ABBA, Swedish Europop bunch that was among the most industrially fruitful gatherings ever of music. During the 1970s it commanded the European graphs with its infectious pop melodies. Individuals included musician and console player Benny Andersson (b. December 16, 1946, Stockholm, Sweden), musician and guitarist Björn Ulvaeus (b. April 25, 1945, Gothenburg, Sweden), and vocalists Agnetha Fältskog (b. April 5, 1950, Jönköping, Sweden) and Anni-Frid Lyngstad (b. November 15, 1945, Narvik, Norway).

The gathering started to come to fruition in 1969, when Andersson and Ulvaeus, who had recently worked together on various society and pop undertakings, met Lyngstad and Fältskog. Notwithstanding cooperating musically, the four combined off impractically, with Andersson getting to be included with Lyngstad and Ulvaeus dating Fältskog. The group of four appeared as the nightclub demonstration Festfolk, a name picked to play on two words with almost indistinguishable elocutions in Swedish: festfolk, signifying “party individuals,” and fästfolk, a 1970s slang term for “drew in couples.” Ulvaeus and Fältskog were hitched in 1971, and Andersson and Lyngstad took action accordingly in 1978. While Festfolk neglected to pick up a following in Sweden, the melody “Individuals Need Love,” which the gathering recorded as Björn and Benny, Agnetha and Anni-Frid, was an unassuming hit in 1972. The next year the foursome completed third in the Swedish passing round of the Eurovision Song Contest, with the single “Ring, Ring.” Encouraged by that achievement and named ABBA—an abbreviation got from the individuals’ first names—by the gathering’s administrator, Stig Anderson, the band came back to Eurovision in 1974 and caught the top prize with the tune “Waterloo.” The subsequent single filled in as the stay for the collection of a similar name, discharged that year.

Over a year after the triumph at Eurovision, ABBA (1975) genuinely settled the gathering as a worldwide pop marvel. The singles “Mamma Mia” and “S.O.S.” were enormous hits in Europe, Australia, and North America, and the band grasped the rising music video organization to profit by the group of four’s shared magnetism. ABBA’s 1977 discharge, Arrival, achieved the United States at the tallness of the disco furor, and it gave the gathering its sole American number one single—the appealing and evidently club-accommodating “Moving Queen.” The Album (1978) denoted a takeoff of sorts: despite the fact that its champion single, “Take a Risk on Me,” was a splendid, if direct, pop song of praise, different tracks alluded to a craftsmanship shake impact, and the collection’s second side was overwhelmed by a “small scale melodic” titled “The Girl with the Golden Hair.”

While The Album denoted an imaginative movement for ABBA, individual relations inside the band endured when Ulvaeus and Fältskog separated preceding the arrival of Voulez-Vous (1979). The pair pledged that their separation would not influence the band’s yield, however Super Trouper (1980) included an accumulation of melodies, most eminently “The Winner Takes It All” and “Lay All Your Love on Me,” that sold out a melancholic inclination that was missing in past accounts. Andersson and Lyngstad separated during the account of The Visitors (1981), and the reggae rhythms of “One of Us” did little to disguise the common state of mind of the band. This second separation demonstrated to be a lot for the gathering, which disbanded in 1982.

After the death of ABBA, Fältskog and Lyngstad set out on tolerably effective solo vocations, and Ulvaeus and Andersson worked together with lyricist Tim Rice to make Chess (1984), an idea collection and stage melodic that created the unexpected radio hit “One Night in Bangkok.” Although the band every now and again subdued bits of gossip about a conceivable get-together over the next years, ABBA’s music never genuinely left the popular cognizance. Different gatherings performed ABBA tunes with changing degrees of dependability, and British move pop band Erasure gave a whole EP (suitably titled ABBA-esque [1992]) to ABBA covers. The music of ABBA was additionally an installation on the extra large screen, assuming a focal job in both the plots and soundtracks of such movies as The Adventures of Priscilla, Queen of the Desert (1994) and Muriel’s Wedding (1994).

Ulvaeus and Andersson consolidated their mutual love of melodic auditorium with the ABBA back inventory to create Mamma Mia!, a lighthearted comedy that appeared on London’s West End in 1999 and was therefore observed by a great many individuals around the world. A film form of the play, featuring Meryl Streep, was one of the top worldwide film industry draws of 2008, and a continuation, Mamma Mia! Here We Go Again, showed up in 2018. The gathering was accepted into the Rock and Roll Hall of Fame in 2010.