ABBA’s “Money, Money, Money” isn’t just a catchy tune; it’s a masterclass in musical arrangement and production, cleverly disguised within a financially themed pop song. For any aficionado of music, and especially those interested in the sonic architecture of hits, this track offers a wealth of detail to appreciate. Let’s delve into what makes this song so enduringly brilliant, focusing on the elements that elevate it beyond a simple pop anthem about wealth.
One of the most immediately striking aspects of “Money, Money, Money” is undoubtedly the bassline. It’s not relegated to a background role here; instead, it boldly steps forward, becoming an integral hook by mirroring the first half of the chorus vocal melody. Beyond this signature phrase, the bass part is brimming with delightful surprises. Listen carefully, and you’ll catch ear-catching fills, like the perfectly placed run just before “ain’t it sad” at 1:28, or the more extended, melodic counterpoint that emerges beneath “aah… all the things I could do” from 2:12-2:18. These aren’t just random notes; they are carefully crafted moments of musical brilliance that add depth and replay value to the track.
The transitions between different sections of the song are equally impressive, showcasing ABBA’s meticulous attention to detail. Take the chorus lead-in at 0:42. Here, a seven-beat melodic phrase is repeated, creating a fascinating rhythmic tension. The stress patterns of the second repetition fall out of sync with the underlying 4/4 time signature. This intentional rhythmic displacement might initially feel slightly off-kilter, but it’s precisely this unexpected element that makes it so memorable and hook-laden. The eventual resolution and resynchronization of the rhythm right before the chorus hits amplify the impact of the upbeat, punctuated by that theatrical drum fill that adds a touch of playful drama.
Even the song’s opening piano sequence is richer than it first appears. Harmonically, it’s built on a simple I-VI-IV-V-I progression, but two subtle details elevate it. The first is the use of a sharpened-fifth dominant chord in the cadence, adding a touch of sophistication often missed in contemporary music. The second is the descending chromatic line from E to D during the first three chords. This seemingly small chromatic movement is actually ingenious. It contextualizes the E-flat in the F7 chord (a note somewhat unusual in A-minor), cleverly setting the stage for a smooth V-I cadence into the B-flat minor key change at 2:28. This is a textbook example of how to make a potentially cliché modulation sound fresh and musically justified.
Returning to Rutger Gunnarson’s bass performance, it’s a masterclass in expressive playing. He uses the instrument’s full range of expressive possibilities to support the song’s arrangement. Even something as fundamental as note duration is employed to great effect. Notice how the longer note lengths under “I wouldn’t have to work at all” at 0:35 contribute to the relaxed feel of that section, and how those durations progressively shorten during the pre-chorus ritenuto, building anticipation. Compare this to the second verse, where the longer note lengths are maintained to keep the momentum going smoothly into the second chorus, without a ritenuto.
Another standout moment occurs at 2:47, where Gunnarson departs from the legato bassline of the previous choruses, introducing staccato notes right before the final “all the things I could do.” This unexpected rhythmic shift adds a delightful spark to the song’s outro. Furthermore, pay close attention to the subtle pitch glides Gunnarson incorporates throughout the track. These microtonal inflections, especially prominent during “aah… all the things I could do,” but present elsewhere too (like under “world” at 1:00 or “man’s” at 1:19), inject a remarkable degree of musicality and forward motion into the groove.
Interestingly, ABBA’s production choices also considered playback on smaller audio systems. Studio photos from the Voulez Vous album era reveal Auratone 5C speakers, known for their mid-range focused sound, in use during mixing. This explains why “Money, Money, Money,” like much of ABBA’s later work, translates exceptionally well on small speakers – crucial given the melodic importance of the bass. However, the trade-off is that the guitars and keyboards can become somewhat diminished in mono, leading to a slightly sparser texture on single-speaker systems.
In conclusion, “Money, Money, Money” is far more than just a commercially successful song about financial desires. It’s a meticulously crafted piece of pop music where every element, from the prominent bassline to the subtle harmonic shifts and production choices, contributes to its enduring appeal. ABBA’s genius lies in their ability to weave complex musical ideas into accessible and instantly memorable songs, and “Money, Money, Money” stands as a shining example of their artistry.
Published on 01 Mar 2013
