The Rolling Stones - Some Girls Are Bigger Than Others (1978) + Bonus

Size: 393 MB
Bitrate: 320
mp3
Found in OuterSpace
Artwork Included

This one-CD "complete show" (according to the label) on Home Records documents a June 28, 1978 concert at the Midsouth Coliseum in Memphis, TN. The Stones were clearly giddy playing in Elvis' home town, putting 'Honky Tonk Women' near the top of the set, Mick talking about how much of a "treat" it is to play there considering how important the town is "as far as music is concerned," beckoning the crowed to emit a Rebel Yell, and even throwing in a rip-roaring version of 'Hound Dog' to please the locals. After a warmup of 'Let it Rock' and 'All Down the Line' comes the heart of the show, the then-new Some Girls material. 

The first thing one notices about these performances (in stellar sound) is the fact that Ronnie's substance intake' hadn't yet got the better of him as in the 80s: his playing is stellar throughout. 'Miss You' never drags despite its 7:48 length,' a rare Imagination is a treat (strangely Mick sings "all the girls in Detroit"- maybe "all the girls in Memphis" goes too trippingly ' off the tongue; Keith's liquid groove on 'Shattered' is superb, and a 1-2-3 of 'Respectable', 'Beast', and 'Whip Comes Down' delights. Another surprise: 'Love in Vain', the old showcase for little Mick, remains! Ronnie makes it his own with his patented bottleneck on that dobro-type twangy guitar. 

The show finished with a stomp through the standards, 'Tumbling Dice', 'Happy', 'Brown Sugar', and a furious, 6:30 'Jumping Jack Flash'. Whew! The Stones are a Mean Machine on this one. The show is available from other sources, and may have been a radio broadcast, I'm not sure, but a keeper in any case. Great for a party! 

Excellent Stones boot from one of their last truly fertile periods, amidst the backdrop of the Some Girls Tour. Originally an FM broadcast, the sound is good (or, at least, typical of the period), while the performances are culled from shows in Detroit, Memphis and Houston, 1978. You wouldn’t know that to listen, however, as this gathering is well-paced and the performances are stripped and streamlined, thankfully missing much of the pomp and circumstance that would later infect the band’s live shows.

BIOGRAPHY:
By the time the Rolling Stones began calling themselves the World's Greatest Rock & Roll Band in the late '60s, they had already staked out an impressive claim on the title. As the self-consciously dangerous alternative to the bouncy Merseybeat of the Beatles in the British Invasion, the Stones had pioneered the gritty, hard-driving blues-based rock & roll that came to define hard rock. With his preening machismo and latent maliciousness, Mick Jagger became the prototypical rock frontman, tempering his macho showmanship with a detached, campy irony while Keith Richards and Brian Jones wrote the blueprint for sinewy, interlocking rhythm guitars. Backed by the strong yet subtly swinging rhythm section of bassist Bill Wyman and drummer Charlie Watts, the Stones became the breakout band of the British blues scene, eclipsing such contemporaries as the Animals and Them. 

Over the course of their career, the Stones never really abandoned blues, but as soon as they reached popularity in the U.K., they began experimenting musically, incorporating the British pop of contemporaries like the Beatles, Kinks, and Who into their sound. After a brief dalliance with psychedelia, the Stones re-emerged in the late '60s as a jaded, blues-soaked hard rock quintet. The Stones always flirted with the seedy side of rock & roll, but as the hippie dream began to break apart, they exposed and reveled in the new rock culture. It wasn't without difficulty, of course. Shortly after he was fired from the group, Jones was found dead in a swimming pool, while at a 1969 free concert at Altamont, a concertgoer was brutally killed during the Stones' show. 

But the Stones never stopped going. For the next 30 years, they continued to record and perform, and while their records weren't always blockbusters, they were never less than the most visible band of their era -- certainly, none of their British peers continued to be as popular or productive as the Stones. And no band since has proven to have such a broad fan base or far-reaching popularity, and it is impossible to hear any of the groups that followed the without detecting some sort of influence, whether it was musical or aesthetic.

Throughout their career, Mick Jagger (vocals) and Keith Richards (guitar, vocals) remained at the core of the Rolling Stones. The pair initially met as children at Dartford Maypole County Primary School. They drifted apart over the next ten years, eventually making each other's acquaintance again in 1960, when they met through a mutual friend, Dick Taylor, who was attending Sidcup Art School with Richards. At the time, Jagger was studying at the London School of Economics and playing with Taylor in the blues band Little Boy Blue and the Blue Boys. 

Shortly afterward, Richards joined the band. Within a year, they had met Brian Jones (guitar, vocals), a Cheltenham native who had dropped out of school to play saxophone and clarinet. By the time he became a fixture on the British blues scene, Jones had already had a wild life. He ran away to Scandinavia when he was 16; by that time, he had already fathered two illegitimate children. He returned to Cheltenham after a few months, where he began playing with the Ramrods. Shortly afterward, he moved to London, where he played in Alexis Korner's group, Blues Inc. Jones quickly decided he wanted to form his own group and advertised for members; among those he recruited was the heavyset blues pianist Ian Stewart.

As he played with his group, Jones also moonlighted under the name Elmo Jones at the Ealing Blues Club. At the pub, he became reacquainted with Blues, Inc., which now featured drummer Charlie Watts, and, on occasion, cameos by Jagger and Richards. Jones became friends with Jagger and Richards, and they soon began playing together with Taylor and Stewart; during this time, Mick was elevated to the status of Blues, Inc.'s lead singer. With the assistance of drummer Tony Chapman, the fledgling band recorded a demo tape. After the tape was rejected by EMI, Taylor left the band to attend the Royal College of Art; he would later form the Pretty Things. Before Taylor's departure, the group named itself the Rolling Stones, borrowing the moniker from a Muddy Waters song.

The Rolling Stones gave their first performance at the Marquee Club in London on July 12, 1962. At the time, the group consisted of Jagger, Richards, Jones, pianist Ian Stewart, drummer Mick Avory, and Dick Taylor, who had briefly returned to the fold. Weeks after the concert, Taylor left again and was replaced by Bill Wyman, formerly of the Cliftons. Avory also left the group -- he would later join the Kinks -- and the Stones hired Tony Chapman, who proved to be unsatisfactory. After a few months of persuasion, the band recruited Charlie Watts, who had quit Blues, Inc. to work at an advertising agency once the group's schedule became too hectic. 

By 1963, the band's lineup had been set, and the Stones began an eight-month residency at the Crawdaddy Club, which proved to substantially increase their fan base. It also attracted the attention of Andrew Loog Oldham, who became the Stones' manager, signing them from underneath the Crawdaddy Club's Giorgio Gomelsky. Although Oldham didn't know much about music, he was gifted at promotion, and he latched upon the idea of fashioning the Stones as the bad-boy opposition to the clean-cut Beatles. At his insistence, the large yet meek Stewart was forced out of the group, since his appearance contrasted with the rest of the group. Stewart didn't disappear from the Stones; he became one of their key roadies and played on their albums and tours until his death in 1985.

With Oldham's help, the Rolling Stones signed with Decca Records, and that June, they released their debut single, a cover of Chuck Berry's "Come On." The single became a minor hit, reaching number 21, and the group supported it with appearances on festivals and package tours. At the end of the year, they released a version of Lennon-McCartney's "I Wanna Be Your Man" that soared into the Top 15. Early in 1964, they released a cover of Buddy Holly's "Not Fade Away," which shot to number three. "Not Fade Away" became their first American hit, reaching number 48 that spring. By that time, the Stones were notorious in their homeland. Considerably rougher and sexier than the Beatles, the Stones were the subject of numerous sensationalistic articles in the British press, culminating in a story about the band urinating in public. All of these stories cemented the Stones as a dangerous, rebellious band in the minds of the public, and had the effect of beginning a manufactured rivalry between them and the Beatles, which helped the group rocket to popularity in the U.S. In the spring of 1964, the Stones released their eponymous debut album, which was followed by "It's All Over Now," their first U.K. number one.

5 X 5 That summer, they toured America to riotous crowds, recording the Five by Five EP at Chess Records in Chicago in the midst of the tour. By the time it was over, they had another number one U.K. single with Howlin' Wolf's "Little Red Rooster." Although the Stones had achieved massive popularity, Oldham decided to push Jagger and Richards into composing their own songs, since they -- and his publishing company -- would receive more money that away. In June of 1964, the group released their first original single, "Tell Me (You're Coming Back)," which became their first American Top 40 hit. Shortly afterward, a version of Irma Thomas' "Time Is on My Side" became their first U.S. Top Ten. It was followed by "The Last Time" in early 1965, a number one U.K. and Top Ten U.S. hit that began a virtually uninterrupted string of Jagger-Richards hit singles. 

Still, it wasn't until the group released "(I Can't Get No) Satisfaction" in the summer of 1965 that they were elevated to superstars. Driven by a fuzz-guitar riff designed to replicate the sound of a horn section, "Satisfaction" signaled that Jagger and Richards had come into their own as songwriters, breaking away from their blues roots and developing a signature style of big, bluesy riffs and wry, sardonic lyrics. It stayed at number one for four weeks and began a string of Top Ten singles that ran for the next two years, including such classics as "Get Off My Cloud," "19th Nervous Breakdown," "As Tears Go By," and "Have You Seen Your Mother, Baby, Standing in the Shadow?"
Aftermath By 1966, the Stones had decided to respond to the Beatles' increasingly complex albums with their first album of all-original material, Aftermath. Due to Brian Jones' increasingly exotic musical tastes, the record boasted a wide range of influences, from the sitar-drenched "Paint It, Black" to the Eastern drones of "I'm Going Home." These eclectic influences continued to blossom on Between the Buttons (1967), the most pop-oriented album the group ever made. Ironically, the album's release was bookended by two of the most notorious incidents in the band's history. Before the record was released, the Stones performed the suggestive "Let's Spend the Night Together," the B-side to the medieval ballad "Ruby Tuesday," on The Ed Sullivan Show, which forced Jagger to alter the song's title to an incomprehensible mumble, or else face being banned.

Their Satanic Majesties Request In February of 1967, Jagger and Richards were arrested for drug possession, and within three months, Jones was arrested on the same charge. All three were given suspended jail sentences, and the group backed away from the spotlight as the summer of love kicked into gear in 1967. Jagger, along with his then-girlfriend Marianne Faithfull, went with the Beatles to meet the Maharishi Mahesh Yogi; they were also prominent in the international broadcast of the Beatles' "All You Need Is Love." Appropriately, the Stones' next single, "Dandelion"/"We Love You," was a psychedelic pop effort, and it was followed by their response to Sgt. Pepper, Their Satanic Majesties Request, which was greeted with lukewarm reviews.

Beggars Banquet The Stones' infatuation with psychedelia was brief. By early 1968, they had fired Andrew Loog Oldham and hired Allen Klein as their manager. The move coincided with their return to driving rock & roll, which happened to coincide with Richards' discovery of open tunings, a move that gave the Stones their distinctively fat, powerful sound. The revitalized Stones were showcased on the malevolent single "Jumpin' Jack Flash," which climbed to number three in May 1968. Their next album, Beggar's Banquet, was finally released in the fall, after being delayed for five months due its controversial cover art of a dirty, graffiti-laden restroom. An edgy record filled with detours into straight blues and campy country, Beggar's Banquet was hailed as a masterpiece among the fledgling rock press. 

Although it was seen as a return to form, few realized that while it opened a new chapter of the Stones' history, it also was the closing of their time with Brian Jones. Throughout the recording of Beggar's Banquet, Jones was on the sidelines due to his deepening drug addiction and his resentment of the dominance of Jagger and Richards. Jones left the band on June 9, 1969, claiming to be suffering from artistic differences between himself and the rest of the band. On July 3, 1969 -- less than a month after his departure -- Jones was found dead in his swimming pool. The coroner ruled that it was "death by misadventure," yet his passing was the subject of countless rumors over the next two years.

Let It Bleed By the time of his death, the Stones had already replaced Brian Jones with Mick Taylor, a former guitarist for John Mayall's Bluesbreakers. He wasn't featured on "Honky Tonk Women," a number one single released days after Jones' funeral, and he contributed only a handful of leads on their next album, Let It Bleed. Released in the fall of 1969, Let It Bleed was comprised of sessions with Jones and Taylor, yet it continued the direction of Beggar's Banquet, signaling that a new era in the Stones' career had begun, one marked by ragged music and an increasingly wasted sensibility. Following Jagger's filming of Ned Kelly in Australia during the first part of 1969, the group launched its first American tour in three years. 

Throughout the tour -- the first where they were billed as the World's Greatest Rock & Roll Band -- the group broke attendance records, but it was given a sour note when the group staged a free concert at Altamont Speedway. On the advice of the Grateful Dead, the Stones hired Hell's Angels as security, but that plan backfired tragically. The entire show was unorganized and in shambles, yet it turned tragic when the Angels killed a young black man, Meredith Hunter, during the Stones' performance. In the wake of the public outcry, the Stones again retreated from the spotlight and dropped "Sympathy for the Devil," which some critics ignorantly claimed incited the violence, from their set. As the group entered a hiatus, they released the live Get Yer Ya-Ya's Out! in the fall of 1970. It was their last album for Decca/London, and they formed Rolling Stones Records, which became a subsidiary of Atlantic Records.

Sticky Fingers During 1970, Jagger starred in Nicolas Roeg's cult film Performance and married Nicaraguan model Bianca Perez Morena de Macias, and the couple quickly entered high society. As Jagger was jet-setting, Richards was slumming, hanging out with country-rock pioneer Gram Parsons. Keith wound up having more musical influence on 1971's Sticky Fingers, the first album the Stones released though their new label. Following its release, the band retreated to France on tax exile, where they shared a house and recorded a double album, Exile on Main St. Upon its May 1972 release, Exile on Main St. was widely panned, but over time it came to be considered one of the group's defining moments.

Goats Head Soup Following Exile, the Stones began to splinter in two, as Jagger concentrated on being a celebrity and Richards sank into drug addiction. The band remained popular throughout the '70s, but their critical support waned. Goats Head Soup, released in 1973, reached number one, as did 1974's It's Only Rock 'n' Roll, but neither record was particularly well received. Taylor left the band after It's Only Rock 'n' Roll, and the group recorded their next album as they auditioned new lead guitarists, including Jeff Beck. They finally settled on Ron Wood, former lead guitarist for the Faces and Rod Stewart, in 1976, the same year they released Black n' Blue, which only featured Wood on a handful of cuts. During the mid- and late '70s, all the Stones pursued side projects, with both Wyman and Wood releasing solo albums with regularity. Richards was arrested in Canada in 1977 with his common-law wife Anita Pallenberg for heroin possession. After his arrest, he cleaned up and was given a suspended sentence the following year.

Some Girls The band reconvened in 1978 to record Some Girls, an energetic response to punk, new wave, and disco. The record and its first single, the thumping disco-rocker "Miss You," both reached number one, and the album restored the group's image. However, the group squandered that goodwill with the follow-up, Emotional Rescue, a number one record that nevertheless received lukewarm reviews upon its 1980 release. Tattoo You, released the following year, fared better both critically and commercially, as the singles "Start Me Up" and "Waiting on a Friend" helped the album spend nine weeks at number one. The Stones supported Tattoo You with an extensive stadium tour captured in Hal Ashby's movie Let's Spend the Night Together and the 1982 live album Still Life.

UndercoverTattoo You proved to be the last time the Stones completely dominated the charts and the stadiums. Although the group continued to sell out concerts in the '80s and '90s, their records didn't sell as well as previous efforts, partially because the albums suffered due to Jagger and Richards' notorious mid-'80s feud. Starting with 1983's Undercover, the duo conflicted about which way the band should go, with Jagger wanting the Stones to follow contemporary trends and Richards wanting them to stay true to their rock roots. As a result, Undercover was a mean-spirited, unfocused record that received relatively weak sales and mixed reviews. Released in 1986, Dirty Work suffered a worse fate, since Jagger was preoccupied with his fledgling solo career. Once Jagger decided that the Stones would not support Dirty Work with a tour, Richards decided to make his own solo record with 1988's Talk Is Cheap. Appearing a year after Jagger's failed second solo album, Talk Is Cheap received good reviews and went gold, prompting Jagger and Richards to reunite late in 1988.

Steel Wheels The following year, the Stones released Steel Wheels, which was received with good reviews, but the record was overshadowed by its supporting tour, which grossed over 140 million dollars and broke many box office records. In 1991, the live album Flashpoint, which was culled from the Steel Wheels shows, was released. Following the release of Flashpoint, Bill Wyman left the band; he published a memoir, Stone Alone, within a few years of leaving. The Stones didn't immediately replace Wyman, since they were all working on solo projects; this time, there was none of the animosity surrounding their mid-'80s projects.

Voodoo Lounge The group reconvened in 1994 with bassist Darryl Jones, who had previously played with Miles Davis and Sting, to record and release the Don Was-produced Voodoo Lounge. The album received the band's strongest reviews in years, and its accomp anying tour was even more successful than the Steel Wheels tour. On top of being more successful than its predecessor, Voodoo Lounge also won the Stones their first Grammy for Best Rock Album. Upon the completion of the Voodoo Lounge tour, the Stones released the live, "unplugged" album Stripped in the fall of 1995. Similarly, after wrapping up their tour in support of 1997's Bridges to Babylon, the group issued yet another live set, No Security, the following year. A high-profile greatest-hits tour in 2002 was launched despite the lack of a studio album to support, and its album document, Live Licks, appeared in 2004. A year later, the group issued A Bigger Bang, their third effort with producer Don Was.

Shine a Light In 2006, Martin Scorsese filmed two of the group's performances at New York City's Beacon Theatre. The resulting Shine a Light, which included guest appearances from Buddy Guy, Jack White, and Christina Aguilera, was released in theaters in 2008. The accompanying soundtrack reached the number two spot on the U.K. charts. Following Shine a Light, the Stones turned their attention toward their legacy. For Keith Richards, this meant delving into writing his autobiography Life -- the memoir was published to acclaim in the fall of 2010; it generated some controversy due to comments Keith made about Mick -- but the Stones in general spent time mining their archives, something they previously avoided. 

In 2010, they released a super deluxe edition of Exile on Main St. that contained a bonus disc of rarities and outtakes, including a few newly finished songs like "Plundered My Soul." 

This was followed in 2011 by a super deluxe edition of Some Girls that also contained unheard songs and outtakes. That same year, the Stones opened up their Rolling Stones Archive, which offered official digital releases of classic live bootlegs like 1973's The Brussels Affair. All this was a prelude to their 50th anniversary in 2012, which the group celebrated with a hardcover book, a new documentary called Crossfire Hurricane and a new compilation called GRRR!. 

The Stones also played a handful of star-studded concerts at the end of the year and in the first half of 2013, several of which featured guest spots from the long-departed Mick Taylor. These live shows culminated with a headlining spot at Glastonbury and two July 2013 concerts at Hyde Park; highlights from the Hyde Park shows were released that July and, later in the year, there was a home video/CD release of the concert called Sweet Summer Sun: Live in Hyde Park.

01. Let It Rock (2:43)
02. All Down The Line (4:13)
03. Honky Tonk Women (4:03)
04. Miss You (7:48)
05. Imagination (7:30)
06. Shattered (4:39)
07. Hound Dog (2:04)
08. Respectable (3:23)
09. Beast Of Burden (6:55)
10. When The Whip Comes Down (5:14)
11. Love In Vain (5:56)
12. Tumbling Dice (5:30)
13. Happy (3:17)
14. Brown Sugar (4:06)
15. Jumpin’ Jack Flash (6:31)

Memphis, TN 6/28/78 - tracks 2, 5-8, 10, 11, 13
Detroit, MI 7/6/78 - tracks 1, 4, 12
Houston, TX 7/19/78 - tracks 3, 9, 14, 15

Bonus: The Rolling Stones - Studio Sessions 1970 - 1974, Stereo and Mono Recording

01. Brown Sugar (mono Mix)
02. Bitch (Mono Mix)
03. Dead Flowers (Alternate Mix)
04. Criss Cross Man (Alternate Mix)
05. Plundered My Soul (Radio Mix)
06. Loving Cup (Alternate Take)
07. Silver Train (Alternate Take)
08. 100 Years Ago (Alternate Take)
09. Winter (Alternate Take)
10. Ain't Too Proud To Beg (Alternate Take)
11. If You Can't Rock Me (Alternate Take)
12. Till The Next Goodbye (Alternate Take)
13. Drift Away (Alternate Take)
14. Dance Little Sister (Alternate Take & Long Version)
15. Finger Print File (Alternate Take & Original Pitch)
16. Time Waits For No One (Long Version)

Part 1: Stones 1978
Part 2: Stones 1978
Part 3: Stones 1978
or
Part 1: Stones 1978
Part 2: Stones 1978
Part 3: Stones 1978
or
Part 1: Stones 1978
Part 2: Stones 1978
Part 3: Stones 1978

ABBA - Wembley Arena, London 1979-11-11 (Bootleg)

Size: 130 MB
Bitrate: 320
mp3
Found in OuterSpace
Some Artwork Included

The most commercially successful pop group of the 1970s, the origins of the Swedish superstars ABBA dated back to 1966, when keyboardist and vocalist Benny Andersson, a onetime member of the popular beat outfit the Hep Stars, first teamed with guitarist and vocalist Bjorn Ulvaeus, the leader of the folk-rock unit the Hootenanny Singers. 

The two performers began composing songs together and handling session and production work for Polar Music/Union Songs, a publishing company owned by Stig Anderson, himself a prolific songwriter throughout the 1950s and 1960s. At the same time, both Andersson and Ulvaeus worked on projects with their respective girlfriends: Ulvaeus had become involved with vocalist Agnetha Faltskog, a performer with a recent number one Swedish hit, "I Was So in Love," under her belt, while Andersson began seeing Anni-Frid Lyngstad, a one-time jazz singer who rose to fame by winning a national talent contest.

In 1971, Faltskog ventured into theatrical work, accepting the role of Mary Magdalene in a Swedish production of Andrew Lloyd Webber's Jesus Christ Superstar; her cover of the musical's "Don't Know How to Love Him" became a significant hit. The following year, the duo of Andersson and Ulvaeus scored a massive international hit with "People Need Love," which featured Faltskog and Lyngstad on backing vocals. 

The record's success earned them an invitation to enter the Swedish leg of the 1973 Eurovision song contest, where, under the unwieldy name of Bjorn, Benny, Agnetha & Frida, they submitted "Ring Ring," which proved extremely popular with audiences but placed only third in the judges' ballots.

The next year, rechristened ABBA (a suggestion from Stig Anderson and an acronym of the members' first names), the quartet submitted the single "Waterloo," and became the first Swedish act to win the Eurovision competition. The record proved to be the first of many international hits, although the group hit a slump after their initial success as subsequent singles failed to chart. In 1975, however, ABBA issued "S.O.S.," a smash not only in America and Britain but also in non-English speaking countries such as Spain, Germany and the Benelux nations, where the group's success was fairly unprecedented. A string of hits followed, including "Mamma Mia," "Fernando," and "Dancing Queen" (ABBA's sole U.S. chart-topper), further honing their lush, buoyant sound; by the spring of 1976, they were already in position to issue their first Greatest Hits collection.

ABBA's popularity continued in 1977, when both "Knowing Me, Knowing You" and "The Name of the Game" dominated airwaves. The group also starred in the feature film ABBA -- The Movie, which was released in 1978. That year Andersson and Lyngstad married, as had Ulvaeus and Faltskog in 1971, although the latter couple separated a few months later; in fact, romantic suffering was the subject of many songs on the quartet's next LP, 1979's Voulez-Vous. Shortly after the release of 1980s Super Trouper, Andersson and Lyngstad divorced as well, further straining the group dynamic; The Visitors, issued the following year, was the final LP of new ABBA material, and the foursome officially disbanded after the December 1982 release of their single "Under Attack."

Although all of the group's members soon embarked on new projects -- both Lyngstad and Faltskog issued solo LPs, while Andersson and Ulvaeus collaborated with Tim Rice on the musical Chess -- none proved as successful as the group's earlier work, largely because throughout much of the world, especially Europe and Australia, the ABBA phenomenon never went away. Repackaged hits compilations and live collections continued hitting the charts long after the group's demise, and new artists regularly pointed to the quartet's inspiration: while the British dance duo Erasure released a covers collection, ABBA-esque, an Australian group called Bjorn Again found success as ABBA impersonators. 

In 1993, "Dancing Queen" became a staple of U2's "Zoo TV" tour -- Andersson and Ulvaeus even joined the Irish superstars on-stage in Stockholm -- while the 1995 feature Muriel's Wedding, which won acclaim for its depiction of a lonely Australian girl who seeks refuge in ABBA's music, helped bring the group's work to the attention of a new generation of moviegoers and music fans.

List of unreleased songs 1974-77 recorded by ABBA:

1974
"Ricky Rock 'N' Roller" is a song recorded during the recording sessions for ABBA's self-titled album in 1974, but the song was left unfinished. The Swedish rock star Jerry Williams recorded and released it as a single after ABBA had decided their version was unsuitable for release. An excerpt of the demo of the song was released in the box set Thank You for the Music.

"Here Comes Rubie Jamie" is the working title of a song recorded in 1974, which had acquired the name "Terra Del Fuego" by the time the lyrics were recorded. The song is unique in that it is the only studio recording to feature lead vocals by all four ABBA members. An excerpt of this song was released on the box set Thank You for the Music, although here only Benny and Frida are heard. The excerpt was particularly edited so as not to include the chorus, as is it said that Björn and Benny violently dislike it. This is the reason why it is not named after its original title, but named to not refer the chorus.

"Baby" is the early demo version of "Rock Me" recorded in 1974 with the lead vocals by Fältskog. An excerpt of this song was released in the box set Thank You for the Music.

1975
"To Live with You" is an attempt to record the song "Lycka" (previously released by Björn and Benny for their first album by the same title, and also recorded by Lyngstad on her debut album) in English. The demo recording dates from 1975, and was later released on the remastered CD of Björn & Benny's Lycka album in May 2006.

"Dancing Queen" (Early version) is a demo version with an extra verse. The extra verse can be heard on the documentary The Winner Takes It All and the ARRIVAL deluxe DVD originally from "Mr Trendsetter" Swedish program. The extra verse appears on the Spanish version of "Dancing Queen". The Extra line: "Baby, baby, you're out of sight/Hey, you're looking alright tonight/When you come to the party/Listen to the guys They've got the look in their eyes". The song then resumes with the line: You're a teaser, you turn them on.

"I Do, I Do, I Do, I Do, I Do" (early version) is a demo version with an extra verse.

"Tango" is an early version of "Fernando" with Swedish lyrics. An excerpt was included in the ABBA Undeleted medley as part of the 4-CD box set Thank You For the Music in 1994. A completed version of the song with the same lyrics was released in 1975 by Frida on her solo album "Ensam".

"Rock 'n' Roll" a.k.a. "Olle Olle", "I Want You" and later "High On Your Love" are all early demos. However, none of these were used during the Arrival sessions. Parts of these demos were later used with Hole in Your Soul and Does Your Mother Know.

1976
"Funky Feet" is a song recorded during the Arrival sessions that eventually was dropped due to the similarity of "Dancing Queen". Later the song was recorded by Svenne & Lotta, Australian group The Studs, Alcazar, and Arrival, a Swedish ABBA tribute band. Part of the beginning of the song was later reused with "I Am The City"

"National Song" is a short track recorded for the Australian TV commercial of the National appliances. It is a re-recording of "Fernando" with new lyrics, using the backing track from the song.

"Monsieur, Monsieur" is the title of the early demo version of "My Love, My Life" with lead vocals by Agnetha.

"Memory Lane" is a third title of "Why Did It Have to Be Me"/"Happy Hawaii" that is said to have been recorded but never released.

"Gypsy Girl" was an alternative name for Money, Money, Money. A demo was recorded but the title was shortly changed back to Money, Money, Money.

1977
"I Am an A" is a song written for the 1977 Tour with lyrics written by all four, jokingly depicting themselves as A, B, B and A. The song was never considered for a studio version, but parts of the chorus was later reused in "Free as a Bumblebee", and as that song never progressed beyond the demo, the chorus surfaced during the Chess songwriting sessions as the UK number 1 hit "I Know Him So Well".

"Get On the Carousel" is another song from the 1977 Tour, written for the mini-musical The Girl with the Golden Hair. The song was considered too weak to progress further, but the chorus surfaced as a melody line in "Hole in Your Soul" (the part "...ahaa-, the songs you sing are too romantic..."). "Get On the Carousel" appears in ABBA: The Movie.

"Scaramouche" is a demo instrumental recording from 1977. Some parts surfaced in the recording sessions for "Chess" and resulted in a melody line in the track "Merano". An excerpt of this song was released in the box set Thank You for the Music.

"Billy Boy" is the early version of "Take a Chance on Me". An excerpt of the track was released in the box set Thank You for the Music.

"Love for Me Is Love Forever" a.k.a. "Yippee Yay", "Big John" and "Joanne" are early versions of "Move On".

"I Believe In You" is a song recorded on 19 July 1977. It has never been publicly released.

ABBA - Wembley Arena, London, UK 1979-11-11
Broadcasting Radio Station SR3
Swedish Radio P3 Live

01. Intro 0:37
02. Voulez-Vous 4:52
03. Knowing Me Knowing You 4:35
04. Chiquitita 5:31
05. Gimme, Gimme, Gimme 5:41
06. I Have a Dream 4:28
07. Thank You for the Music 3:39
08. Summer Night City 5:35
09. Take a Chance on Me 4:28
10. Hole in Your Soul 8:44
11. Dancing Queen 4:25
12. Waterloo 4:21

1. ABBA Live 1979
or
2. ABBA Live 1979
or
3. ABBA Live 1979

Videos for the day....

Should be played at maximum volume...

Should be played at maximum volume...

Should be played even louder...

Maximum volume of course...

Enjoy. //ChrisGoesRock