Ace of Base

Jonas said this once:

Story Nr 10; Clive Davids (Arista) complained about the frase "whistle down the wind" in LIAF. He sad" you can´t say this in English" and bla bla bla.. I said it is from the navy but he said we have to redo ALL of the lyrics. A time after that, Andrew LLoyd Webber released his musical- Whistle Down The Wind, and I asked Clive if Andrew also didnt know his English? He didn´t say a word and looked like a baby.. He looked so funny. Prizeless. I said to him that the lyrics were ok for the UK, but he wouldn´t listen. I mean- they have to know English in England-haha And it got top 5 there, and were played so much on the radio all over Europe.
 
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Jonas said this once:

Story Nr 10; Clive Davids (Arista) complained about the frase "whistle down the wind" in LIAF. He sad" you can´t say this in English" and bla bla bla.. I said it is from the navy but he said we have to redo ALL of the lyrics. A time after that, Andrew LLoyd Webber released his musical- Whistle Down The Wind, and I asked Clive if Andrew also didnt know his English? He didn´t say a word and looked like a baby.. He looked so funny. Prizeless. I said to him that the lyrics were ok for the UK, but he wouldn´t listen. I mean- they have to know English in England-haha And it got top 5 there, and were played so much on the radio all over Europe.
My Mum always says she thought it was from the musical, and if it had been, we might’ve gone to see it. Haha.
 
At the time, I remember being very excited about the US version of Flowers. We were grateful for any new versions and mixes, and I'm sure we didn't realize how precious Linn vocals were going to become. Whenever You're Near Me was truly the American mainstream radio answer to Life is a Flower. Mike Chapman & Ole Evenrude "understood the assignment". The darker version of He Decides was an amazing demonstration of how gorgeously ambiguous some of their tracks can be, considering the brightly textured original version.

With the US release, I'm not sure there was any thought about their stateside legacy or how it continued the story of the previous two eras. The album title going from Flowers to Every Time It Rains to Cruel Summer kinda says it all.

I'd love to know the reasoning why No Good Lover didn't make the US album, it seems to fit so well into the sensibility Arista was going for.
I expect No Good Lover was just never even considered, because by the time tracklistings were being considered, they'd already decided that it was going to be a B-side. It's not on this list of songs which I'm guessing might've been the final list of potential album tracks.


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I expect No Good Lover was just never even considered, because by the time tracklistings were being considered, they'd already decided that it was going to be a B-side. It's not on this list of songs which I'm guessing might've been the final list of potential album tracks.


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Oh my goodness, I've never seen this before. How cool, thanks for sharing that.
 
I expect No Good Lover was just never even considered, because by the time tracklistings were being considered, they'd already decided that it was going to be a B-side. It's not on this list of songs which I'm guessing might've been the final list of potential album tracks.


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What’s this list? “Hello Hello”? “Cruel, Cruel Summer”? What does A Side Protection mean?
 
What’s this list? “Hello Hello”? “Cruel, Cruel Summer”? What does A Side Protection mean?

It's an official Mega document that was found some years ago. I think we knew Hallo Hallo was originally known as Hello Hello and I'm guessing Cruel, Cruel Summer is just a mistake.

Note that it mentions a Jam & Delgado mix of Adventures In Paradise that we've never heard!

The producer should also seek to include what's known as 'A–side protection' in a producer agreement. This means that where the producer has contributed the A–side, but another producer is responsible for 'B–side' cuts or mixes on a single or EP, the A–side producer will suffer no reduction in their royalty. This, again, depends on the bargaining power of the producers in question, and whether the producer of the B–side is willing to forgo his royalty. Likewise, the producer's royalty should not be reduced where the record label bring in additional producers to mix the record. Mixing and mastering costs, if undertaken separately at the label's request, should be borne by the label.
 
I’ve been snacking on all the recent remixes of All That She Wants (except for the awful Helion Remix) and it makes an excellent remix EP! Is there any news on future new remixes for other singles?
 
I wish Jonas and Ulf could remix a few of the songs especially if Linn and Jenny won’t record anything new.
I'm still obsessed with the Extended and Alternate/Extended mixes of My Déja Vu that were unearthed for the singles box. The "New Buddha Version" of Living in Danger remains an essential to me, alongside Lucky Love's variations and even Never Gonna Say I'm Sorry's Rock Version. There could been an entire album of in-house alternate mixes from the Ace Of Base multiverse.

"The Bridge" at 30 is just around the corner....!
 
I’ve been snacking on all the recent remixes of All That She Wants (except for the awful Helion Remix) and it makes an excellent remix EP! Is there any news on future new remixes for other singles?
I have to admit that two of these have really grown on me and I had in high rotation for the whole summer. I can't recall the names at the moment, but they were certainly the more adventurous sounding remixes (rather than the formulaic 2023 dance mix ones). There's so much space for these songs to be given something novel and interesting, but I suppose that would require so much effort on sourcing producers/DJs who "understand the assignment".

I'm sure we're going to be revisiting these tracks for many more anniversaries, so perhaps there's MUCH more to come.
 
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