly, the beautiful 'The Day Before You Came'). It was always going to be difficult to score a hit or earn credibility if your name was attached to ABBA, when the whole world was fawning over Adam & the Ants.... Added to this, 'Something's Going On' was not what the hard-core ABBA fans expected. Crashing drums, crunchy guitar figures, eloquent bitterness and an abandonment of the dance-floor failed to pull in the boys and girls for whom 'Fernando' and 'Super Trouper' were cutting edge.

At the time, Frida was adamant about two things. Firstly, if Phil Collins wouldn't produce, there would be no album. Secondly, there would be no Andersson/Ulvaeus compositions recorded. There was no point, she argued, in doing a solo album if it was to end up sounding like ABBA. The first single, 'I Know There's Something Going On' underlined this. Sounding like a meeting between Pat Benatar and The Cars, it hinted at the style of album to come.

The album opens with a speaker-wrecking volley of snares at the start of 'Tell Me It's Over', a rocker which manages to be gritty, bitter and bouncy all at the same time. Next comes the reggae-ish 'I See Red' (a real highlight), which really ought to have been released as a single. A hat-trick of gems is completed in the album's next track, 'I Got Something'. This wasn't commercial enough for single release but just listen to that vocal! Great guitar figures and punchy brass underline Frida's performance to great effect. The wispy ballad, 'Strangers' is pretty but no big deal and Bryan Ferry's composition 'The Way You Do' cannot be counted among his finest moments. Still, the graceful delicacy of Frida's interpretation of Collins' song 'You Know What I Mean' more than compensates.

As a set, 'Something's Going On' is cohesive and satisfying. Only one track jars and that is the closer, 'Here We'll Stay', a breezy, lovey-dovey duet with Phil Collins. Tracks 1 through 10 are the REAL album, where Frida works through her post-divorce wounds and agonies. Overall, 'Something's Going On' has worn its age rather better than its successor, 'Shine', it's sound being more organic. This is not an album for fans of ABBA's perkier, sweeter hits. It must be seen as a stand-alone item.

Oh, and by the way - comparing this with any of Agnetha Faltskog's solo output is a pointless, subjective exercise that does neither women any favours. They are both great singers in their individual ways. If you like your music with a bit of grit, try this album. If ABBA's ballads and dance tunes are what light your fire, try Agnetha's more light-weight work.

16 of 17 people found the following review helpful:

3.0 out of 5 stars Everett True does not know what he is talking about!, September 4, 2003

By A Customer

First, let me dispel what the editorial reviewer of this CD has stated in the review. Frida (also known as Anni-Frid Lyngstad) was no more a backup singer for ABBA than Agnetha Fältskog, the other female singer in ABBA. The truth is that each of these women shared lead vocal duties. Furthermore, Frida not Agnetha sang lead on more of the group's hit singles. Both of these women had soprano ranges - Agnetha having a higher register with a beautiful sugary sweet sound while Frida had a lower mezzo-soprano or alto register giving her a very rich, velvety sound. In short, Frida and Agnetha were equally capable vocalists. Now for the review of this album: this was Frida's solo project during the final days of ABBA. The Phil Collins-produced album is an interesting and liberating departure from her work with ABBA. It leaves behind the saccharine pop sound for more edgy guitar-based music. Collins acquits himself nicely on the drums, while Frida herself is enabled to show her full, emotion-filled range that oftentimes got hidden beneath the layers of sound that was present in much of ABBA's music. Is the CD dated? Yes, a little, but most pop albums out of the 80s do sound dated, but maybe not for long if this new wave of new wave/electronica completely submerges itself in pop music again. It is unfortunate that the editorial review of this CD is so dismissive and inaccurate. To the persons responsible for the editorial review: get your facts straight.

11 of 11 people found the following review helpful:

5.0 out of 5 stars ABBAs and oranges, May 8, 2002

By	"sdomingo56" (San Francisco, CA) - See all my reviews

Anyone comparing Frida's group work to her solo work is missing the point. While the Swedish superstars were undoubtedly the pop powerhouse of the 1970's, Frida's remarkable solo career carries us all into the 80's and beyond.

Her dynamic range is amazing-- her songs are both beautiful and angst-filled; both charming and haunting; both gritty yet smooth. This Swedish siren combines the fury of Pat Benatar, the sultriness of Juice Newton, the plaintiveness of Bonnie Tyler, the 80's cuteness of Kylie Minogue, and the self-control of Laura Branigan... ALL IN ONE PACKAGE. A stunning album from a true queen of pop. This album helped get me through college, and almost nothing has come close to it since.

The song "Hot Shot City" is particularly good.