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on February 2, 2000
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-style 'I See Red' (a real highlight), a missed single opportunity. 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 underpin Frida's bravura performance to great effect. The wispy ballad, 'Strangers' is pretty but no big deal and Bryan Ferry's composition 'The Way You Do' is hardly his finest moment. Still, the graceful delicacy of Frida's interpretation of Collins' torch 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', its 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.
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on June 3, 2005
This is a great remaster of her first post-ABBA album. The first thing I noticed about it was they didn't use the same version of 'Here We'll Stay', it's been slightly remixed from the original album version, but a great version none-the-less. The 'Solo' version of 'Here We'll Stay' sounds more like a demo than a single version...I think I read somewhere that it was released as a single...yuck! But I digress. The remaster is top notch and should not be overlooked. The single edit of 'I Know There's Something Going On' sounds ok, but you can tell it was transferred from digital to analog and back again for this remaster.

This is a great album and worth the cost just to get that 'extra' track of Frida singing solo on 'Here We'll Stay' for all Frida fans.
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on May 8, 2002
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.
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on September 7, 2005
Frida has always been my favorite voice in ABBA. Could any voice sound as rich as she does in ABBA's "Knowing Me, Knowing You?"

There is not a single dud on this entire cd. She and producer Phil Collins picked from the hottest songwriters of the day. The Brian Ferry penned-song "The Way You Do" is flawless, as is the haunting, atmospheric "To Turn The Stone." Other highlights are the rocking "Tell Me It's Over" and folk-tinged "Threnody."

As far as the remaster goes, the sound quality is excellent. The bonus tracks in no way add to the total package. I never really cared for the solo version of "Here We'll Stay," the duet with Phil Collins on the original cd. It seems unpolished. The newly included radio/single edit of "I Know There's Something Going On" proves that there is nothing like the original. Some things are better left alone! I LOVE THIS SONG!I did hear an incredible dance remix of this classic track while at a club in London in 2004. It was approximately 10 minutes long and played up the guitars but had a super-fast computerized beat. Where is this version? It should have been included instead of the edit. Also, no review would be complete without mentioning the excellent jazz-influenced "Baby Don"t You Cry No More" and the touching ballad "You Know What I Mean."

I can honestly say that overall, this cd is slightly better than some ABBA cds, the exceptions being "Super Trouper," "The Album," and "Voulez-Vous," of course- all perfect. Buy this cd and enjoy!
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on September 4, 2003
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.
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on November 9, 2003
I was 9 years old when I first got this album back in '83, and being a huge ABBA-fan, I was shocked by the rocky sound because it was so different from what I had expected. It took me quite a few years to learn to appreciate this album but now I must say that this is a very intriguing album and arguably the most interesting solo project of those released by Agnetha and Frida. Recorded just after her painful divorce from Benny, this album shows both the strong, powerful side of Frida on the uptempo cuts, Tell Me It's Over, I Got Something, I See Red and the excellent title track - Frida's voice cuts like a knife - and the vulnerable side on the superb low-key tracks Strangers, Threnody and her compelling rendition of Phil Collins' You Know What I Mean. These are simply excellent. I also like the jazzy Baby Don't You Cry No More a lot. Whereas the Bryan Ferry-penned The Way You Do is a bit indifferent, the mysterious To Turn The Stone - originally recorded by Donna Summer for an unreleased 1981 2LP set I'm A Rainbow - is a favourite of many fans (it was Frida's favourite too) and was also issued as the second single. It is surely beautifully sung but the music is perhaps a bit over-arranged on this one. The third single was the closing track Here We'll Stay which fails to come off as happy as intended, arguably because combination of a chorus with joyous lyrics and a melody in minor is a bit weird. But overall this is definitely a strong album by a strong woman and one of the most talented singers that I've ever heard.
PS! It is a MAJOR INSULT by the editorial reviewer to label Frida just a backing singer of ABBA just because she was featured on less singles than Agnetha. She did in fact sing a few more solo parts in ABBA than her blonde colleague.
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on October 7, 2000
Reading the editorial on this album made me mad! How anyone could say that Frida was less talented than Agnetha is beyond me! Both women have exceptional voices, but neither contributed more to ABBA than the other.
"Somethings Going On" is a fine first stab at an English solo career. The only song on this album that lacks is the Phil Collins duet. The title track, "Threnody", "You Know What I Mean" and "Tell Me It's Over" are the standouts. I'm really surprised that "Tell Me It's Over" wasn't a big hit...it had a very poppy, early 80's catch.
I absolutely LOVE Frida. The woman is exceptionally talented and I think all three of her post ABBA albums are wonderful.
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on January 9, 2000
Well, sure this is not ABBA. And it shouldn't be! Yes, Frida has never been afraid of experiments. It's her first solo album after ABBA, and it's a very personal one. It meant so much for her! It really reflects her feelings, her emotions, I should say. I mean, this record helped me to understand Frida as a person, to know her better. And this album shows what a strong woman she is. Well, «Something's going on» isn't my favourite Frida's solo album but it's a very interesting record and the best thing she did in 80's. It sounds very unusual, very different from her early works. I'm not crazy about the way Frida sounds here `cause I prefer when her voice is more natural and relaxed. But anyway «Something's going on» shows her as an outstanding singer. I particularly love «Threnody», «To turn the stone», «Strangers», «I know there's something...» By the way, I think that «Face value» by P.Collins is a must for everyone who wants to understand «Something's going on» better.
PS Oh, how can one say that «with ABBA Frida was Agnetha's second fiddle»! I think that no one who consider himself to be a real ABBA fan would never tell something like that! When it comes to solo career I prefer Frida's albums and, to tell the truth, I believe Frida to have the most beautiful voice I've ever heard. But Agnetha is 1/4 of ABBA and so Frida is. Both of them sound great singing ABBA songs! I just can't imagine that any Agnetha's fan can think that ABBA could ever exist without Frida!
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on November 4, 1999
Each of the band members of ABBA had their own styles which are very different. Frida is much more experimental because she is not afraid. (She did have pink highlights in her hair, who else in the mainstream of pop music would have had the courage for that look?) One review mentioned how she was merely a back up singer with ABBA. Anyone with any kind of a musical background can hear her blending her voice, darker and more sultry all the way to matching Agnetha note for note on the high end of the scales.
The battle over who has a better voice is merely a matter of taste. Yes, I can see that many people would prefer the softer and higher notes from her former collegue. ABBA was not just Agnetha and ABBA was not just Frida
As far as this release goes, it was the very first release after ABBA. There are different producers, writers, and a completely different attitude about the what was to be expected. There are familiar names such as the studio and the musicians. Some of the songs, in my opinion are very good; some are not so good. Remember, this release was on charts all around the world when it was new, with singles topping worldwide charts.
I feel you should purchase the CD if interested, listen, and judge for yourself whether or not you feel this landmark album is worthy of criticism.
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on September 9, 2004
Second Fiddle?
I don't think so. If Mr. Everett had actually listened to even a few of ABBA's CDs he'd have noticed that Agnetha & Frida very often share leads on tracks. The remainder are usually evenly split between them (Agnetha singing lead on 2 songs, Frida doing the same)
Frida's voice has always dominated ABBA songs, even when she's doing backup or harmony vocals. Not to bash Agnetha or anything, she has a fantastic soprano voice with an incredible range while Frida's mezzo-soprano is equally stunning. They're just DIFFERENT. And this is what makes the ABBA "sound" so special.
In their later albums (Super Trouper, The Visitors) you really get to hear just how good these women are.....there're some incredible notes being hit on those songs. So if one can fault anything about this CD, it's because of the songs, NOT the singer. I still say it's good, but her "Ensam" CD from 1975 was better. Check it out.
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