"Party Rock Anthem" - LMFAO featuring Lauren Bennett and GoonRock, 2011

 LMFAO provided the song of the summer in 2011 with their smash hit "Party Rock Anthem."  The group, an uncle and nephew duo comprised of RedFoo and SkyBlu worked as LMFAO for 6 years (which, yes, stands for "laughing my freaking ass off" [1]) and then called it quits, presumably taking the money and running. [2]  

"Party Rock Anthem" certainly sounds like a fun loving summer time jam and at it's core, is a catchy electronic dance number.  While this song is not the most musically satisfying song to cross the Decade Hit Analysis Project, it does contain several elements I would expect to see in a no.1 hit song.  

July 16 - August 20, 2011: "Party Rock Anthem" by LMFAO featuring Lauren Bennett and GoonRock cements itself as the song of the summer with a 6 week run at no.1.

The form of "Party Rock Anthem" is standard fare with a set of verse/chorus before the bride.  There is an instrumental post chorus (PC) that adds 2 measures the second time around.  The final chorus is half the length of the first two versions. 

The song ends with a lengthy outro that blends elements of the bridge and post chorus sections with a new melody.  27 measures is a strange length, which broken down, works out to be a 10 measure phrase followed by 16 measures of grooving and one final measure of reverberated noise.  

In typical electronic dance music fashion, most of the song is computer generated and the drum part goes where you'd expect it to.  The into features the drums progressively getting more complicated at the synth part bleeds in:

Intro Drum Evolution

The drums come and go over the course of the tune, providing space for vocal breaks and kicking into high gear to keep the dance party rolling.....

Chord Progressions

"Party Rock Anthem" is in the key of F minor and only utilizes three chords.  Part of the intro, the post chorus and part of the outro drone the F minor with a lot of synth bells and whistles, or whirrs and swirls as it may be.  When other chords are in the mix, they follow suit with the progression set up by the primary keyboard riff in the intro:

In the key, this progression works out to:

Fmin7   /  Eb    Db

i          /  bVII  bVI

As seen many times before ("Love the Way You Lie," "Rain On Me," "Magic" to name a few) these chords are staples in a minor key.

Melody

The chorus contains the most melodic substance in the song which is presented after 16 measures of intro.  This catchy hook, which features three part vocal harmony, is the main selling point of the song: (melody written an octave higher)

chorus

In the first measure, eighth notes begin on beat 2 with a C, the 5th of F minor and then leap down to Eb, the minor 7th of the chord.  In the next measure, the melody follows the chord roots, Eb and Db, with added octave harmonies as well as Ab and F, 4th/3rd of the chords, or min3rd/root of F minor.  

In the third measure, we hear an Ab major lick, Ab-Bb-C-Bb, before jumping back down to Eb.  In measure 4, we get something similar to measure 2, this time with 5ths Bb and Ab over Eb and Db chords accompanied by octave harmonies plus F and Eb, 9th/7th of the changes, or Root/min7 of F minor.

These 4 measures are repeated in measures 5 -8.  The entire part is then repeated, save the last 2 measures.  There, we see the Ab major lick extended followed by lots of space.  Silence is broken by "shake that," leading into the post chorus melody.

The post chorus, an instrumental dance break, is led by an analog synthy lead:

Post chorus

The high notes are performed as octave F's, but to my ear, they have this pitchless quality to them (this is probably because I'm a bass player and my listening accuracy diminishes as he pitch gets higher?).  This part is funky and includes some 8th/16th syncopation.  Following a pattern set up in the chorus, the melody follows the root of the chord.

Both of the verses are rapped, starting off with SkyBlu in verse 1.  The flow starts off very disciplined with entrances on (1)+, similar syncopation and a vocable on (4)+ of the second measure.  This pattern begins to deteriorate in measures 5-8, leading into the very different back half of the verse, provided by RedFoo:

verse 1

RedFoo's flow is a stark contrast to SkyBlu and he takes his time and stays just behind the beat.  He trades 8th and 16th syncopation for 8th and quarter syncopation to further the contrast.  

After this verse, we get another chorus which ends with a tag we will hear later.  In F minor, this reestablishes the tonality after the silence and leads nicely into the post chorus synth.

Post Chorus 2 tag

Verse 2, sang by RedFoo, picks up the pace with a faster flow.  The rhythm is not as disciplined as verse 1, but there is use of the silence theme established in the chorus, interrupted with "hating is bad."

verse 2

The last 4 measures of the verse feature some singing.  Here, a two note motive of Eb and F provide the call with the response in a spoken tone.  The calls and responses are melodically uniform, except the final response, which is slower, in RedFoo fashion.

The two note motive set up in this verse foreshadow the bridge melody, provided by English singer Lauren Bennett (G.R.L. and Paradiso Girls):

Bridge - source material

These two measures represent the source material for the bridge and outro.  Each measure is eventually chopped up and repeated in small fragments.  

The outro features one more melodic contribution, that like the bridge, gets chopped up and reused throughout the section:

This line, occurring on the 2nd and 4th measures of the progression, is built on 3 notes, Db, C and Bb.  These pitches cover different chord tones than we have heard throughout the tune: min7th, maj7, 6th and 5th, moving through the three chords.  These new intervals give the ending a very different feel, yet feel familiar when combined with post chorus keyboard, spoken and bridge elements.  

Musical Sticking Points   

This song pulls a whole lot out of three chords.  There are three levels to the chord progression.  1.  The full blast syncopated synth line moving through the changes;  2. The more subtle synth line moving through the changes, generally behind the verse and in the bridge/outro;  3. The single chord pulsing over the post chorus synth line.

The tune also utilizes rests effectively.  As a dance tune, we get pounded with synths and drum patterns at a fast tempo.  When everything stops for 2 or more beats, it results in a cool effect.  Whenever the silence is interrupted, we are given some spoken line, which is easy to sing along with.  

The chorus is very catchy in both lyrics and melody.  The repetitive nature of the melody makes it easy to sing along with and the three part harmony doesn't hurt when non-singers try to keep up.  The small motives are also easy to sing along with.  The 2 note bridge motive and the 3 note outro motive are easy enough on the ears that they get stuck.  The constant repetition makes sure they stay stuck.

The drums are what I think of as typical dance drums.  I'm not up on the lingo of electronica, but I would assume the words "house" or "electro pop" may be appropriate?  The big build in the bridge is a stereotypical part for the genre. Quarter note snare hits for two measures building to eighth notes and climaxing with 16th notes create a huge build.  I am very curious to find the first song that employed this.  I assume it's before 2011, but I'll keep a mental note of its presence here, just in case.

Lyrics

I would argue that lyrics don't matter too much for a dance tune.  If the primary objective is to move to the beat, it doesn't really matter what the words are saying.  This is not a social justice song or an emotional testimony.  LMFAO just wants to you get down....which is a good idea, because these lyrics are terrible.  

The chorus is innocent enough, inviting listeners to have a good time with "Party Rock," LMFAO's album titles ("Party Rock" (2008) and "Sorry for Party Rocking" (2011)).  When the raps come in, things get grim.  Here's a few gems:

Looking for your girl? She on my jock   

Yo! I'm running through these hoes like Drano 

On the rise to the top, no Led in our Zeppelin

Now you wanna be (You're naked now!)

Oh the party lifestyle.  I think they are closer to Led Zeppelin that they think...at least in terms of extra curriculars?

Common Threads

What musical elements are present in no.1 hit songs across the decades?  That is exactly what I am trying to find out.  For each round, I like to start somewhat fresh and develop a list of present musical elements that I expect to find in other songs.  While influenced by past lists, I will try to approach this one from a neutral starting point.  

• Repetitive Melody - the chorus repeats itself both rhythmically and melodically, using similar patterns over the course of 4 bars, repeated for 8 and again for 16 measures.
• Stepwise Motion Common in Melody - aside from the leaps in the chorus melody, the song is basically comprised of stepwise motion.
• Texture Changes - The drums do not pound us in the face the entire time.  There is silence, break downs and build ups.  The overall timbre changes throughout the song.
• New Material at the End - this is a holdover quality worth mentioning.  Many no.1 songs include new material to finish out the song.   
• Hook that Uses Title of the Song - another holdover worth mentioning.  

Chord Count - 3 - It might be fun to keep track of how many chords a song uses.....

Final Takeaways

I don't see myself seeking this song out, ever.  I generally don't like dance music (or dance in a club situation) and I would rather listen to other genres.  That being said, I appreciate this song on a musical level.  It accomplishes its goal in spades and the structure of the catchy melody is worth looking at, if you yourself are trying to write a catchy melody.

As a songwriter, I am always trying to write better songs.  Studying no.1 hits has certainly given me insight into the overall process and there is plenty to learn from "Party Rock Anthem."  LMFAO got it right with a simple melody that was enhanced by changing textures and extremes (silence vs dance beat).  They found a formula that worked and 9 years later, this song still holds up, in common musical elements anyway.  *LMFAO are no strangers to quality music....their father and grandfather is Berry Gordy, founder of Motown Records!  

What do you think of "Party Rock Anthem?"  Do the musical qualities shine behind the sparkling mirrorball, or are you lost in the dance party?  Leave me a comment! 

Up next time, continuing with no.1 hits "on the 1's": August 4th - 11th, "Bootylicious" by Destiny's Child goes two weeks at no.1 amidst a sea of R&B titans (Usher, Alicia Keys, J-Lo, Nelly and Mariah Carey).  Let's see if Beyoncé and company contribute musical qualities found in other no.1 hits through the decades.  

[1]https://www.hollywoodreporter.com/thr-esq/lmfao-trademark-application-310996

[2]https://www.billboard.com/articles/news/474982/lmfao-taking-hiatus-says-redfoo

Round 3 Wrap Up - "On the 0's"

The motivation for this analysis project is rooted in my search for answers to the question: "what makes a good song good?"

While "good song" invariably means different things to different people, I am drawing source material from the Billboard Hot 100, the industry standard that tracks the best selling songs.  While sales don't always indicate quality, they do indicate people's desire to listen to a song, which insinuates that if people are spending money and time to hear it, it probably has some inherent value, to someone.

In this round of analyses, I looked at songs "on the 0's": 1960, 1970, 1980, 1990, 2000, 2010 and 2020.  After analyzing 11 songs in total, I compiled a list of common musical elements.  While the presence of certain musical elements does not guarantee a song to get to no.1, many no.1 songs do share certain characteristics.   It's fascinating to find musical devices used in no.1 songs across a wide range of time.  

Working off of the list of "common threads" compiled for "songs on the 0's," here are the findings:

Repeated melodic motifs - 11/11 - Patterns of melody end up being repeated either within a section or in multiple sections.  It makes sense that repetition is a unifying element for pop songs in any decade.     

Strong harmonic motion from V to I  -3/11 - In Western music, the V chord pulls naturally to the I chord.  Many pop songs capitalize on this phenomena.  Note, the 3 songs that use V - I motion happened in 1960, 1980 and 1990....

Background singers contribute to melodic/harmonic texture - 8/11 - Background vocals are common in many songs, but to qualify here, they have to be integral to the song, contributing to the harmonic and/or melodic texture and not just a decoration for the lead vocal.  They must be an important part to the overall composition and presentation.

Modulation -  4/11 - Does a song remain in the same harmonic space/key for its entirety, or does it modulate to another tonality?

New material presented at the end - 6/11 - When the song is nearing its end, just when you think you've heard it all, a new melody or chord sequence appears, leaving you longing for more, or wondering if you missed something earlier.

Hook that uses the title of the song - 10/11 - The hook is the melodic chunk that gets stuck in your ear, and it often contains the title of the song.  

Contains a lyrical refrain  - 5/11 - Repeated use of the same lyric, in like or different sections, qualifies as a lyrical refrain.  

Evolution of musical elements - 7/11 - When a section of a song is repeated, does it sound exactly like it did the first time, or is something different?  This may occur in the vocal performance or some added production element that makes one repeat sound different from another.  

Looking at the above chart, some trends stick out.  The use of chord progressions with V - I and the use of modulation is prevalent up to 2000 and then completely falls off the map.  This could be in part to shorter chord progressions, though Sisqó's 2000 contribution would disagree with that.

  

The two most enduring musical elements seem to be repeated melodic motifs and the use of the song title in the hook.  

Musical evolution/development of a song is a little less penetrating that I would have thought.  Its absence in 1960 and 1980 is not quite as surprising as its absence in 2010 and 2020, especially considering the advancement in recording techniques in later years.  It seems as though simple and straightforward is a returning trend over the course of the last decade.  

In the round 2 wrap up, I consolidated song data to show vocal gender, tempo/meter, key signature, length, chord progressions used and sections present.  The chart below shows data for the songs "on the 0's":

Adding these 11 songs into the mix yields the following notable statistics:

• 9/25 (36%) in a minor key 
• 6/25 (24%) have a tonal center of Ab (G#)
• 12/25 (48%) utilize one primary chord progression for the entire tune
• 17/25 (68%) contain more than 2 sections
• 6/25 (24%) have verse and chorus only
• 13/25 (52%) contain at least one bridge section
• 10/25 (40%) utilize the bVII chord
• 18/25 (72%) utilize the IV(iv) and I(i) chords*
• 23/25 (92%) are in duple (2/2 or 4/4) meter
• 14/25 (56%) feature a male lead singer
• 23/25 (92%) use the title of the song in the hook
• Average length - 3:49

After adding in these new data points, percentages more or less stayed the same.  A few categories dropped lower (Primary chord progression - 57% from rounds 1 and 2 down to 48% with round 3 songs added in).  A few went slightly higher (bridge section - 50% to 52%).  With no drastic drops, I am confident that these elements represent qualities of no.1 hit songs across the decades.  

I hope this data can prove valuable to song writers and at least give some insight into proven musical elements for pop songs.  

The Decade Hit Analysis Project is continually evolving and I am learning much from analyzing and transcribing no.1 hit songs through the decades.  I will now move forward on two fronts:

• I like the idea of periodically returning to no.1 hit songs from 2020.  Data points from every no.1 hit in 2020 would be very valuable in representing this year's music.  I plan to tackle them all, in between other analyses
• I am gearing up for Round 4, songs on the "1's!"  I will look at no.1 songs in the first week of August, starting in 2011, and work backward to 1961, which means....

Up next time: July 16 - August 20, 2011: "Party Rock Anthem" by LMFAO featuring Lauren Bennett and GoonRock goes 6 weeks at no.1.  I am only vaguely familiar with this song and hope to find the quintessential "song of the summer" in this 2011 entry. Let round 4 begin!

"cardigan" - Taylor Swift, 2020

 Taylor Swift released her 8th studio album in the July 24th, 2020.  The lead single, "cardigan," debuts on the Hot 100 at no.1, August 8th, 2020.  

The track was co-written and produced by Aaron Dessner, of the National, and is not what I would expect from the pop singer, though I am hardly the person to make T-Swift recommendations.  Her new album, Folklore, seems fantastic and well regarded by many.  After reading this Insider.com track by track review, my interest is peaked! [1]  After transcribing most of the lead single though, I'm afraid I won't be as jazzed as those authors.  

There are elements of this song that I do like and there are clear similarities between "cardigan" and other no.1 songs through the decades.  In the end though, the song is just there.  The no.1 status makes me think that the curiosity factor of a surprise Taylor Swift song helped it rocket to the top.  If it manages to stay another week, I will be surprised and impressed.  This Slate.com article eventually agrees with me and hypothesis why the song reached no.1. [2]  Never the less, I will try and set opinions aside and focus on the musical attributes of the song.

August 8th, 2020: "cardigan" by Taylor Swift debuts at no.1 on the Billboard Hot 100.  

There are a few surprises in the form.  The intro features a wind noise and a faint shaker evolving into a neat hand drum/body percussion sample.  Then, all of a sudden, the piano chimes in with verse 1.  This "intro" is a total of ten 8th note beats, equal to 1.25 measures.  This might be the most challenging part of the song, as the accents in the drum sample don't quite indicate where beat 1 ends up landing.  

We then go through a verse/chorus/refrain sequence.  The first statements of the chorus and refrain work together and are only separated at the very end, justifying different labels.  The third chorus, though, ditches the refrain and gets an extra 4 measures, which are different from the first 4.  Each chorus also features different lyrics, furthering the overall story of the song.    

The "refrain," in this case, houses the title phrase and is repeated 3 times in total.  The closing statement gets a cool treatment with alternate chords, taken from the bridge.  

Speaking of bridges, there are two of them.  The first begins with 4 measures of an instrumental followed by 4 measures of melody built over new chord changes.  The 2nd bridge uses recycled chord changes and features a brand new melody, making it more than a third verse.

There is lots of added production to the entire track ranging from noises, to string samples to a Mellotron part.  All of these sounds, combined with the slow tempo certainly create an tangible mood.    

Chord Progression

Before looking at any notation, the song utilizes swing 16th notes.  This swing feel only occurs with groups of two sixteenth notes and not with two 8th notes.  If you feel the micro beat (8th notes), it has the same effect as swung eighth notes.  

"cardigan's" opening chord progression is set up by the piano in the first verse:

Piano - Opening

In the key of Eb, this plays out to be:

Fmin   /   Bb  /  Ab   /  Bb

ii       /   V     /  IV    / V

The chorus delivers the I chord and a familiar chord sequence:

Eb  /  Bb  / Ab  /  Bb

I   /  V    / IV   / V

The refrain uses the verse changes, above.

The first bridge features a different chord progression, which is also used over the final refrain:

Ab  /  Cmin  /  Bb   /  Ab

IV  / vi        / V     / IV

There is a very slight variation used during the second half of the third chorus, which carries over to the second bridge.  There, we see the first Bb chord get an F in the bass.  This slight shift gives that chord a much different feel when following the Eb.

Melody

The verses share a similar melody, built on two syncopated figures, sang low in T-Swift's range:

Verse 1

Measures 1,2, 5 and 6 use a motif built around note groupings Ab, G, Bb and Bb, C and F.  Each chunk fits into the 16th-8th-16th syncopation beginning on beat 2.  

Measures 3,4, 7 and 8 use a triplet theme, which will reoccur throughout the song.  Repeated three note groupings of G, F and Eb (3-2-1 in Eb) are borrowed from the piano riff that floats above each section.

The first verse leads directly into the chorus, carrying over both rhythmic entrances and syncopation.  The chorus leans on repeated 16th notes, a staple in Swift's melodic arsenal.  Each of the two phrases ends with a melisma on Eb-G-F-Eb, the same pitches used in the piano line and the verse triplet figure.

Chorus 1 and Refrain

   

After 4 bars of chorus, the chords shift back to the verse progression for the refrain.  Here, once again , the triplet rhythm is used, this time descending through the Eb pentatonic scale.  The word "cardigan" uses a brand new rhythmic figure and is followed by familiar syncopation.  At the tail end of the refrain, we hear a guitar riff which will also reappear throughout the tune and is repeated in verse 2.

Basic Guitar Riff

 

Verse 2, chorus 2 and the 2nd refrain rehash melodic material from previous iterations.  After the second refrain, we head into the first bridge with 4 measures of instrumental plodding.  The piano riff retains its rhythmic placement but shifts notes to support the impending C minor chord (C, Eb, F, G, C).  When Taylor comes in, we hear:

Bridge 1 - meas. 5-8

Rhythmic entrances shift to beat 4, instead of beat 2 and the dotted eighth-sixteenth figure is used repeatedly.  The first half uses C and G, which resolve down to Eb on the C minor (minor 3rd).  The second half shifts those notes down a whole step to Bb and F, retaining the ending descending line.

At this point in the song, we have heard each primary section twice, gotten a brief instrumental interruption and new melody with the bridge.  Now, we head into the back half, which picks up the pace.  Out of bridge 1 comes the third chorus, an 8 measure variation on the original 4 bar melody:

Chorus 3

The first 4 bars are like the previous choruses with different lyrics and a harmony added up a third.  The last 4 measures start like the chorus proper, but veer off course in measure 6, going lower over the new chord, Bb/F.  The last two measures borrow the triplet line from the verse and refrain, only with a new note grouping: Eb, C and Bb.  

These last 4 measures create a very subtle shift to the natural minor sound and blend melodic and rhythmic themes used previously.  The 8th measure of this chorus (above) is the pickup to the second bridge, a mammoth 12 measure section that expands upon rhythms and melodies presented in the first bridge:

Bridge 2 - meas. 1-6

The entrances in this bridge are similar to the last bridge; 8th-16th syncopation on beat 4.  Each entrance is followed by descending 16th notes, Ab, G, F, Eb, and lead directly into an additional statement of the phrase.  Bb and F become melodic focal points in between and the chord progression shifts to include more Bb/F chords. 

Bridge 2 -  meas.7-12

After 8 measures, the chord progression shifts back to verse changes and the pacing slows down.  We get 4 repeats of "you'd come back to me," which feel spacious after all the repeated 16th notes.  The piano strays from its original feel and the guitar riff weaves in and out.  

A returning piano riff sets up the final refrain, this time utilizing the bridge changes.  The guitar riff ends the song, repeating the last two notes, played over an Ab chord.  There is an "outro" consisting of a faded 3 measure chunk of NIN-esque noise.  

Guitar - final melodic statement

  

Musical Sticking Points

There is certainly an evolution of musical ideas throughout the song.  While this is most obviously driven by changing lyrics, the chord progressions sneak in and out.  The song is built on, essentially, 5 chords: Fmin, Bb, Ab, Eb and C minor.  While the chord progressions vary in chord order, intensity and inversion, they do end up settling into the same harmonic feel.

The melody is crafted well, constantly borrowing rhythms and motifs from itself.  The third chorus has a nice mix of several parts and the second bridge logically develops a melody seen earlier in the tune.  All of these moments are great, but there is a lot of repetition before we see any development.  

The drum part is unique for a pop song.  The opening groove is very sparse and sounds like clapping and patting on someone's legs.  Eventually, we hear the familiar kick and snare, but they don't play a standard beat.  Below is an approximation of the opening/first verse drums feel compared with the chorus feel:

Drum approximations - Verse 1 vs Chorus 1

Both versions play off of the swing 16th feel and syncopation present in the vocal melodies.  

The overall arrangement is pretty slick.  On my first few listens, I had trouble distinguishing the parts.  This was due, in part, to ever changing lyrics, but also due to borrowed themes.  When I wrapped my head around what was actually happening, I could see the quality craftsmanship.  Unfortunately, this is not overwhelmingly positive.  The dreamy atmosphere can work against itself and create this gray blob of sound that all feels the same.

Lyrics

Taylor Swift is a master at painting vivid portraits with words.  She writes these lyrics from the perspective of "Betty," a character featured on the album "Folklore."  There is a lot to unpack in these lyrics, and I recommend taking a peek at the Lyric Genius annotations. [3]

The verse uses the rhyme scheme AAB CCB, with B being a refrain, of sorts, "when you are young they assume you know nothing."  The chorus reverses this pattern with ABB ACC, this time with A as a refrain of "I knew you."  

Bridge 1 is comprised of internal rhymes resulting in (AA)B (AA)B.  The second bridge moves through 4 sets of rhyming and/or near rhyming couplets ("long" and "young"; "expired" and "light").

The refrain also uses a near rhyme with "cardigan" and "bed."

Overall, the lyrics are well crafted and contain some cool imagery and lots of "Easter Eggs," which Taylor has become known for.  

Common Threads

This has been an epic round "on the 0's" with data points from 1960, 1970, 1980, 1990, 2000, two songs from 2010 and now, four songs from 2020.  For each song, I have compiled a list of common musical elements present and then see where the analysis in question figures in.  Adding "cardigan" into the mix, we see:

• Repeated melodic motifs - this song expertly reuses themes in each section.  This song is right up there with "Rain On Me" in the way melodic motifs are recycled and repackaged.  
• Strong harmonic motion from V to I  -While there is a strong pull to V, it doesn't actually function like V.  The pull from IV to I is noticeable.  
• Background singers contribute to melodic/harmonic texture - I'm not ready to cross this one out due to the presence of the vocal harmonies from the first bridge through the end of the tune.  They are not, however, such and important contributing force to the melody or the overall textural presentation.  The instrumental arrangement is far integral in that picture.
• Modulation -  
• New material presented at the end - technically, there is not new material at the end.  There is however, is different twist on something we already heard: the refrain lyrics and melody combined with the bridge chord progression.
• Hook that uses the title of the song   - I'm not even sure what the hook is, or if there is a hook.  I chose "you put me on and said I was your favorite" because it was the one part I could easily sing along with, it stayed lyrically consistent and featured a melody used elsewhere in the song.  Any way you slice, it doesn't use "cardigan" in the most singable part of the melody.  
• Contains a lyrical refrain  - This could get triple points, as there are several lyrical refrains: "when you are young they assume you know nothing," "I knew you," and "when I felt like I was an old cardigan...."   
• Evolution of musical elements -  The melodic development and ending chord rearrangement qualify this for sure.

A solid 3/8 common threads and 2 near hits for "cardigan."  The end of round wrap up will hopefully flush out some of these elements and see what musical trends have been seen in no.1 hits through the decades.

Final Takeaways

After this entire analysis, I'm still not sure where I land on "cardigan."  On paper, I love it.  I think the way the melody and chord changes seamlessly move between and play off one another is genius.  The lyrics are rich with description and references to provoke the imagination of any listener.  The whole song has a vibe that can't be denied and I found this song affecting my mood.

Listening to it, though, is not as fun as talking about it.  It's so slow and all of the similar melodies blend together, resulting in forgettable melodies.  The hook in this song is hard to pin down, which for a pop tune, is a very surprising.  

All of that being said, I would be happy to hear or play an acoustic rendition of the tune.  I actually started thinking about how this song would translate with just chords and melody.  Well, Taylor must have thought that too, because there is a lovely acoustic version.  When the production is taken away, you can hear the song for what it is, a lovely ballad.  All of this is fine, it's just not what I would expect from a no.1 hit song, even if it has some great musical elements at work.

I will be very curious to see if this song lasts another week at no.1 or if its popularity is largely due to the curiosity factor.  2020 has seen a lot of 1 week reigns at no.1, which I'm willing to bet has happened before, through the decades.  Perhaps I should take comfort in the adventurous taste of music consumers.  Taylor did not have to rap about her wealth or romantic prowess to make it to no.1  Instead, she wrote a beautiful song that people want to hear.  

What do you think of "cardigan?"  Am I missing something, or is kind of boring?  If you read this before August 15th, 2020, do you think it will make another week at no.1?  Leave me a comment!

Up next time, the "on the 0's" recap round, where I will look at all the songs analyzed and see if there is any definitive common ground between musical elements.     

[1]https://www.insider.com/taylor-swift-folklore-review-tracklist-breakdown-2020-7

[2]https://slate.com/culture/2020/08/taylor-swift-folklore-sales-cardigan-billboard-hot-100.html

[3]https://genius.com/20429809

Song Writing Experiment #1

I am a composer.  I write music in many genres and styles from progressive jazz fusion to children's songs.  I love the act of creating music and exploring ideas.  I have been writing since I picked up the bass guitar at the age of 14, probably even before that.  In my initial overview of this project, I stated my hopes to gain insight into my own songwriting:  

What else?

I write a lot of music in many different genres.  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.

 Writing "pop songs" is not always in my bag, but given all of these analyses, I am eager to infuse my own voice into the genre.  So, I sat down at a keyboard and attempted to come up with something interesting.  I will now analyze my own song and attempt to find out if I used elements of no.1 hit songs, consciously or not!

"Devil's Luck" by Steve Johnson Jr.

 The form is straight forward, cycling through verse, prechorus and chorus twice.  In lieu of a bridge, the drum groove, from the intro, sets up the outro.  There is a slight wrinkle in verse two, cut to four measures, from eight.  In the middle, there's an extra measure crammed in to create a psychedelic effect and paint the words "life in the bubble moving on the slow."

I used an old version of Garage Band and found the electric piano sound to set up the groove.  I performed the programmed drums, using the "Tight Studio Kit."  I also performed the guitar and bass parts. I included a few synth elements to get those swells and string pads as well.

Chord Progressions 

The verse and chorus are driven by a 4 measure progression, set up by the keyboard:

Verse/Chorus Progression

The key to the song is up for debate.  Having been enamored by songs like "Close To You," "Incomplete," "Magic" and others, I decided to have the key sound like one thing, but technically be something else.  To me, the tonal center sits in G minor:

i  iv / bvii iv  

The Fmin7 doesn't quite fit into that equation (usually major).  C minor may be more applicable and results in this:

v i / iv i

This is a little closer to "correct," but the minor v chord isn't quite "right" now (usually major).  In truth, I tapped into Eb major to draw out these chords, the true home for the Gmin7, Fmin7 and Cmin7:

iii  vi / ii vi  

The prechorus offers a little more insight with this progression:

Prechorus Progression

In the key of Eb, this part plays out to:

V  / I / V /IV / V / bIII / V / IV

in C minor, it works out to be:

bVII / III / bVII / bVI / bVII / bV / bVII / bVI

Calling it Cminor has a strong appeal:  Gb, the bV chord, or the "tritone," AKA "The Devil's Interval."  (Yes, I am reaching)

The outro contains a slight variation on the primary progression:

Outro Progression

v  III / III i in C minor - iii I / I vi  in Eb

So even though  I wrote it, I'm not technically sure how to label it.  G minor is certainly the tonal center, but the chords come from Eb major, the relative major of C minor.  

Melody

The chorus kicks things off, establishing melodic themes that will carry through in the verse and outro.

Chorus

The melody primarily uses G, F and Bb, occasionally making it up to C and D.  Most passages outline Gmin7, leaving out the 5th.  The syncopation on "devil's luck" and ""wind it up" will occur in various sections, as will the 16th note figures introduced here.

The verse occupies the same melodic space as the chorus, leaning a bit heavier on the Bb, as opposed to the G.

Verse 1

After analyzing Lady Gaga and Ariana Grande, I may have written this part differently.  The verse and chorus are too close in their melodic choices.  Rhythmically, the verse has less space and introduces some new 16th note syncopation.  I purposely included the "devil's play" line to be a callback to the chorus.  Retrospectively though, it seems too much of the same.  

The prechorus breaks away from the sameness with only major chords, juxtaposing the minor chords in the verse and chorus:

Prechorus

  

Starting on F, the melody descends to C, utilizing syncopation from previous sections, with more space.  The Gb6, the only non-diatonic chord, is highlighted with a slight shift to the Gb in the melody.  In the repeat of the prechorus, the entire melody includes lower harmony. 

The final section in the song is a big jam, repeating this line:

Outro

  

Again, call backs to previous melodies dominate the section, with a few new additions every 8 bars.  This entire part is accompanied by a noodling guitar solo and synth elements.  

Lyrics

I wrote the lyrics in response to the general state of the world - the pandemic, social unrest and the biblical nature of present day society as it may or may not relate to the end of days.  

Generally, my lyrics saunter to the impenetrable side and I tend to write with very vague and obscure hints as to what I really mean to say.  Partly, I like the possibility of multiple interpretations, even ones I did not necessarily intend....who likes being told what to think?  I prefer lyrics that let you interpret them based on your own perceptions. 

My lyrical spark was the phrase "luck of the Devil," which seemed appropriate when looking at our general situation.  After some consideration and tweaking, here's what I came up with:

"yo yo yo, dropping in from below, this piece is about to get lit up!"

Chorus:

Devil's luck, 

We be burning down an evil pablum

A bigger problem

Wind it up

A wall of wins and words, it won't stop em

No, won't stop em

Verse 1:

Sit back reach for the sky,

High is where the good ones always lie

Dig in deep with no regrets

Such a long time coming outta hedge the bets

It's all your call, so push away

A center stage seat at the end of the day

For the devil's play, no escape

It's bound to come soon, keep your mind awake

PreChorus 1:

Love, in a time and place

Goes to the empty space just below you

Love in yourself displaced

Long for a sweet embrace to take control

Chorus

Verse 2:

1,2; 9 months to go

Living in a bubble moving on the slow

All messed up, don't relate

The speed of life just pumped the brakes on

Prechorus 2:

Love, in a time and place

Goes to the empty space just below you

Love in yourself displaced

Long for the normal pace to take control

Chorus

Outro:

If we're gonna make it, we're gonna need the Devil's luck

There is a little variation from chorus to chorus, but those are the basic lyrics.  There are a few hidden Easter eggs I will crack open:

The opening spoken line, contributed by Lucifer himself, contains a very random reference...."light this piece up"...with "piece" referencing a wig....which would equate to a "flaming toupee," or perhaps more appropriately, "hell toupee"???

There are a few moments where you could interpret the lyrics to be a call to action or a call to be not sober...

"1,2; 9 months to go," - 1,2 starting a count and "9 month to go" referring to potentially how much more time we can expect in social distance society, is my birthday!  1-29. 

Themes and Lessons Learned

As mentioned, the chord progression is intentionally misleading.  I set out to string together chords that make you think and feel one thing that are technically something different.  I would say I accomplished that, for the most part, even if I'm not completely sure about it.  I did try to work in a more deliberate tritone sequence, but they all sounded too forced.  I'm glad the one I didn't force (Gb6) theoretically lines up!

A common thread of many songs analyzed was repeated melodic motifs.  As noted, I used small chunks from the chorus in just about every section.  I may have overdone this one.....  As a note to self, I did not write out this melody before I performed it.  In the future, I will probably write it out first and perform after.  I am adept at recognizing patterns visually.  When dealing with my own music, it's easier to see it instead of only hearing it.  My ears have a bias to my own creations...

A few easy elements I aimed for included having new material present at the end of the song, a hook that uses the song's title and the element of background singers.  I can check the box on all three of those!  Keeping step with common threads, the entire outro could be considered a lyrical refrain, as "devil's luck" happens quite frequently throughout the song.

In the future, I think I will compose when an actual idea inspires me.  I sat down to write this one with NOTHING, expect for a few compositional bullet points.  Because I have the luxury of no deadlines or quotas, waiting for a genuine idea, instead of forcing one out, would make the song feel more natural.  When I hear this song, it sounds forced.  I know I am trying to write music in a way I don't naturally migrate to.  

I did have some fun incorporating synth elements.  There are a few keyboard parts and drum patterns I added after the song was "finished."  I certainly have lots to learn and analyzing songs that rely so heavily on production is a great way to get there.  

I am, primarily, a performing musician that excels in a space where improvisation is encouraged and necessary.  If I ever perform this song live, I would be curious to see where it goes with other musicians playing.  The ending section is perfect for extended improvisation and I think the right group could have some fun with this one.  

I fully intend to go through this exercise again, firmly believing that at the very least, it's a great songwriting exercise.  If you feel inclined to leave me a comment, please do, I would love to hear from you.   Thanks for listening! 

"I Gotta Feeling" - Black Eyed Peas, 2009

The spring and summer of 2009 was a great time to be a Black Eyed Pea.  April 18th, "Boom Boom Pow" jumps from no.39 to no.1, an impressive feat to say the least.  "Boom Boom Pow" sits at no.1 for an impressive 12 weeks!  10 weeks into the run, the Black Eyed Peas debut another song on the charts, at no.2.....where two weeks later, it soars to no.1, for another 14 weeks!  Complete and total chart topping dominance!

July 11, 2009 to October 10, 2009 - "I Gotta A Feeling" by the Black Eyed Peas marks the second long running hit, in a row, for the group!

Will the song's popularity match its musical integrity?

In my last analysis, we explored the difference between a chorus and a refrain.  While both labels are often used interchangeably, there are some subtle differences.  Consider this:

The chorus contains the main idea, or big picture, of what is being expressed lyrically and musically. It is repeated throughout the song, and the melody and lyric rarely vary." A refrain is, "a repeated line or musical phrase that ties a song together...[1]

With the above definition in mind, I landed on the following:
"I've got a feeling..." is the chorus.  It accounts for the most real estate in the song and is the most developed musical section throughout.   While it could be considered the refrain, there are too many elements that make it more than that.

"Let's do it, and do it...." is the refrain.  Going with the above definition, this section repeats a musical phrase that does tie the verses together and flows into the chorus and bridge over the coarse of the song.

As in "Old Town Road," there are two strong hooks that repeat several times.  As I think about this conundrum with fresh ears, I am tempted to change my thoughts about refrain and chorus in my "Old Town Road" analysis.  In any case, it's somewhat ironic, that for the second analysis in a row, randomly selected for the date of its no.1 placement, ten years apart, that two songs have a similar form involving two repeated hooks that could be called either the chorus or refrain.

The form shines a light on this song's repetitious nature.  Every section, except for the outro (one sustained synth note and a "hoo hoo") is an 8 measures long.  Each 16 measure chorus section is really just a repeated 8 bars.  Verse 1 and Verse 3 are repeated verbatim.  The only two things that differentiate the sections are the lyrics (which repeat) and the arrangement of elements in the loop. 


Chord Progressions

There is a singular chord progression that runs throughout the entire song.  I / IV / vi / IV in the key of G: G / C / Emin / C.  It is, however, changed ever so slightly by harmonic nuances in the instrumental layers.  The keyboard/synth/string lines lays the foundation from beat 1:

Main Harmonic Theme

The Gsus chord previews the tonality that will happen in several sections, with the 4th resolving to the major 3rd.  8 bars into this, higher strings enter, introducing the A - G theme that will appear later, in the vocals.

Strings - m9 - 16

The guitar provides a percussive moving line that helps the momentum continue in the absence of the drums.  This line sticks to the chord roots.

Guitar Line - opening choruses 

The driving root motion is taken over by the bass and drums in the verses.  The synth sneaks in with a repeated G note on the upbeats, replacing the intro synth line's static G.

Drums and Bass Verse

Also in the verse, the chords are outlined by another synth playing on all the upbeats.  This line creates a few subtle suspensions: G6 over the G chord and Csus4 over C.  It then exploits the shared tones E and G of Emin and C.

Verse Accompaniment 

Another treatment to the base chord progression happens in the return of verse 1 and carries through to the bridge.  A new synth pattern outlines the chords.  This time though, there are no suspensions and notes stay within the chord tones.

Synth Development - V1(2x), V3(2x) and B 

As illustrated above, this song plays on idea of repetition with a few varied elements along the way.  Aside from the occasional suspension or rhythmic variation, the instrumental foundation of the entire song is unchanged.  Another way it staves off the ad nauseam effect is by varying the overall texture with the intensity of the drums.

The drums range from light and understated to full blown dance club to non existent.  One of the most interesting stretches in the song happens between verse 1 and the first refrain.  In these sections, there is silence interjected, which provides some nice moments of suspense.

Rhythmic Variance - V1 - R1

Notice how the 2 beats of silence gets moved around in various positions.  This is certainly a shining moment for me amidst the relentless unchanged harmonic progression.  I found an interesting summary of how this repetition stays varied, breaking down the additions and subtractions of each element. [2]

Melody

The chorus melody contains the hook of the song and provides the most melodic space in the song.  The opening line, starting on beat 3 in m16 of the intro, climbs up in 4ths and resolves down a half step to the major 3rd of G.  So far in this analysis, half step motion is a rare interval for catchy hooks.

Chorus Melody

As the melody progresses, the same phrase is repeated several times: "tonight's gonna be a good night," which descends the G major scale from the C or D notes each time, landing on G and returning to the E to start the next phrase on the "and of beat 3.  In summary: lots of ascending leaps of a -6 followed by descending motion to the root with more half step resolutions to the 3rd.

This melodic content was foreshadowed in the intro.  The primary synth part featured the half step resolution in the G chord.  The strings also foreshadow this "hoo hoo" vocal we hear the 2nd time though the 16 measure chorus (A - G).

As the song moves through the verses, the focus shifts to speaking in rhythm, the very definition of rap [3].   The rhythms stay consistent within the verses, save the last measure which lines up with the drum break.

Verse 1

Fergie takes verse 2, which is a completely different presentation than verse 1, only labeled verse due to its position in the song and the lack of later repetition.  Her sang melody offers a variation on the chorus melody.  Instead of focusing on the half step C-B, she goes after the E-D (supported in the upbeat accompaniment) before descending down the G major scale.  She then borrows from that upbeat synth accompaniment again, hanging out on G and E shared chord tones.

Verse 2

This verse is also a nice contrast to the first verse in its rhythmic construction.  She generally starts a beat later than will.i.am and her phrases are longer and more flowing.

After this nice melodic detour, we get another rap verse, almost rhythmically identical to verse 1.

verse 3

The verse ends with a shadow of the chorus, a descending scalar lick in G with that -6 leap up to C, which resolves to.....you guessed it, the B, down a half step, directly into the refrain.

Refrain

This refrain really exploits the half step resolutions, repeating them over and over before leading us back to the chorus.  There is one interesting moment, which might actually break the rule for "refrain," in "let's live it up."  This rhythmic hiccup breaks things up just enough before they get too tiresome...or does it?

The last section in the song with new melodic content comes in the bridge.  It starts with another rap section, this time with a new rhythmic structure that repeats twice.

Bridge - first 4 bars

The second half of the bridge returns to a sang melody, but keeps the rap feel by singing the repeated tonal center, G.  This part also features a half step resolution C to B, only in a new position.  Here, the resolution happens between beat 3 and 4, rhythmically unique to the rest of the tune!

Bridge - last 8

Musical Sticking Points

Apparently, people love predictability and repetition.  A theme of every song I have analyzed is its evolution.  I summarize it as "hearing the same thing without hearing the same thing."  Songs accomplish this in many ways: changing lyrics, changing melodies, adding or subtracting musical elements, key changes, etc.  Does "I Gotta Feeling" evolve?  In short, yes.

My longer answer is not so cut and dry.  While this song undoubtedly varies musical elements and textures from beginning to end, it leaves me unsatisfied.  I think I have listened to this song more than any other, for analysis purposes.  Maybe I was hoping to find something more, thinking "that can't be all that's happening?"  I definitely kept getting lost in sea of "let's do its," which forced a few extra listens.  In the end, this song's evolution just doesn't hold up for me.

I do like the variations of vocal delivery.  There's rap, there's a male and female lead and there's copious amounts of gang vocals and antagonistic echoes ("DRINK!").  All of those things keep the song moving and give each repeated section a slightly different feel.  There's a very rhythmic quality to the whole tune.  I wonder if any percussion ensembles have covered this one?

The "7 layer dip" approach to music certainly worked for the Peas in 2009.  I would love to see this tune laid out on a screen, color coded, to see the flow of what's added or taken away.  There are so many little layers popping up everywhere.  I didn't even mention the syncopated "feel" that happens every 4 measures through most of the song.  Gary Ewer has some similar thoughts in his thought provoking article from "Essential Secrets of Song Writing." [4]

Lyrics

"I Gotta Feeling" is a "good times" anthem.  I'm sure it has been featured in countless photo slideshows as the soundtrack for happy nostalgia.  It also works as a party song, conjuring up the idea of letting loose on the weekend.

All of that is well and good, but I have a slightly different take.  As I was listening close to a few sections, several times in a row, I felt like I was listening to some twisted hypnosis track.  "Let's do it, and do it, and do it and do it...."  The voices in my head start to say "do what will.i.am?"  "Party everyday?"  or do you want me to "jump off that sofa," or "burn the roof?"  Yes!  "burn the roof," and "we'll do it again, we'll do it, do it."  I'm just saying, if Ozzy Osbourne had come out with those lyrics in the 80's, there would have been a strings of arson and lots of lawsuits. I guess it's all about context and presentation.

Common Threads

After listening to "Old Town Road," I came up with some musical elements I suspected I might see moving forward.  After reviewing the list, "I Gotta Feeling" can claim these similarities:

• Male lead vocal
• Hook that  uses the title of the song
• Repeated melodic themes
• Singular repeated chord progression
• Texture changes

I'm certain, as with the last round of songs, that this list will evolve different elements will present themselves.

Final Takeaways
After listening several times to finish this analysis, I am confident that I never need to hear this tune again.  It's not that I dislike it or don't appreciate it....I've cracked its code and there's nothing new left to discover.  I could say the same thing about other song's I've analyzed, but their inherent ingenuity is far more interesting than "I Gotta Feeling."

As a funny aside, early on in this analysis as I was searching for information about this song, I erroneously referred to it as "I've Got A Feeling," which is a classic Beatles song.  As that search query kept appearing, it only served as salt in the wounds for what I would repeatedly endure.

What are your thoughts on "I Gotta Feeling?"  Does its singability and strong dance feel give its musical blandness a pass?  Leave me a comment!

Up next: July 31st through August 28th, 1999, a 5 week run at no.1, just when I thought I couldn't take any more pop...."Genie In A Bottle" by Christina Aguilera!  This one may be a guilty pleasure?  We'll see!

[1]https://music.stackexchange.com/questions/69616/what-is-the-difference-between-chorus-and-refrain

[2] https://ronannanor.wordpress.com/2014/10/01/song-analysis-i-gotta-feeling-black-eyed-peas/

[3] https://www.merriam-webster.com/dictionary/rap

[4] https://www.secretsofsongwriting.com/2009/09/22/why-the-black-eyed-peas-i-gotta-feeling-has-been-such-a-success/