“Money, Money, Money” by ABBA remains an enduring classic, and for good reason. Beyond its catchy melody and relatable theme, the song boasts a meticulously crafted arrangement that elevates it to a masterclass in pop songwriting. This analysis delves into the intricate details of this iconic “Money Money Song”, exploring the elements that make it so captivating and enduring.
One of the most striking aspects of “Money, Money, Money” is undoubtedly its bassline. It’s not just a rhythmic foundation; it’s a melodic force in its own right. The bass boldly echoes the first half of the chorus vocal melody, creating one of the song’s signature hooks. Beyond this, the bass part is peppered with delightful “ear candy” moments, such as the inventive fill just before “ain’t it sad” and the captivating counter-melody during “aah… all the things I could do.” These subtle yet impactful bass flourishes showcase the brilliance of the arrangement.
The transitions between sections in this “money money song” are equally masterful. Take the chorus lead-in. It builds rhythmic tension by repeating a seven-beat melodic phrase that intentionally clashes with the underlying 4/4 time signature. This slight rhythmic disruption, while momentarily unsettling, is incredibly effective in creating anticipation. The repetition and the eventual rhythmic resolution right before the chorus hits amplify the upbeat feel, further enhanced by a theatrical drum fill that adds a touch of drama.
Even the piano introduction of “Money, Money, Money” reveals layers of compositional ingenuity. While the harmonic progression appears simple on the surface, a closer listen unveils subtle complexities. The sharpened-fifth dominant chord in the cadence adds a unique flavor, a touch often underutilized in contemporary music. Furthermore, the descending chromatic line during the first three chords elegantly resolves the E-flat within the F7 chord (a note somewhat unexpected in A-minor), setting the stage for the unexpected yet smooth key change to B-flat-minor later in the song. This seemingly simple piano intro cleverly foreshadows and justifies a key modulation that could otherwise sound cliché, transforming it into a moment of subtle brilliance within this “money money song”.
Rutger Gunnarson’s bass performance in “Money, Money, Money” is a masterclass in supporting a song’s arrangement through expressive instrumental techniques. His nuanced approach extends to even seemingly simple elements like note duration. Observe how the elongated notes under the lyrics “I wouldn’t have to work at all” contribute to the relaxed feel of that section, contrasting with the progressively shorter notes during the pre-chorus that follows. This dynamic use of note length is mirrored in the second verse, where sustained notes maintain momentum leading into the chorus.
Another example of Gunnarson’s expressive playing emerges at the 2:47 mark. Breaking from the legato bassline of the previous choruses, he introduces staccato notes just before the final iteration of “all the things I could do,” adding a playful rhythmic variation. Throughout “Money, Money, Money”, Gunnarson also incorporates subtle pitch glides, enhancing the musicality and groove. These bends and fall-offs, heard under words like “world” and “man’s,” contribute significantly to the song’s overall feel and are particularly prominent during the “aah… all the things I could do” section, showcasing the detailed artistry within this “money money song”.
Interestingly, ABBA’s meticulous production extends to considerations for playback on different audio systems. The use of Auratone 5C speakers in the studio, as seen in photos from the Voulez Vous album sessions, indicates an awareness of how their music would translate on smaller, more common speakers. “Money, Money, Money”, like many of ABBA’s productions, sounds remarkably balanced even on small speakers, particularly highlighting the melodic importance of the bass guitar. However, the richness of the guitars and keyboards does diminish somewhat in mono, resulting in a slightly sparser texture on single-speaker systems.
In conclusion, “Money, Money, Money” is more than just a catchy tune; it’s a testament to the art of musical arrangement. From the melodic bassline and clever transitions to the subtle nuances in performance and production considerations, every element of this “money money song” is carefully considered and expertly executed, contributing to its enduring appeal and status as a pop music masterpiece.
