ABBA’s “Money, Money, Money” is more than just a catchy tune; it’s a masterclass in musical arrangement and production. For enthusiasts and musicians alike, this track offers a treasure trove of sonic details to appreciate. What truly elevates this song is its intricate instrumentation, particularly the bassline, which becomes an unforgettable hook in its own right. This analysis will delve into the specific elements that make the “Money Money Money Song” so compelling, exploring its rhythmic nuances, harmonic choices, and instrumental performances.
One of the most striking aspects of “Money, Money, Money” is undoubtedly the bassline. Rutger Gunnarson’s bass playing is not merely supportive; it’s a melodic force. Famously, it echoes the first half of the chorus vocal melody, creating one of the song’s signature hooks. Beyond this, the bass is full of delightful “ear candy” moments. Listen to the fill just before “ain’t it sad” at 1:28, or the more extended counter-melody during “aah… all the things I could do” from 2:12-2:18. These moments showcase how the bass adds layers of interest and musicality to the “money money money song”.
The transitions between different song sections are equally impressive, demonstrating a sophisticated understanding of musical flow. Take the pre-chorus lead-in at 0:42 as a prime example. It builds rhythmic tension by repeating a seven-beat melodic phrase against the underlying 4/4 time signature. This clever rhythmic displacement creates a sense of anticipation and slight disorientation, which, due to the internal repetition, is still catchy and memorable. The eventual resolution and resynchronization right before the chorus, punctuated by a theatrical drum fill, amplifies the impact of the chorus entry, making it feel significantly more powerful. This rhythmic playfulness is a key ingredient in the song’s overall appeal.
Even the introductory piano part of the “money money money song” reveals harmonic depth beneath its apparent simplicity. While the underlying harmonic progression (I-VI-IV-V-I in A minor) may seem basic, subtle details elevate it. The sharpened-fifth dominant chord in the cadence adds a distinctive flavor, a harmonic color often underutilized in contemporary music. Furthermore, the chromatic descent from E to D during the first three chords is inspired. This chromatic line cleverly justifies the E-flat in the F7 chord, a note that doesn’t naturally fit into A minor. This subtle harmonic preparation seamlessly sets the stage for the key change to B-flat minor at 2:28, making this modulation, often considered a cliché, sound surprisingly natural and artful.
Returning to Rutger Gunnarson’s bass performance, it’s crucial to appreciate his expressive approach. His mastery lies in how he uses the instrument to enhance the song’s arrangement. Even simple elements like note duration are employed with intention. 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 the notes progressively shorten during the pre-chorus ritenuto. Comparing this to the second verse, where the note lengths remain longer, driving the groove directly into the second chorus without a ritenuto, highlights Gunnarson’s dynamic and thoughtful playing.
Another standout moment occurs at 2:47, just before the final iteration of “all the things I could do”. Here, Gunnarson deviates from the legato bassline of the previous choruses, introducing staccato notes that add a playful, percussive element. Beyond these larger gestures, listen closely for the subtle pitch glides Gunnarson incorporates throughout the “money money money song”. These bends and fall-offs, though small, contribute significantly to the song’s musicality and rhythmic momentum. The section under “aah… all the things I could do” is particularly rich in these nuances, but they are present throughout, adding subtle expressiveness even under words like “world” at 1:00 and “man’s” at 1:19.
Interestingly, production choices also contribute to the song’s enduring quality. The use of Auratone 5C speakers, as observed in studio photos from the Voulez Vous album sessions, suggests an awareness of how the mix would translate to smaller playback systems. “Money, Money, Money” indeed sounds excellent on small speakers, which is especially important given the bassline’s melodic prominence. However, the mix’s mono compatibility reveals a slight trade-off. While the bass remains strong, the guitars and keyboards can become somewhat diminished in mono, leading to a slightly sparser texture on single-speaker systems.
In conclusion, ABBA’s “Money, Money, Money” is a meticulously crafted song that rewards repeated listening. Its brilliance lies in the details: the iconic bassline, the clever rhythmic transitions, the sophisticated harmonic touches, and the expressive instrumental performances. These elements combine to create a timeless pop classic that continues to captivate audiences and inspire musicians even today. The enduring appeal of the “money money money song” is a testament to the artistry and craft of its creators.
