This is a finely realised, confident and well-paced work. Given that this was the final studio album recorded by Abba before disbanding, one would perhaps expect to be confronted with a tired effort, lacking in ideas and inspiration. The mood is downbeat, it is true, but on the evidence here Abba, musically speaking, still had much to offer. It would seem that it was only other factors which precipitated the cessation of operations.
The Visitors finds Abba fully embracing new technology, such as synthesizers and electronics generally. They sound comfortable within this altered musical clothing and, far from being awkward or alien, the sounds ideally complement the lyrical tone and outlook of most of the songs, if we confine our appraisal to the original nine-track release.
So this is a mature and self-assured Abba, delivering a record which is cohesive. One of its strengths is that the 'lesser known' tracks capably hold matters together, plugging the gaps which characterize lesser records.
Much has been made of the cover/sleeve design, and the degree to which it embodies the mood of the songs, and the dynamic within the group at that point in time. Gone are the smiling faces and bright, primary colours. An autumnal flavour prevails, and this also permeates the music inside. Autumn, however, can be an invigorating and productive time....
The title track, which seemingly concerns itself with the plight of Soviet dissidents, is a shrewd selection to open with. It sets the tone, and in a cool and controlled way illustrates Abba's acceptance and quiet mastery of the opportunities which the new technology opened up.
As for 'Head Over Heels', this is very sophisticated and 'European' in its style, and helps to remind us that Abba were not simply adopting the fashionable or vogue-ish styles of the period, or acting as opportunists. They were, if perhaps not in the vanguard, then certainly more ahead of the game than numerous other prominent acts, and they arguably helped to popularize the notion of electro-pop or synth-orientated pop music, and to place them into the mainstream.
'When All Is Said And Done' is underpinned by a strong melodic and rhythmic base, and the lyrics perhaps exemplify the general themes which run through the album. Melodically there are definite shades of the 'old' Abba, but with less 'organic' backing.
The first of the 'unknown' songs, which contribute so much to the album's substance, is 'Soldiers', which tackles 'real world' issues, but in a poetic and universal way. Who knows whether there is also some hidden meaning in there, regarding personal relationships? In this song I detected musical echoes of an earlier Abba song, 'Eagle', albeit with less of the grandeur.
'I Let The Music Speak' fulfils a similar role to 'Soldiers', although carrying a different message. More words which appear to reflect the prevailing ambience. What is striking is how convincing and sincere Abba sound here without seeming maudlin or excessively self-pitying. Their pop-craft, honed so much by then, helps them to achieve this. An intangible sense of what worked, and what didn't work, coupled with a facility for expressing emotion compactly and powerfully.
There are several outstanding candidates for the title of the song which most aptly sums up 'late period' Abba, and I think that 'One Of Us' qualifies better than most. The backing track, the lyrics and the poignant and emotive melody and singing, all communicate to me a feeling of an era drawing to a close. In a way, the atmosphere resembles that of Side 2 of the Beatles' Abbey Road album.
To round up the remaining numbers on the original nine-song release, 'Two For The Price Of One' is quite minor, but not without its quirky charm. 'Slipping Through My Fingers' is a fine ballad with apparently very personal lyrics, dealing with adult concerns. In a different context, this might have made a great Eurovision song. 'Like An Angel Passing Through My Room' is a suitably downbeat and vaguely enigmatic way to end the original album.
With or without the bonus tracks which padded out the re-issues of The Visitors, the record stands as a highly developed and substantial collection of musical statements. In some respects it might just be the strongest of their studio albums.
