"California Gurls" - Katy Perry featuring Snoop Dogg, 2010

In this round of analyses, "on the 0's," I have analyzed no.1 hit songs during the first week of August 1960, 1970, 1980, 1990, 2000 and 2010.  I was hoping to look at the no.1 song in the first week of August, 2020, but I am ahead of schedule!  So, a little deviation is in order to fill the time and, more importantly, analyze additional hit songs.

Today, I will be analyzing the song that was dethroned by "Love The Way You Lie," which made an impressive 7 week run at no.1 from late July through September, 2010.  What did it beat out to make no.1?  "California Gurls" by Katy Perry, featuring Snoop Dogg.

There is a lot to unpack with "California Gurls."  It sold a massive amount of copies and could be regarded a quintessential "summer song." [1]  Katy's production team, though, takes a little heat for the ultra high gloss finish you would expect from a pop tune, which is not always a compliment.  Glenn Gamboa of Newsday comment, "a fizzy-pop concoction of empty calories, but it sure does stick with you," is not so flattering.  [2]   

There was even a little controversy around a Beach Boys copyright infringement.  The song shares a title, spelled differently, and one lyrical line.  In the end, there was no lawsuit and Brian Wilson himself called the tune "infectious." [3]  Why all the hate on "California Gurls?"  Katy just wants to represent California much in the same manner that Jay-Z represents New York in "Empire State of Mind." 

June 19th - July 24th, 2010 - Katy Perry's "California Gurls," featuring Snoop Dogg, goes on a 6 week summer time fun run at no.1.

"California Gurls" uses classic song construction.  Verse, prechorus and chorus repeated, followed by a bridge, a return to the chorus and an ending - pretty standard fare.  The first verse is double the length of the second verse, which keeps the song moving forward, despite the static chord progression.  Despite this simplicity and predictability, it works well.

The 20 measure bridge seems slightly out of place,but that works too.  Snoop Dogg makes the section flow laying down 10 two bar phrases.  This is followed by one more chorus and an outro,  which contains new material, a familiar device used to end songs in this round (4 out of the previous 6 songs analyzed contain new material at the very end).  Again, we see an unexpected number of measures here, with the 9th measure being an instrumental statement of the newly introduces melodic theme.

Chord Progressions

There is one driving chord progression that dominates the entire tune:

F/A   Bb  /  C Dmin
I       IV  /   V   vi

The keyboard begins the tune with dyads (two note chords).  As first verse progresses, the bass enters with a funky popping/slapping line:

keyboard and bass

The initial F/A chord feels like A minor and doesn't get any help from the vocal melody in determining its identity.  It isn't until the chorus, when the guitar joins, that we truly get the F major tonality.  The guitar provides syncopated octaves, on F, enhancing the funky feeling:

guitar - choruses

This progression runs throughout the verse, chorus, bridge and outro sections.  The only deviation comes in the prechoruses, where the same chords are reorganized to this:

C  / Dmin /  Bb  /  Bb
V / vi        / IV   / IV

This section not only slows down the harmonic pace, it also eliminates the fancy syncopation.  This part is another pleasant break from the potentially tiring repeated progression.

"California Gurls" evolves continually.  Though sections are repeated, they are never exactly the same.  This is done with added background vocals, synth elements and evolving drum feel.  The drums begin minimally, just bass and snare, and by the end, are firing on all cylinders.

Drum Evolution

Again, this device keeps the momentum of the song pushing forward and helps to keep repeated material from feeling stale.  For all of its standard conventions, the song is a shining example of pop songwriting mastery.

Melody

The verse is essentially made up of a repeated 4 note phrases.  Starting on the 3rd (A), it descends through G to the root, which aligns with the 5th and minor 3rd of the changes.  It then works back up to the A, only to go back to the F, this time ending with G and D, the 6th and 3rd of Bb.  The third and 4th phrase vary the rhythm and add in the responses of "undone" and "at us" where there was space the first time.

Verse 1

This simple melody is a good contrast to the syncopation in the keyboard and bass.  The rhythm of the lyrics is consistent from phrase to phrase, which combined with the narrow note choices and intervalic structure, make it highly singable.

The prechorus has a different feel and utilizes a higher melodic range.  The melody gets the syncopated treatment while the rhythm section sticks to eighth notes or less.  The very end of this section also foreshadows a major component of the chorus (oh oh oh oh oh's).

Prechorus 1

The melody is another illustration of how this song evolves.  In verse 2, Katy varies her delivery at the beginning of the phrases even further.  The second prechorus also adds in background vocals that float between harmony and response:

Prechorus 2

The calls evolve from the calls heard in the verse, utilizing E and F: 3rd of C and minor 3rd of Dmin (from verse harmony).  So far, the verse and prechorus borrow each other's melodic content, presented in a different way.  Very crafty.

The chorus marks the return to the syncopated keyboard line, which means the vocals should keep things straight.  They do just that, hanging out on the root to deliver the hook, "California girls."

Chorus

Here we really get the F major feel, furthered by the "oh's" which use the other notes in the F triad.  The chorus is also filled with little melodic figures, some of which we will see in the bridge.

The bridge features the credible presence of Snoop Dogg, whom up to this point in the song, has only contributed to the intro ("Greetings loved ones, let's take a journey") and with a few spoken "west coasts."  When we finally get the full Snoop treatment, he throws down this 20 bar rap:

A few things stick out to me.  First, Snoop's style is very interesting, especially when comparing it the Eminem rap I transcribed last time.  He is often just behind the beat, relaxed in his delivery.  Like Eminem, he has this quasi singing quality, though it's hard to pin down exactly what note he "singing."

Every two bars of this rap is its own little thing.  Bars 1 and 2 share rhythmic entrances and syncopation with bars 3 and 4.  After that, every 2 measure sequence shares either rhythmic entrances, syncopation or both.  Snoop strings together small sequences to construct the larger rap.

During the rap, you hear some exposed vocal harmonies that also pop up in the chorus.  The last measure, leading to the chorus, features Katy powerfully interjecting her own background and sustaining a C as the chorus continues.

The outro features new melodic content with the catchy and title affirming "California, California girls."

outro

  We get some familiar harmony and syncopation all wrapped into one tidy package to end the song.  The keyboard doubles this melody and ends the song with a final instrumental statement. 

The entire melody, at times, had me wondering if the tonal center was F major or D minor.  The entire chorus is comprised of D minor triad, but often feels like F major, as a D minor triad is an F major plus an added D.  The outro teases this line, walking down the scale from D to A, which feels like D minor, but then descends D all the way to F.  This little confirmation of F major reminds me of a similar feeling from way back in the intro.

Musical Sticking Points

Part of me wants to despise this song (more on the in lyrics), but part of me has deep respect for the composition.  "California Gurls" feels like many other pop songs I have analyzed in the way it is arranged and composed.

This chord progression is sneaky.  Is it D minor or F major?  There are times when either feels more like the tonal center.  D becomes the resting point after the chord syncopation, so rhythmically, it settles there at times.  Though the C is V of F, it's also bVII of D minor, a common progression.  In the bridge, we venture to Bb, which at the point could be IV of F or bVI of Dminor.  I love chord progressions that leave your ear searching for a true sense of tonal center.

The song is a prime example of how music can evolve, allowing you to hear the same thing without hearing the same thing.  Each section is slightly different from its repeated predecessors.  There is always something new to listen for.  In "Love The Way You Lie," I was disappointed to hear the same exact melody in each of Rihanna's choruses.  Katy Perry does not fall into that trap and keeps things interesting with background vocals and little nuances in her delivery.

The bridge does it's job and bridges the beginning of the song to the end effectively.  There are several texture changes throughout the section and Snoop's aura enhances the final product.  We also see a return of several vocal elements, from the ooh's to call and response from Katy.

The new content at the end is also something I have grown to enjoy.  It always prompts me to question what I heard earlier, which results in additional listening.  Musically, this song is clear, concise, inventive and exciting. 

Lyrics

Lyrically, I am not even close to where I am musically in my fondness for the tune.  While there are some clever references - "where the grass is really greener" (Paradise City?) and "Sippin' Gin and juice,"  The rest falls way flat.  There's a whole lot of sexual innuendo and glorification of the party lifestyle delivered bluntly and in an uninspiring way.
   
The verse uses a rhyme scheme of ABCB, with a few questionable near rhymes ("greener" and "water").  The chorus rhyme scheme is fairly disjunct, starting with ABAC and then ABDC.  This looks a whole lot tighter on paper then when you actually hear it.

The rap lyrics, I am sorry to say, are not good.  I would imagine Snoop wrote them and tried to stay within the poppy confines of the song, but oh man.  Some low-lights include:

The girl's a freak, she drives a jeep and lives on the beach

Bikinis, zucchinis, martinis, no weenies, just a king and a queenie

Only the S. N. double O P. D. O. double G. can get away with rhyming zucchinis and weenies. 

Coupled with the video, this song enters into the  "inappropriate zone," based on the "would I show this to my children" scale.  That being said, John Q. Public obviously loved it, though the target audience, I imagine, embraces the party lifestyle and all that goes with it?

Common Threads

So far in this round, "on the 0's," I've compiled a list of common musical threads.  The other selection from 2010, Eminem's "Love The Way You Lie," only shared 2.5 out of the following 7 elements.  Let's see where "California Gurls" stacks up:

• Repeated melodic motifs - For sure!  There are many motifs that occur in multiple sections.  Katy is also good at keeping melodic passages uniform within sections.   
• Strong harmonic motion from V to I   
• Background singers contribute to melodic/harmonic texture   
• Modulation -  
• New material presented at the end 
• Hook that uses the title of the song
• Contains a lyrical refrain  

4/7 elements are present.  More than half is a strong showing of musical elements, especially considering the list started with a selection from 1960.  It's extremely enlightening to see that while musical styles significantly change from decade to decade, certain elements endure.

Final Takeaways

I think "California Gurls" is a fine example of pop songwriting.  Though the lyrics are sometimes cringe worthy, and difficult for a middle aged East Coaster to completely identify with, I can fully respect the composition, arrangement and production.

The biggest takeaway has to be the shared elements of different sections.  There are vocal pieces that help glue the entire song together into one cohesive unit.  It's also impressive how the same drum beat can be stripped down and built back up to build drama and enhance the texture.  As a songwriter, there are many good lessons to be learned.

What do you think of "California Gurls?"  Do the words and/or video push it to your "inappropriate zone?"  Is it just me, or is the Snoop Dogg rap not a shining example of his work?  Leave me a comment!

The post date of this analysis is July 21st, 2020.  I am hoping to analyze the no.1 song for the first week in August, which won't be until August 8th.  That means I have a few weeks to wait.....so here is my plan:

I have been learning so many lessons in song writing, I think back to one of my initial intentions of this project:

Through my song analysis, I hope to get some insights into my own song writing and push myself past my normal writing limits, conventions and tastes.  

So, I think I will try writing a song and apply some of the lessons I have learned.  This will entail choosing a few common threads, sitting down at a keyboard and seeing what comes out.  It should be another entertaining detour!  Stay tuned....

[1]https://www.independent.co.uk/arts-entertainment/music/weekly-us-music-releases-katy-perry-usher-eels-and-fantasia-2059960.html
[2]https://www.newsday.com/entertainment/music/katy-perry-s-hot-and-cold-teenage-dream-1.2227160
[3]https://www.theguardian.com/music/2010/aug/06/beach-boys-katy-perry?cat=music&type=article

"I Kissed A Girl" - Katy Perry, 2008

A decade after Brandy & Monica dominate the Billboard Hot 100 for 13 weeks in the summer of 1998, Katy Perry gets her turn with "I Kissed A Girl."  Perry's rise to no.1 was not as meteoric as Brandy & Monica, but she did last 7 weeks at the top, providing the summer soundtrack.

"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.

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.

Chorus Guitar

It's also worth noting that the eighth notes throughout the song are swung (long - short instead of straight 8th note division), a continuation of the triplet feel established in the verse.

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.     

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:

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!

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. 

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

*this one is a newly added common thread.  Looking back, the idea of a song "evolving," or developing elements throughout, has occurred since the beginning of my analyses.  Case in point:

"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