ABBA’s “Money, Money, Money” isn’t just a catchy tune; it’s a masterclass in musical arrangement and production. As a timeless classic, the song’s intricate details often go unnoticed, overshadowed by its sing-along chorus. However, a closer listen reveals layers of genius, particularly in the bassline, which stands out as a key element of its enduring appeal. This analysis delves into what makes this ABBA song so special, exploring the musical techniques that contribute to its brilliance and why “Money, Money, Money” continues to resonate with listeners worldwide.
One of the most captivating aspects of “Money, Money, Money” is undoubtedly the bassline. It’s not merely a supporting element; it’s a driving force, contributing significantly to the song’s signature hooks. Boldly mirroring the first half of the chorus vocal melody, the bass becomes instantly memorable. Beyond this, the bass performance is peppered with delightful “ear candy” moments, showcasing its melodic and rhythmic versatility. Consider the expertly placed fill just before “ain’t it sad” at 1:28, or the more extended counter-melody gracefully woven beneath “aah… all the things I could do” from 2:12-2:18. These moments highlight the bass’s role not just in rhythm, but in adding layers of melodic interest and sophistication to the overall texture of this iconic ABBA song.
The transitions between different sections of “Money, Money, Money” are equally impressive, demonstrating a masterful understanding of musical flow. Take, for example, the chorus lead-in at 0:42. Here, a seven-beat melodic phrase is repeated, creating a subtle rhythmic tension against the underlying 4/4 time signature. This deliberate syncopation might initially feel slightly off-kilter, yet it’s precisely this element of surprise that makes it so memorable and hook-laden. The eventual rhythmic resolution, where the stress patterns realign just before the chorus, amplifies the impact of the upbeat, emphasized further by a theatrical drum fill. This clever manipulation of rhythm and timing is a hallmark of ABBA’s sophisticated songwriting and arrangement.
The song’s introduction, carried by the piano, is another example of subtle brilliance. While the harmonic progression might seem simple at first glance—I-VI-IV-V-I—it’s the nuanced details that elevate it. The inclusion of a sharpened-fifth dominant chord adds a unique flavor, a harmonic color often underutilized in contemporary music. Furthermore, the descending chromatic line from E to D during the opening chords is an inspired touch. This chromatic movement ingeniously justifies the E-flat within the F7 chord, a note that doesn’t typically feature prominently in A minor. This subtle harmonic preparation is crucial, as it smoothly sets the stage for the key change to B-flat minor at 2:28, making what could be a clichéd modulation sound surprisingly natural and organic within the context of the song. This attention to detail in harmonic movement is a testament to the sophisticated craftsmanship behind “Money, Money, Money”.
Returning to the bass performance, Rutger Gunnarson’s contribution is truly a masterclass in expressive playing. He demonstrates how an instrument can support and enhance a song’s arrangement through nuanced techniques. Even simple elements like note duration are employed with great intention. Listen to how the elongated notes under “I wouldn’t have to work at all” at 0:35 affect the section’s feel, creating a sense of relaxation, and how these note lengths progressively shorten during the pre-chorus ritenuto, building tension into the chorus. In contrast, during the second verse, the longer note lengths are maintained, propelling the groove forward without a ritenuto, demonstrating a dynamic shift in feel.
Another standout moment is at 2:47, just before the final “all the things I could do,” where Gunnarson departs from the legato bassline of the previous choruses, introducing staccato notes. This subtle change injects a fresh rhythmic element, tickling the listener’s ear and adding a final layer of dynamism. Throughout “Money, Money, Money”, Gunnarson’s bass is also characterized by subtle pitch glides. These bends and fall-offs, though often imperceptible on a casual listen, significantly enhance the musicality and momentum of the groove. The section under “aah… all the things I could do” is particularly rich in these expressive slides, but they are present throughout the song, adding subtle nuances under words like “world” at 1:00 and “man’s” at 1:19.
Interestingly, ABBA’s meticulous production extends to considerations of playback systems. Observing studio shots from the Voulez Vous album liner notes reveals Auratone 5C speakers, known for their representation of how mixes translate on small, lo-fi systems. This explains why “Money, Money, Money,” like many of ABBA’s later tracks, sounds fantastic even on smaller speakers, which is particularly crucial given the melodic importance of the bass guitar in this song. However, the mix does present a slight trade-off; the guitars and keyboards can lose some presence in mono, potentially making the texture feel somewhat sparse on single-speaker systems.
For further exploration of “Money, Money, Money” and ABBA’s discography, resources like Wikipedia offer comprehensive information. For deeper discussions and fan perspectives, online forums such as Comments & Discussion provide spaces to share insights and appreciation for ABBA’s musical legacy.
Published on 01 Mar 2013
