Post by ABBAinter.net on Nov 24, 2015 22:30:32 GMT
and the photo sessions for the albums, most of them are scanned from books (some are in high resolution and some are alternates takes) ... The photo marked with an "*" are those used for the cover-arworks.
"RING RING" 1973 photo session by Bengt H. Malmqvist :
"WATERLOO" 1974 session by Ola Lager : *
"ABBA" 1975 session by Ola Lager :
"GREATEST HITS" 1975 session by Bengt H. Malmqvist :
"ARRIVAL" 1976 session by Ola Lager : *
"THE ALBUM" 1977 session by Barry Levine : *
"VOULEZ-VOUS ?" 1979 session by Ola Lager :
"GREATEST HITS VOL.2" 1979 session by Ola Lager : *
"SUPER TROUPER" 1980 session by Lars Larsson at Europafilm Studio, Stockholm (october 3, 1980) : *
"THE VISITORS" 1981 session by Lars Larsson : *
"THE SINGLES - THE FIRST TEN YEARS" 1982 session by Lars Larsson : *
I'm not savvy on doing reissue covers, haha, but this is what it would have looked like if ABBA took Japan like a big deal like the USA and UK was in 1975, in the same album, but in its different album cover
(Yes, it's supposed to be a CD/vinyl cover) A faithful replication of a blank recording tape media in art direction... this is what could possibly happen if Benny and Björn were upgraded to the latest software available – get all of the unreleased outtakes out and show us the imperfection. ABBA: The Tapes, as a continuing pattern between ALBUM - MOVIE - TAPES.
BBC and Polar Music partnered up, but didn't merge, so that Benny can use monster sounds in the lead single (not what David Bowie, songwriter of Liv På Mars (Life on Mars), had in mind... it's about a belief of life existence in Mars, based on modern day human social programming and tons of old movies, from a broody mind of a narrator, not a dream sequence in space, lol) But since Stig Anderson licensed Polar Music's catalogues to several record companies like Atlantic and Vogue, "Auntie Beeb and Uncle Polar" never came to fruition in this universe, fortunately.
My take on the single art is like as if it is being a complete departure from the typical, realistic observation that is a commonplace in Super Trouper and the Visitors.. It is a quite imaginative, (not so) vivid, inspired by other albums (blatantly) and somewhat sentimental take on the maturity of ABBA. Also, no Polar logo is here as the record industry focuses more on the band, as it seems.