ABBA’s “Money, Money, Money” is a track that consistently captivates listeners, and for good reason. As a piece of musical arrangement, it’s brimming with delightful intricacies that often go unnoticed on a casual listen. What truly elevates this song is its masterful arrangement, and a prime example of this brilliance lies within its bassline. This isn’t just a supporting element; it’s a driving force that contributes significantly to the song’s infectious hooks, most notably by echoing the chorus vocal melody, and adding playful “ear candy” throughout the track.
The Unforgettable Bassline: A Foundation of Hooks and Rhythmic Interest
Rutger Gunnarson’s bass performance is a masterclass in melodic bass playing within a pop context. Beyond simply holding down the low end, the bass actively engages with the song’s melodic content. Listen closely, and you’ll hear how it boldly doubles the first half of the chorus vocal melody, creating one of the song’s most recognizable hooks. But the bass doesn’t stop there. Gunnarson injects moments of sheer musical delight – little sonic surprises that keep the listener engaged. Consider the expertly placed fill just before “ain’t it sad” at 1:28, a brief but impactful moment of rhythmic and melodic interest. Similarly, the longer, more elaborate counter-melody that emerges under “aah… all the things I could do” from 2:12-2:18 showcases the bass as a melodic instrument in its own right, adding layers of texture and complexity to the arrangement.
Masterful Section Transitions: Building Tension and Release
The transitions between different sections of “Money, Money, Money” are seamlessly crafted, contributing to the song’s dynamic flow. A particularly noteworthy example is the chorus lead-in at 0:42. This segment creates a palpable rhythmic tension by repeating a seven-beat melodic phrase. The genius here is that the stress patterns in the second iteration subtly clash with the underlying 4/4 time signature. This slight rhythmic displacement, while momentarily unsettling, is precisely what makes it so catchy and memorable. It’s a hook in itself! The eventual resynchronization of these stress patterns on the final beat before the chorus acts as a powerful release, amplifying the upbeat energy of the chorus. This effect is further enhanced by the theatrical drum “boosh,” a signature ABBA production flourish that punctuates the transition with dramatic flair.
The Intriguing Piano Introduction: Harmonic Depth in Simplicity
The piano introduction that graces the opening of “Money, Money, Money” is deceptively simple yet harmonically rich. While the underlying harmonic progression is based on a common I-VI-IV-V-I sequence, two subtle details elevate it beyond the ordinary. The first is the inclusion of a sharpened-fifth dominant chord within the cadence. This harmonic color, often underutilized in contemporary music, adds a touch of sophistication and uniqueness. The second detail is the descending chromatic line from E to D during the first three chords. This chromatic movement is not just a passing detail; it cleverly justifies the presence of E-flat in the F7 chord (a note that is not typically prominent in A-minor). This subtle harmonic preparation is crucial because it smoothly sets the stage for the unexpected yet seamless key change to B-flat minor at 2:28. In essence, ABBA takes a potentially clichéd modulation and, through harmonic ingenuity in the intro, makes it sound fresh and musically justified.
Rutger Gunnarson’s Expressive Bass Performance: Nuance in Note Duration and Articulation
Returning to the brilliance of the bassline, Rutger Gunnarson’s performance extends beyond just notes and rhythms. His mastery lies in utilizing the expressive possibilities of the instrument, even in seemingly simple aspects like note duration. Listen to the section around 0:35, under the lyrics “I wouldn’t have to work at all.” Here, the extended note lengths in the bass contribute to a more relaxed, almost languid feel. Then, notice how these note lengths progressively shorten during the pre-chorus ritenuto, creating a sense of building momentum. Compare this to the second verse, where the note durations are kept consistently longer. This subtle difference in articulation maintains the groove and forward motion, driving directly into the second chorus without a ritenuto.
Another example of Gunnarson’s expressive playing can be found at 2:47. In contrast to the legato lines of the previous choruses, he introduces staccato notes just before the final “all the things I could do.” This sudden shift in articulation adds a playful, percussive element that tickles the ear and injects fresh energy into a repeated section. Furthermore, Gunnarson’s playing is peppered with subtle pitch glides throughout the song. These are not overt bends, but rather delicate slides between notes that add a vocal-like quality and enhance the musicality and groove. The section under “aah… all the things I could do” is particularly rich in these pitch glides, but they are present throughout the song, adding subtle expressiveness – listen for them under “world” at 1:00 and “man’s” at 1:19.
Mono Compatibility and Studio Insights: The Auratone 5C Connection
Interestingly, “Money, Money, Money”, like many of ABBA’s productions from this era, translates remarkably well onto smaller playback systems, including mono. A glance at studio photos from the Voulez Vous album liner notes reveals a pair of Auratone 5C speakers on the console meterbridge. These speakers, known for their mid-range focus and less-than-stellar full-frequency response, were industry-standard for checking mixes in mono and on systems representative of typical consumer playback. The fact that “Money, Money, Money” sounds so compelling even on Auratones highlights the strength of the arrangement and the careful attention to mid-range clarity. However, the mono experience isn’t without trade-offs. The guitars and keyboards tend to lose some of their spaciousness and detail in mono, resulting in a slightly sparser texture compared to the stereo mix.
In conclusion, “Money, Money, Money” is far more than just a catchy pop song. It’s a meticulously crafted piece of musical architecture. From the iconic bassline and clever transitions to the harmonic subtleties and expressive performance details, the song is a testament to the artistry and production expertise behind ABBA’s music. Listening with a focus on these elements reveals layers of musicality that might otherwise be missed, offering a deeper appreciation for this timeless track.
