"I Kissed A Girl" is a pop rock song with new wave tendencies emerging in the choppy guitar rhythms and punkish attitude. This one offers a few quirks compared to other songs analyzed in this project. I was familiar with this song, only due to incessant radio play at the time. Before peaking behind its curtain, I was not a fan. After seeing how Katy Perry makes her sausage, I have certainly gained a new appreciation for the song, an ulterior motive of this project from the beginning!
July 5th, 2008: "I Kissed A Girl" by Katy Perry climbs to no.1!
The instrumentation in the tune is the standard rock band with lots added keyboard synth things popping up here and there. The production is slick and gives it its poppy gloss. The guitars range from light distortion to full on thrash, blending timbres with their synth counterparts.
The form of this song is also standard fare, especially when looking at the simplified form. A few quirks do appear, with the 2 measure drum interlude between the first chorus and 2nd verse providing a little space to let the chorus sink in. The bridge is the odd man out, consisting of only 12 measures. It comes off natural, thanks to a break in the rhythm section before pounding us over the head once more with the catchy chorus.
Chord Progressions
The verse and chorus share the same chord progression, though it is presented very differently. The verse starts with a cool guitar counterpoint. The lower line is doubled by the bass and pushed back in the mix, providing a nice base for the more static upper line.
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| Verse Guitar Counterpoint |
This song is undoubtedly in Amin, though the guitar never really plays Amin and sticks mostly to power chords. The C/E chord generally functions like an E7, pulling us back to A (V - I).
In the chorus, the same progression continues, this time with a more syncopated guitar line that sticks to power chords. The bass in the chorus pedals the A for 8 measures before joining in with the chord roots in the second 8.
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| Chorus Guitar |
The only time this chord progression ceases is during the bridge. There, we get some of the same chords in a different order:
F / Emin / Amin/C / G/D :// Dmin / / / /
bVI / v / i / bVII :// IV
This variation is a nice detour away from the main progression and the 4 bars of Dmin, capped off with a rhythm section tacet, builds nice suspense for the final statement of the chorus. The bridge also sees a total shift in texture, with the pulsing bass and guitar being traded for an understated wobbly synth sound to back up the new melody (more on that later).
Melody
The vocal melody in the verse is comprised of four 4 bar sections that have a lot in common. Each phrase starts with 3 quarter notes, beginning on b2, on the 5th (E). The first two phrases work their way down to C then leap up a 5th to G, a very common interval throughout the song. Each phrases also features the F note on b3 of the third bar. Each phrase also ends with a syncopation in the last bar (1 2+ + +), three of which end on E (the starting note of the phrase), with the last ending on the root (A). Even looking at the notes below, you can see the compositional discipline inherent in this verse melody.
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| Verse 1 |
The chorus kicks in with the main hook of the song, "I kissed a girl and I liked it." Working its way from high to low then high to low again before returning to the familiar verse paradigm of three quarter notes and syncopation, this time truncated. She covers the minor 3rd down to the 5th, leaping up to the minor third again and only getting down to the minor 6th, which covers the root of the F chord. Then, she sticks to root/3rd over the Dmin and F chords.
The chorus, also in four sets of 4 measures, sticks to the plan of two similar phrases that vary the third and fourth times, ultimately giving us the hook one and half more times, just in case you missed it.
The second and third choruses also feature some fun background vocals ushering in each phrase:
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| Chorus 2 - first 8 |
The third phrase of the chorus is the biggest departure, exploring the Amin tonality, doubled in octaves each time. On the second and 3rd choruses, we also get a cool descending counter melody that works its way from A to G(min7) to F# (6th) to F (min6) and finally resolving to A. An interesting harmonic interchange occurs when the F# over the D5 chord gives us a D major sound, opposed to the D minor sound we get during the verses and earlier in the chorus. What a difference a 3rd makes!
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| Chorus 2 - second 8 |
The rhythm of the third chorus phrase repeats itself at a much quicker pace than the melodic flow of the verses. The rhythm is a hybrid of the previous rhythmic themes presented in the verse, covering the quarter note beginning on b2 with the up-beat syncopations.
The only new melodic content in the song happens during the bridge. Though it's not particularly memorable, I do like this bridge. It is understated compared to other moments in the song but gives us just enough established elements to not alienate the flow.
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| Bridge |
Most of the bridge is two alternating notes, D and A, that cover of a variety of chord tones as it moves through the progression. The unifying tone of A ensures we never wander too far away from the home key. The rhythmic arrangement of this melody follows suit to the verse and chorus, giving us the same phrase three times, varying it up and then returning to the theme once more.
The last phrase really shines as she sings the melody up an octave and then holds out the highest pitch in the song (E), making her way down the scale. Over the Dmin7, she outlines 9, R, 7, 6 - a cool suspension of just voice and synth before resolving up to the C for the last chorus. Of the bridges covered in the Decade Hit Analysis Project, this may be my favorite, with a vocal melody anyway ("Roll With It" has a bridge with a killer sax solo!).
Musical Sticking Points
This song epitomizes pop rock in a few ways. The mostly static chord progression, fueled by a driving bass and drum groove, cashes the pop check big time! The slick production gives it an extra kick, varying little elements throughout that help it evolve.For example, the second half of each verse adds in guitar (or synth?) octave A's on beats 2 and 4, fortifying the I chord and propelling the rhythmic momentum. The chorus also evolves each time with the addition of the background vocals and the accentuation of the descending line. The bass pedaling on A for 8 and then playing the chord roots for 8 also help to make each chorus feel like it evolves.
The chorus hook, which Katy Perry says she woke up with one day, is certainly catchy.[1] Descending from chord to chord tone and then again, with only the slightest variation, is fun to sing. While the lyrical subject matter helps make it memorable, I think the composition is strong.
I like the disciplined writing of each section. If you look at the above examples and observe only shapes, you will see well defined patterns and symmetry. In other songs analyzed this may be an overlooked commonality.
Lyrics
I do remember this song being slightly controversial at the time and people either loved or hated the message. I will not comment on that, but will comment on the rhyme scheme!
The verse follows an ABAB rhyme scheme, with the B lines sometimes exploring the outer limits of the near rhyme (behave and obey). The chorus relies mostly on rhyming "it" with "it" (or chap stick) with a detour to the predictable, yet solid, rhyme of "right" and "tonight."
Common Threads
Now it's time to find the common threads for all the songs analyzed thus far. There have been a few revisions along the way, but I feel they are warranted. One of the aims of this project is to uncover commonalities of popular songs. It's interesting to see what elements have endured since 1958.
- melodies utilize and resolve to chord tones - check
- vocal melodies repeat rhythmic and melodic themes - check
- lyrics about love - check
- repetitive chord sequences - CHECK
- memorable vocal hook that uses the song title - check
- background vocals (harmonies) featured throughout - check
- *music evolves throughout - check
"Poor Little Fool" - the least musical evolution, though the lyrics tell a story that has a twist towards the end. In the final chorus, there is the one rogue chord change that gives it a sense of finality, just enough for it to qualify as evolution.
"Hello, I Love You" - prominent key change with a variation on the hook ("Hello).
"Three Times A Lady" - The last chorus in the studio version is a literal play on the title (3 statements of the hook) and in the single version, the chorus is truncated, a smart move for keeping momentum in a ballad.
"Roll With It" - The horn section goes from being a mere color to a prominent force in the song.
"The Boy Is Mine" - the vocal sparring throughout the tune changes and intensifies with every statement of the chorus.
Final Takeaways
I was not particularly excited to analyze this song, but once I got into it, I was pleasantly surprised. It's funny how your memory and/or perception of something can be totally different from what is actually there. Prior to this analysis, I could not have commented on the guitar counterpoint in the verse. I was surprised to hear it and memory assumed the entire song would be a more mundane presentation.
I really enjoy the bridge of this song, for its change in texture and momentum, as well the great anticipation it builds to lead to the final chorus.
I am also gaining a new appreciation for pop music and song writing in general. That is one of my long term goals for this project and I'm glad and I am noticing the results so quickly.
What are your takeaways from Katy Perry's "I Kissed A Girl?" Does listening with fresh ears, 12 years removed, tell a different story than your musical memory would report? Leave me a comment!
Up next time: Another summer Sweeper! July 21, 2018 through September 22, 2018, a 10 week run at no.1.....Drake's "In My Feelings."
Spoiler: I do not believe I know this song whatsoever. I am somewhat intrigued by Drake, mostly due to his transformation from Degrassi's Jimmy to the mega pop star he is today. I am more intrigued by what common musical elements will be shared between Drake and the other songs analyzed on this list!
[1]http://news.bbc.co.uk/2/hi/entertainment/7581625.stm
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