![]() ![]() There are so many remarkable touches to the production, such as the acappella intro leading to the detonation of the rhythm halfway through the first chorus (and they actually begin with the chorus, just as in “Dancing Queen”), the lovely shiver of synth halfway through each verse (“We can go dancing/We can go walking/As long as we’re together”) and the New Pop-initiating synth fanfare which blossoms out of their ecstatic “It’s magic!” Musically it could almost be an outtake from The Sound Of Music the nursery rhyme seesawing of the underlying harmony disguises a very canny 12/4 construction, where bass, percussion, main vocals and backing vocals never coincide in quite the same place on each bar line, such that there is the illusion of constant, train-like movement – Trans-Europe Express! – which mirrors the singers’ kind persistence (“You can take your time baby/I’m in so hurry/I know I’m gonna get you” – both Agnetha and Frida seem to bend down towards the listener and wink at them it is extremely sexy but also exceptionally reassuring). In its entreaties towards the object of the protagonist’s desire to shake off the shackles of fear and embark on an unconditional and bilateral love affair, it’s something of a prequel to “The Name Of The Game,” when they have only just entered into the adventure of love though it was the follow-up to “The Name Of The Game,” it precedes that song on side one of Abba: The Album. ![]() The genius of “Take A Chance On Me” lies in the artful complexity of its music balancing the direct simplicity of its lyric. There is little more satisfying in pop than to witness an artist or group as they approach their creative peak, and during this period Abba were about as perfect as they, or pop, ever got. « Popular Demographic Survey KATE BUSH – “Wuthering Heights” » Comments 1 2 » All But that’s really all secondary to the song’s effervescence, with the girls’ hammy semi-spoken bits summing the whole thing up: this is a band having casually brilliant fun. The simplicity here’s a little deceptive, though – that wonderful a capella rhythm line is as bold a stroke as you’ll find on any of their records, and the flashing, bubbling keyboards show that Benny and Bjorn had been paying attention to Moroder’s advances. It’s also a step back from “The Name Of The Game”‘s complexity – the rhythm is “Dancing Queen” redux (though with a little more pep), and like that song it leads with its steamroller chorus. Come on, it says, what’s the worst that could happen? It’s one of ABBA’s most straight-up joyous hits, brimful of an inspirational strength. “You don’t want to hurt me? Baby don’t worry, I ain’t gonna let you.” The song is a typically ABBA-ish twist on a well-worn romantic situation: a rejected suitor pleading their case. Many writers would assume a hurt or hangdog perspective – instead “Take A Chance” is absurdly buoyant. “Take A Chance On Me” couldn’t be more different from “The Name Of The Game”: here it’s the beloved who’s shy and afraid, and the singer who radiates confidence and amused self-security. ![]()
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