ABBA’s “Money, Money, Money” remains an iconic track, instantly recognizable for its theatrical flair and catchy melody. But beyond the glitz and glamour, lies a meticulously crafted arrangement that elevates the song to a true masterpiece. As a money-central.com content creator and a self-proclaimed money expert in the realm of sound, I’m diving deep into what makes this ABBA song so sonically rich and enduringly popular, exploring the intricate details that often go unnoticed by the casual listener. Let’s unravel the financial secrets hidden within the musical notes of this classic hit.
The Bassline: The Unsung Hero of “Money, Money, Money”
Rutger Gunnarson’s bass performance in “Money, Money, Money” is nothing short of a masterclass. It’s not just laying down a simple rhythmic foundation; it’s an active participant in the melodic conversation. One of the most memorable hooks of the song is directly attributed to the bass, boldly mirroring the first half of the chorus vocal melody. This immediate doubling creates a powerful and unforgettable sonic signature.
But the brilliance doesn’t stop there. Gunnarson’s bassline is peppered with delightful “ear candy” moments that keep the listener engaged. Take, for instance, the perfectly placed fill just before “ain’t it sad” at 1:28, a brief but impactful flourish that adds a touch of playful complexity. Or the more extended counter-melody that emerges during “aah… all the things I could do” from 2:12-2:18. This section isn’t just support; it’s an independent melodic line that enriches the harmonic texture and provides a delightful contrast to the main vocal. These subtle yet impactful choices demonstrate a deep understanding of arrangement and how to use the bass guitar as more than just a rhythmic anchor.
Masterful Transitions: Linking Sections with Finesse
The seamless transitions between different sections of “Money, Money, Money” are another hallmark of its arrangement genius. Consider the chorus lead-in at 0:42. Here, a seven-beat melodic phrase is repeated, cleverly disrupting the expected 4/4 meter. This rhythmic tension, while slightly disorienting, is also incredibly catchy and memorable, becoming a hook in its own right. The eventual resolution and resynchronization with the 4/4 beat right before the chorus hits amplify the upbeat’s impact, boosted by that theatrical drum fill – the ‘boosh’ that adds a touch of drama and anticipation.
The piano introduction also deserves close attention. While the underlying harmonic progression (I-VI-IV-V-I) is relatively simple, a couple of key details elevate it. The sharpened-fifth dominant chord in the cadence adds a unique flavor, a harmonic spice that’s often overlooked in contemporary music. Even more ingenious is the falling chromatic line from E to D during the first three chords. This chromatic descent subtly introduces the E-flat note within the F7 chord, a note that isn’t commonly found in A-minor. This seemingly small detail is crucial because it elegantly prepares the listener’s ear for the key change to B-flat minor at 2:28. This modulation, which could easily sound cliché, is made to feel organic and sophisticated thanks to this clever harmonic foreshadowing in the intro.
Expressive Nuances: Dynamics and Articulation
Gunnarson’s bass performance is a lesson in expressive playing, showcasing how even subtle variations in articulation and dynamics can dramatically impact the feel of a song. Listen to the verses, for example. During the lines “I wouldn’t have to work at all” around 0:35, the bass notes are noticeably longer, creating a more relaxed and laid-back feel. This contrasts sharply with the pre-chorus ritenuto a few seconds later, where the note lengths shorten progressively, building tension and momentum towards the chorus. In the second verse, this dynamic shifts. The bass note lengths remain longer, maintaining a consistent groove that drives directly into the second chorus without a ritenuto, demonstrating a nuanced understanding of how to use rhythmic variation to shape the song’s energy.
Another brilliant example occurs at 2:47, right before the final iteration of “all the things I could do.” Here, Gunnarson departs from the legato basslines of the previous choruses and introduces a series of staccato notes. This unexpected rhythmic shift injects a fresh burst of energy and excitement, perfectly setting up the song’s outro. Beyond articulation, Gunnarson’s playing is also rich with subtle pitch glides – bends and fall-offs that are sprinkled throughout the track. These micro-inflections, particularly prominent during “aah… all the things I could do,” and also audible under words like “world” at 1:00 and “man’s” at 1:19, add a layer of musicality and fluidity to the groove, making the bassline feel incredibly organic and alive.
Production for the Real World: Auratones and Mono Compatibility
ABBA’s production choices were always meticulously considered, and “Money, Money, Money” is no exception. Interestingly, studio photos from the Voulez Vous album sessions reveal the presence of Auratone 5C speakers on the console meterbridge. These small, single-driver speakers, known for their brutally honest and somewhat limited frequency response, were industry standard for mixing in mono and checking how mixes translated to smaller playback systems – like radios and televisions of the time.
The fact that ABBA used Auratones highlights their commitment to ensuring their tracks sounded great not just on high-end studio monitors, but also on everyday listening devices. “Money, Money, Money” exemplifies this approach. The track translates remarkably well onto small speakers, particularly crucial given the melodic importance of the bass guitar. However, as noted, the guitars and keyboards do lose some presence in mono, resulting in a slightly sparser texture. This trade-off, however, likely ensured the bass and vocals – the most crucial elements – remained clear and impactful across all playback systems.
In conclusion, “Money, Money, Money” is far more than just a catchy pop song about wealth. It’s a masterclass in arrangement and production. From the ingenious basslines and seamless transitions to the subtle expressive nuances and real-world production considerations, every element is carefully crafted to create a listening experience that is both immediately engaging and deeply rewarding upon closer inspection. This ABBA song continues to be a gold standard in pop music, proving that true artistry lies in the details.
For further listening and exploration, check out more about ABBA on Wikipedia.
