"Gold: Greatest Hits" is a compilation album of recordings by Swedish pop group ABBA. Since 1992, Gold has been released several times, most notably in 2008 to coincide with the release of the film Mamma Mia! and most recently in 2014 to mark the group's 40th Anniversary of winning the Eurovision Song Contest. The 40th anniversary edition of ABBA Gold not only will have listeners singing along to the catchy tunes but will leave them sharing the admiration many fellow musicians have expressed for Björn and Benny’s songwriting skills and production talents. For fans of good pop music, this collection is indeed gold.
As part of the celebrations of the 40th Anniversary of ABBA wining the Eurovision Song Contest, Universal Music are proud to present a new 3CD 40th anniversary ABBA Gold release. Disc 1 and 2 is a comprehensive collection of ABBAs hits, including the likes of Waterloo, Dancing Queen and The Winner Takes It All; whilst disc 3 includes a selection of Golden rarities.
Japanese exclusive limited edition 39-track 2-disc SHM-CD album set, including the hits "Dancing Queen", "Take A Chance On Me", "Voulez-Vous", "Gimme! Gimme! Gimme! (A Man After Midnight)" and many more.
The titles of hits compilations always deal in superlatives: "Greatest," "Best," "Very Best" – but the compilers of this ABBA collection have a special problem justifying the release of yet another such album after the multi-platinum success of 1992's ABBA Gold: Greatest Hits and its 1993 follow-up, More ABBA Gold: More ABBA Hits. (Indeed, the band was never shy about repackaging, issuing a Greatest Hits LP in 1976 as only its third U.S. album, followed by Greatest Hits, Vol. 2 in 1979 and The Singles [The First Ten Years] in 1982.) They have settled on The Definitive Collection and done their best to live up to the name. The 37-track double CD contains "for the first time exclusively collected in one package…
Any newcomer to ABBA’s final studio album – which is released this week as a deluxe CD+DVD edition – might be forgiven for thinking that they are listening to some kind of Kraftwerk/Vangelis hybrid as the title track starts, with its pulsing, ominous synths, Bladerunner twinkles, and processed vocals. But no, this is the same band that delivered Waterloo, I Do, I Do, I Do, I Do, I Do and Fernando only a few years earlier.