For me, growing up in sunny Southern California in the ’90s could succinctly be summed up by Saved by the Bell and many, many car rides to school spent listening to 102.7 KIIS FM, my mom’s radio station of choice. It was this mother-daughter tradition that kickstarted my now-twenty-something-year-strong music obsession.

While my ability to remember fine details from that era is laughably awful now, I very distinctly remember my initial brush with Ace of Base’s “All That She Wants” and the corresponding warm fuzzies that came with hearing the song for the first time.

Before becoming a multi-platinum international sensation, Ace of Base was the brainchild of founding member Jonas Berggren. Rounded out by his sisters, vocalists Linn and Jenny Berggren, and friend Ulf Ekberg, the Swedish quartet began playing techno-infused pop melodies. The group struggled at first due to their home country’s marked preference for metal, but they were able to get some radio play with “Wheel of Fortune,” though it wasn’t until the release of “All That She Wants” in 1992 that Ace of Base became a household name in the States.

Not too long after “All That She Wants” dominated US airwaves, Ace of Base hoped to capitalize on their newfound success in the US market by releasing The Sign, which proved to win over the charts and my 6-year-old self alike. Side note: the clip for the titular track is one of the most hilariously awful/awesome representations of music videos in the ’90s.

The same album also spawned what remains in my opinion Ace of Base’s best single, “Don’t Turn Around.” A cover of a Tina Turner track with a minor key makoever, it was the first favorite song I can recall having. The group’s knack for sprinkling hints of reggae with dance-pop sensibility into their music made them both refreshingly unique and accessibly addictive, a sentiment America seemed to agree with as The Sign went on to be certified 9x platinum.

Of course, all that meant nothing to me at the time, but those agonizingly long stretches I had to wait in between plays on the radio in the pre-Spotify/YouTube era absolutely did.

The group’s sophomore album, The Bridge, and its lead single, “Beautiful Life,” achieved moderate success in the States, though, like all the Ace of Base albums that have since followed, it failed to duplicate the massive success of the group’s debut. Cruel Summer would be the last proper album the quartet would release in the US with their original lineup.

Following a hiatus in the early-2000s, in 2009 Ace of Base released The Golden Ratio, which featured vocalists Clara Hagman and Julia Williamson taking the place of the Berggren sisters, albeit for a short while (Williamson would later go on to say that she had never officially left but rather, “One day I just didn’t hear anything from them and it’s the same with Clara. Like it went up in smoke; really strange.”).

The group has been relatively quiet since, though no official breakup has been announced. Remastered re-releases of their first four albums began surfacing over the course of this year and last, and an album of b-sides, Hidden Gems, was released earlier in 2015. Only time will tell whether this marks the possible return of one of the 1990’s most adored pop sensations, but not going to lie, I’m kind of hoping it does.

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Ace of Base