ABBA’s “Money, Money, Money” is more than just a catchy tune; it’s a masterclass in musical arrangement, brimming with details that reward repeated listens. For me, one element consistently stands out: the bassline. Rutger Gunnarson’s bass isn’t just holding down the low end; it’s an active melodic voice, boldly echoing the chorus vocal hook and injecting playful rhythmic and melodic ideas throughout the track. Listen to the delightful bass fill just before “ain’t it sad” at 1:28, or the intricate counter-melody during “aah… all the things I could do” from 2:12-2:18 – pure ear candy that elevates the entire song.
The transitions between sections in “Money, Money, Money” are equally impressive. Take the pre-chorus build-up at 0:42. It generates a captivating rhythmic tension by repeating a seven-beat melodic phrase against the song’s 4/4 time signature. This clever displacement creates a sense of unease, slightly throwing off the listener, yet it remains instantly memorable as a hook in itself. The eventual rhythmic resolution on the downbeat leading into the chorus feels incredibly impactful, amplified by that signature, almost theatrical drum fill – “boosh!” – adding to the drama.
Even the song’s opening piano chords are deceptively simple yet brilliantly constructed. While the harmonic progression (I-VI-IV-V-I in A minor) seems basic on paper, two subtle details transform it. First, the sharpened-fifth dominant chord in the cadence adds a sophisticated harmonic color, a flavour that’s sadly underutilized in much contemporary music. Secondly, the descending chromatic line from E to D within the first three chords is pure genius. This chromatic movement artfully justifies the E-flat in the F7 chord (a note not typically prominent in A minor), paving the way for a surprisingly smooth and effective V-I cadence into the B-flat minor key change at 2:28. This modulation, often considered a cliché, sounds remarkably fresh and inventive here, showcasing ABBA’s arranging prowess.
Returning to the bass, Gunnarson’s performance is a masterclass in expressive bass playing, demonstrating how subtle nuances can profoundly impact a song’s feel. Even something as fundamental as note duration is used with intention. Notice how the elongated notes under “I wouldn’t have to work at all” at 0:35 contribute to a more relaxed, almost languid feel in that section. Then, observe how these note lengths progressively shorten during the pre-chorus ritenuto, building momentum towards the chorus. Contrast this with the second verse, where the bass notes remain longer, maintaining the groove’s drive without a ritenuto, smoothly propelling the song into the second chorus.
Another brilliant example of Gunnarson’s expressive playing occurs at 2:47. Breaking from the legato basslines of the previous choruses, he introduces a series of staccato notes just before the final iteration of “all the things I could do.” This unexpected rhythmic shift injects a playful energy right before the song’s resolution. Furthermore, listen closely for the countless subtle pitch glides Gunnarson incorporates throughout “Money, Money, Money.” These minute bends and slides, particularly prominent during “aah… all the things I could do,” add a layer of musicality and forward motion to the groove. You can also catch these expressive slides under words like “world” at 1:00 and “man’s” at 1:19, enriching the melodic texture at every turn.
Flicking through the liner notes of the Voulez Vous album, a keen eye might spot Auratone 5C speakers perched on the studio console in one of the photographs. This detail isn’t insignificant. It reveals a crucial aspect of ABBA’s production philosophy: ensuring their tracks translated exceptionally well on smaller, lo-fi speakers. “Money, Money, Money” is a prime example of this. The bass, with its melodic importance, remains clear and present even on limited playback systems. However, the trade-off for this small-speaker clarity is a slightly diminished stereo image when collapsed to mono. The guitars and keyboards can feel somewhat recessed in mono, creating a sparser texture compared to the rich stereo mix.
Explore more about the song on Wikipedia.
Published: March 1, 2013.
