When exploring the intricate tapestry of pop music arrangements, certain songs stand out not just for their melodies but for the sheer craftsmanship woven into their instrumental layers. ABBA’s ‘Money, Money, Money’ is a prime example of such artistry. This track isn’t merely a catchy tune; it’s a masterclass in arrangement, particularly notable for its dynamic bassline and clever musical transitions. For enthusiasts of Money Money Abba and the band’s iconic sound, delving into the mechanics of this song reveals a wealth of musical ingenuity.
One of the most immediately striking elements of ‘Money, Money, Money’ is undoubtedly the bass guitar. It’s not just holding down the rhythm; it’s an active voice in the song’s narrative. Rutger Gunnarson’s bass playing delivers one of the song’s signature hooks, boldly mirroring the first half of the chorus vocal melody. Beyond this, the bass part is peppered with delightful ear candy. Listen to the nimble fill just before “ain’t it sad” at 1:28, or the more elaborate counter-melody that emerges beneath “aah… all the things I could do” from 2:12-2:18. These moments showcase how the bass elevates the track from a simple pop song to a rich, multi-layered listening experience.
The transitions between different sections of ‘Money, Money, Money’ are equally impressive. Take the chorus lead-in at 0:42. Here, a rhythmic tension is skillfully created by repeating a seven-beat melodic phrase. This repetition is slightly off-kilter with the underlying 4/4 time signature, intentionally throwing the listener off balance. Yet, because of the internal repetition within the phrase, it remains catchy and memorable, functioning as a hook in its own right. The eventual resynchronization of the rhythmic stress right before the chorus lands gives an enormous lift to the upbeat feel, amplified by that theatrical drum fill – the ‘boosh’ that punctuates the transition with such playful emphasis.
Even the song’s opening piano introduction is a lesson in subtle sophistication. Harmonically, it’s built on a simple progression (I-VI-IV-V-I). However, two details elevate it beyond the ordinary. The first is the use of a sharpened-fifth dominant chord in the cadence, a distinctive flavour that adds a touch of harmonic spice. The second is the descending chromatic line from E to D across the first three chords. This chromatic movement is particularly inspired because it justifies the E-flat in the F7 chord (a note not commonly found in A minor), smoothly setting the stage for the key change to B-flat minor at 2:28 via a strong V-I cadence. In doing so, ABBA takes a potentially cliché modulation and makes it sound fresh and musically logical.
Returning to the bass, Gunnarson’s performance throughout ‘Money, Money, Money’ is a masterclass in expressive support within an arrangement. He uses the instrument’s full expressive range, even in seemingly simple aspects like note duration. Notice how the elongated notes under the lyrics “I wouldn’t have to work at all” at 0:35 contribute to the relaxed feel of that section. Then, listen to how these note lengths progressively shorten during the pre-chorus ritenuto, just seconds later, building anticipation. Compare this to the second verse, where the bass notes are sustained for longer durations to maintain momentum leading directly into the second chorus without a ritenuto. These subtle variations in note length are crucial in shaping the song’s dynamic flow.
Another brilliant example of Gunnarson’s nuanced playing occurs at 2:47. Here, he departs from the legato bassline of the previous choruses, introducing staccato notes just before the final iteration of “all the things I could do.” This unexpected rhythmic shift adds a delightful surprise for the listener. Moreover, throughout ‘Money, Money, Money’, Gunnarson incorporates numerous subtle pitch glides, enhancing the musicality and forward motion of the groove. The bassline under “aah… all the things I could do” is particularly rich in these expressive slides, but they are present throughout the track – listen for them under “world” at 1:00 or “man’s” at 1:19. These micro-ornamentations might be easily missed on a casual listen but contribute significantly to the overall polished and engaging quality of the song.
Interestingly, ABBA’s production choices also catered to real-world listening environments. Studio photos from the Voulez Vous album liner notes reveal Auratone 5C speakers in their studio setup. These small, single-driver speakers were industry standards for checking how mixes translated to lo-fi playback systems. It’s no surprise, then, that ‘Money, Money, Money’, like many of ABBA’s tracks from this era, sounds excellent even on smaller speakers. This is particularly advantageous given the melodic importance of the bass in this song. However, the trade-off is that in mono playback, the guitars and keyboards can become somewhat diminished, making the texture feel a little sparse.
In conclusion, ‘Money, Money, Money’ by ABBA is far more than just a catchy pop song about financial desires. It’s a meticulously crafted piece of music where every element of the arrangement, from the prominent bassline to the subtle piano voicings and dynamic transitions, is thoughtfully designed to create a rich and engaging listening experience. For anyone interested in understanding the art of pop song arrangement and the genius behind money money abba’s timeless hits, ‘Money, Money, Money’ offers a treasure trove of musical insights.
