I listened to this track on my old cassette Walkman as a schoolkid until the tape wore
out, but revisited it for this write-up from the 2001 reissue of the album 'Arrival',
which gives the following credits:
Writers: Benny Andersson, Bjorn Ulvaeus
Production: Benny Andersson, Bjorn Ulvaeus
Engineering: Michael B Tretow
Returning to that bass part, Rutger Gunnarson's performance shouldn't be overlooked
either, because it's a masterclass in how to support a song's arrangement via the
instrument's expressive possibilities. Even something as simple as note duration is used
to great effect. Listen, for instance, to how the more extended note-lengths under "I
wouldn't have to work at all" at 0:35 affect the feel of that section, and how they
progressively shorten again during the pre-chorus ritenuto a few seconds later. Then
compare this with its counterpart in the second verse, where the note-lengths are kept
longer to keep the groove motoring without ritenuto into the second chorus.
There's another great example at 2:47, where Gunnarson breaks with the legato line of
the two previous choruses to tickle the ear with some sudden staccatos just before the
final "all the things I could do". It's also worth listening carefully for the masses of
little pitch glides he sneaks in throughout the song, which really add to the musicality
and momentum of the overall groove. That bit under "aah... all the things I could do" is
diamond-studded in this respect, but there are little bends and fall-offs all over the
place elsewhere too -- under "world" at 1:00 for instance, or under "man's" at 1:19.
Glancing through the liner notes of later album 'Voulez Vous' (Yes, I am that sad.
Although not quite sad enough to own a white skintight jumpsuit. Any more.) I noticed a
pair of familiar little boxes sitting on the console meterbridge in one of the studio
shots: Auratone 5Cs. It shouldn't come as any surprise, then, that this track, like most
of ABBA's later productions translates fabulously well onto small speakers, which is
especially important in 'Money, Money, Money' given the melodic importance of the bass
guitar. However, the guitars and keyboards all lose out rather too much in mono for my
taste, which makes the texture feel a bit sparse for my taste in mono.
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