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We Are Never Ever Getting Back Together Deconstructed
Skip to: Audio/Video At a Glance Song Overview Structural Analysis Music, Instrumentation & MTI Vocals, Lyrics & Harmonic Progression The Vocal Melody Top 10 Assessment Hit Factor Assessment Conclusion Songwriter/Producer Take Aways
Audio/Video Back to Top
At a Glance Back to Top
Artist: Taylor Swift Song/Album: We Are Never Ever Getting Back Together / Red Songwriters: Martin Sandberg (Max Martin), Johan Karl Schuster (Shellback), Taylor Swift Genre: Pop Sub Genre: Straight-Up Pop, Tinge of Country Length: 4:14 Structure: A-B-A-B-IB/VB-C-B Tempo: Mid (86 BPM) First Chorus: 0:39 (20% into the song) Intro Length: 0:06 Outro Length: 0:24 Electric vs. Acoustic: Combination Primary Instrumentation: Acoustic Guitar Lyrical Theme: Love/Relationships
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Title Occurences: We Are Never Ever Getting Back Together occurs 11 times within the song Primary Lyrical P.O.V: 1st & 2nd
Overview Back to Top
Released as the lead single from the much anticipated Red album, We Are Never Ever Getting Back Together saw Taylor Swift pairing up with two of today’s hottest Pop hitmakers, Max Martin and Shellback, with the aim of taking the success achieved on her previous album to new heights all the while solidifying her stature in the Modern Pop & Country genres.
Since its release, Never has topped the charts in three countries including the U.S. Hot 100, and has set numerous records including most digital sales in a week by a female artist (623,000) and reaching the top of the iTunes singles chart in the fastest time ever (50 minutes).
So – was it the “hype” and “curiosity factor” that accounted for Never’s record setting success or was it the song itself? Read on and find out!
Structural Analysis Back to Top
At-a-Glance
Section Length (Length of each individual section within the song)
I=Intro, V=Verse, Chr=Chorus, Turn=Turnaround, Brg=Bridge, IB=Instrumental Break
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We Are Never Ever Getting Back Together contains 18 individual sections within its framework, all of which are quite short in length (landing between 0:06 and 0:13).
Key points:
The song is very linear in nature, with each section landing at exactly 0:11 except for the intro, turn-around, break and second half of the outro. Notice that the break and second half of the outro are just one and two seconds longer, respectively.
The intro and turn-around are the shortest sections within the song, each landing at 0:06.
Notice that the first verse is comprised of two 0:11 stanzas, while the second verse is only one stanza long.
Notice that each full chorus is split into two halves, each landing at 0:11. The first half consists of the two “we are never ever getting back together” lines while the second half consists of the “you go talk to your friends…” followed by the “but we are never ever…” lines.
The full outro section is split into two halves as well (the pre-chorus/chorus combo “we…whoo oo oo oo” lines followed by the “you go talk to your friends…” lines, which is actually a complete reversion back to the second half of the chorus).
Timeline (Shows when each section hits within the timeline of the song)
Total Section Analysis (Total time consumed by each section and its percentage of the total song)
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There are eight FULL sections within Never’s framework, comprising 35% of the song’s total composition all the way down to just 3%. What’s interesting is that with the exception of a solo, Never contains just about every type of section that you could squeeze into a song. The result – the listener is provided with a good amount of “variety” that ultimately makes for a very engaging listening experience.
Key Points:
As you would expect, the three full chorus sections account for the vast majority of time within the song, comprising 35% of its total composition. That being said, we can look at it another way as well. Considering that the second half of the outro is technically a reversion back to the second half of the full chorus, we can also revise the chorus number to where it accounts for 41% of the song’s total composition.
Combined, the two verse sections account for the second most amount of time within the song, encompassing 17% of its total composition.
The outro, bridge and pre-chorus sections all encompass virtually the same amount of time (13%, 12% and 12% of the song, respectively).
As you would expect, the intro and turn-around take up the least amount of time within the song (3% each).
Now, let’s see how the sectional breakdown of We Are Never Ever Getting Back Together
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Intro
We Are Never Ever Getting Back Together: Comprises 3% of the total song.
Q2-2012 Average: Comprises 4% of the total song.
Comparison: Never’s intro is basically right in-line with the Q2-2012 average.
Verse
We Are Never Ever Getting Back Together: Comprises 17% of the total song.
Q2-2012 Average: Comprises 24% of the total song.
Comparison: 7% less time is allocated to Never’s verse compared to Q2’s average.
Pre-Chorus
We Are Never Ever Getting Back Together: Comprises 12% of the total song.
Q2-2012 Average: Comprises 12% of the total song.
Comparison: The amount of time dedicated to Never’s pre-chorus is right in line with the Q2 average.
Chorus
We Are Never Ever Getting Back Together: Comprises 35% of the total song.
Q2-2012 Average: Comprises 44% of the total song.
Comparison: 9% less time is allocated to Never’s chorus compared to Q2’s average.
Note: If you factor in the second half of the outro as mentioned earlier (which is a reversion back to the chorus), the gap shrinks to just a 3% difference (41% vs. 44%).
Bridge
We Are Never Ever Getting Back Together: Comprises 12% of the total song.
Q2-2012 Average: Comprises 13% of the total song.
Comparison: The amount of time dedicated to the bridge is right in line with Q2’s
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average.
Outro
We Are Never Ever Getting Back Together: Comprises 13% of the total song.
Q2-2012 Average: Comprises 9% of the total song.
Comparison: 4% more time is dedicated to Never’s outro than Q2’s average.
Note: If you remove the second half of the outro and consider it as part of the chorus as mentioned above, the gap shrinks to just 2% (7% vs. 9%).
Summary:
In-Line with Top 10 Pop Song Averages: The intro, pre-chorus and bridge.
Deviates from Top 10 Pop Song Averages: Never allocates less time to the verse and chorus sections while devoting more time to the outro than Q2-2012 averges.
Overall, you can see that We Are Never Ever Getting Back Together has a lot in common with the average top 10 Pop hit when it comes to the total time allocated to each section within the song. This was no doubt a direct result of the Max Martin / Shellback influence, especially considering that it’s their co-writes that usually land in the Pop Songs top 10!
Music, Instrumentation & MTI Back to Top
(Evaluation of the intensity of each section within the song timeline on a scale of 1 – 10, 10 being the most intense)
When we talk about a song’s MTI level, we’re referring to how fluctuations in momentum, tension and intensity levels are utilized in each section of the song.
MTI Level Key Points:
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There are four MTI level peaks within the song: Chorus 1, Chorus 2, the Instrumental/Vocal Break and the third Chorus through the Outro (once again, keep in mind that the second half of the Outro is a reversion back to the chorus).
There are three MTI level lulls within the song: The Intro, the Solo Vox/Turn-around coming out of Chorus 1 and the Bridge (plus the brief pause that follows).
Notice that the MTI level is immediately brought down directly following choruses one and two. Coming out of chorus 1, this is achieved by pulling the backing music out from under the “back together” vocal at the tail end followed by the low MTI level turn- around. Coming out of chorus 2, the backing music is pulled, but this time there’s a vocal harmony on the phrase “getting back together” coupled with a cymbal swell that leads into the Vox/Instrumental Break section that follows. Notice that the MTI level “lull” isn’t as pronounced the second time around.
Notice that each subsequent chorus section is a bit more intense than the preceding chorus. This is achieved through changes in overall level as well as additional instrumentation being added to the mix.
Notice that there are three MTI level platforms within full choruses one and two. The first platform occurs on the first two lines of the section (“we are never…”). The second platform (MTI level peak) occurs on the third line (“you go talk to your friends…”). Note that the increase in the MTI level is achieved via the more driving nature of the guitars and vocal delivery. The third platform occurs on the fourth line, where it reverts back to the same exact nature as the first two lines of the chorus as mentioned above. As for chorus three through the second-third of the outro, the MTI level is pretty much constant due to the driving nature of the backing music. The MTI level takes a dip during the final third of the section due to the reversion back to the nature that defined the first-third of choruses one and two.
Waveform
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Looking at the waveform graphic above, you can easily see how sonic levels and the use of compression vary throughout the song.
Sonic levels are at a minimum during the intro, turn-around, bridge, the transitional pause (occurring between the bridge and chorus) and during the solo vocal at the tail end of the song.
Sonic levels reach a peak during each chorus section as well as in the break and outro sections.
Notice how the level of the second verse is slightly above that of the first verse. Part of this has to do with the additional instrumentation that was added to the mix – specifically the bass. See the verse section “play by play” below for details.
Notice how the overall level of each subsequent chorus section increases in nature throughout the song (i.e. there’s less red and more black). The peak comes in the final chorus straight through the outro.
MUSIC & INSTRUMENTATION – PLAY BY PLAY
Note: The pan is represented on a scale from 9:00 to 3:00 (i.e. left to right, with 12:00 being right up the middle). Keep in mind that in most cases an instrument will bleed throughout the entire mix, but the pan depicted here represents its primary placement in the mix (i.e. where the level is most pronounced).
Intro (0:01 – 0:06)
Primary Instrumentation Featured In The Mix:
Acoustic Guitars (Up-front in the mix) 9:00-3:00
Never kicks off in a moderate/sparse fashion characterized by the acoustic guitars that span the entire mix coupled with the “guitar knock” perc and the subtle backward masking effects. Notice how the modern production techniques transform what you initially think will be a “typical” Taylor Swift acoustic natured vibe into modern Pop.
Additionally, notice that the intro is just 0:06 in length. It’s just long enough to hook you in and establish the vibe while short enough so that your attention doesn’t start to wander. It also transitions seamlessly into the first verse that follows considering that it’s part of the backing music that defines the section.
Transition Point– Intro into Verse 1: Quick low-level synth swell.
Verse-1 (0:06 – 0:28)
Primary Instrumentation Featured In The Mix:
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Acoustic Guitars (Mid/Up in the mix) 9:00 – 3:00
Kick Drum (Up-front in the mix) 12:00
Tambourine (Low-Level in the mix – works in tandem with the kick) 12:00
Once we hit the first stanza of the first verse, the first thing that you notice is that the MTI level has been increased over the intro via the addition of the up-front quarter note kick drum delivery coupled with Swift’s driving vocals. Additionally:
Notice that the nature of the acoustic guitars remains virtually the same as they were during the intro of the song.
The overall nature of the music remains pretty much constant throughout both stanzas, with the exception being the low-level tambourine that’s added to the mix during the second stanza. This provides some subtle differentiation between both stanzas.
Transition Point – Verse 1 into Pre-Chorus 1: Seamless transition – turns on a dime.
Pre-Chorus-1 (0:28 – 0:39)
Primary Instrumentation Featured In The Mix:
Acoustic Guitars (Low/mid level in the mix) 9:00 – 3:00
Kick Drum (Up-front in the mix – tighter/more compressed than the verse) 12:00
Tambourine (Low-Level in the mix – works in tandem with the kick) 12:00
Hats (Mid-level in the mix) 12:00
Bass (Mid-level in the mix) 12:00
“Airy” Synth Swell (Swells low to mid level in the mix at the tail end of the section) 12:00
The music that defines the pre-chorus is basically a continuation of that which defined the preceding verse plus two additions to the mix – the hats and the bass. Notice that both of these elements increase the drive / MTI level of the section, building the tension as we move toward the “payoff” of the chorus that follows.
Transition Point – Pre-Chorus 1 into Chorus 1: Airy synth swell at the tail end of the section.
Chorus-1 (0:39 – 1:01)
Primary Instrumentation Featured In The Mix:
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Acoustic Guitars (Mid/Up in the mix) 9:00 – 3:00
Kick Drum (Mid/Up in the mix) 12:00
Snare Drum (Electronic – sounds like a bright snare/clap hybrid – up front in the mix) 12:00
Tambourine (Low-Level in the mix – works in tandem with the kick) 12:00
Hats (Low/Mid-level in the mix) 12:00
Banjo (Low/mid level in the mix) 10:00
Bass (Mid-level in the mix) 12:00
Here is where we reach the first “payoff” within the song – releasing all of the tension that had been building up until this point. Note the following:
As mentioned earlier, the full chorus is divided into two halves. The first half consists of the two “we are never ever…” parts and the second half consists of the “you go talk to your friends…” part followed by another “we are never ever…” part.
Notice that the first half of the chorus differs from a drive standpoint from that which defined the preceding pre-chorus. This was primarily achieved by changing up the nature of the bass (it’s no longer “driving” in nature) plus the addition of the up-front bright snare/clap hybrid into the mix. The result – working in tandem with Swift’s vocals it provides the first half of the section with an “anthemic” vibe (think Queen’s We Will Rock You).
The first half of the section transitions into the second half via a brief low/mid level cymbal swell.
The second half of the section initially provides a subtle increase in the MTI level over the first half. This is primarily achieved via the nature of the acoustic guitars, which are now full-on “driving” as opposed to the more “stop/start” nature that defined the first half. This is then followed by a reversion back to the nature that defined the first half of the chorus, bringing the section full-circle.
Turn-Around (1:01 – 1:07)
Primary Instrumentation Featured In The Mix:
Acoustic Guitar (Mid/Up in the mix) 12:00
Kick Drum (Up-front in the mix) 12:00
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The turn-around “bridges” the first chorus and second verse.
Notice that the backing music is pulled at the tail end of the chorus out from under the phrase “getting back together.” This both puts a “period” on the section as well as reinforces the title in the listener’s head. This is a technique that Swift has utilized on some of her other hits including Speak Now and Mean.
The actual turn-around that follows is basically a reversion back to the nature of the first verse minus the lead vocal (except for the spoken “like…ever”). It basically “resets” the song, bringing the momentum down coming out of the chorus and providing a seamless transition into the second verse that follows (considering that the music of the turn-around is the backbone of the second verse).
Verse-2 (1:07 – 1:18)
Primary Instrumentation Featured In The Mix:
Acoustic Guitar (Mid/Up in the mix) 9:00 – 3:00
Kick Drum (Up-front in the mix) 12:00
Tambourine (Low-Level in the mix – works in tandem with the kick) 12:00
Bass (Mid-level in the mix) 12:00
Here in the second verse the nature of the backing music is right on par with that which defined the first verse EXCEPT for the fact that the section utilizes the “driving” bass from the pre- chorus coupled with the low-level tambourine. These two elements, (specifically the bass), is what differentiates both sections from a musical standpoint, as well as shifting the song into a subtly higher MTI level gear.
Transition Point – Verse 2 into Pre-Chorus 2: Seamless – turns on a dime.
Pre-Chorus-2 (1:18 – 1:29)
Overall, the nature of the second pre-chorus is virtually identical to that of the first. The primary difference lies in the vocal harmony that has been added to the mix.
Transition Point – Pre-Chorus 2 into Chorus 2: Low-level “airy” synth swell
Chorus-2 (1:29 – 1:51)
For the most part, the second chorus possesses all of the same qualities and characteristics that were indicative of the first chorus. The primary difference is that the overall levels are running a bit hotter, providing the section with a subtly more intense vibe.
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Transition Point – Chorus 2 into the Break: Low/Mid level cymbal swell.
Break (1:51 – 2:03)
Primary Instrumentation Featured In The Mix:
Acoustic Guitars (Mid/Up in the mix) 9:00 – 3:00
Kick Drum (Mid/Up in the mix) 12:00
Snare Drum (Electronic – sounds like a bright snare/clap hybrid – up front in the mix) 12:00
Tambourine (Low-Level in the mix – works in tandem with the kick) 12:00
Hats (Low/Mid-level in the mix) 12:00
Banjo (Low/mid level in the mix) 11:00
Bass (Mid-level in the mix) 12:00
Overall, the backing music of the break section is pretty much identical to the driving nature that defined the first part of the second half of the chorus as mentioned earlier (“you go talk to your friends…”).
Notice that the infectious “Oo, oo, oo, oo, oo” pre-chorus vocal is revisited in this section – further reinforcing it in the listener’s head.
Transition Point – Break into the Bridge: Low level “airy” reverse swell.
Bridge (2:03 – 2:25)
Primary Instrumentation Featured In The Mix:
Acoustic Guitars (Low to high filter sweep & increasing level) 9:00 – 3:00 (though they seem to start more up the middle and then branch out)
Kick Drum (Low to high filter sweep & increasing level) 12:00
Bass ( Low to high filter sweep & low/mid-level in the mix) 12:00
Cymbal Swell (At the tail end of the section – low to mid level) 12:00
As soon as we hit the bridge, the overall MTI level takes an initial dive brought about by the reversion back to the acoustic guitars, kick and bass. Notice that the backing music starts out filtered toward the low end of the spectrum and sweeps high as the section progresses (coupled
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Transition Point – Bridge into Chorus: The first thing that you’ll notice is the “warping meltdown” that occurs at the tail end of the bridge, bringing the music to a full stop. This does a great job of accentuating the last phrase of Swift’s spoken segment “…like ever.” This is then followed by a cymbal swell that leads directly into the chorus that follows.
Chorus-3 (2:25 – 2:47)
With the exception of the low-level synth pad that’s added into the mix during the second half of the section, the instrumentation utilized in the third chorus is virtually identical to that which defined the two previous chorus sections.
The primary difference between this chorus and the others is the fact that it’s more intense. The levels are running even hotter than they did during the second chorus (reference the waveform graphic), and the backing music really drives throughout the entire section (notice that there really isn’t any MTI level differentiation between the two halves from a backing music perspective this time around).
Transition Point – Chorus 3 into Outro: Very brief low level “airy” synth swell.
Outro (2:47 – 3:11)
Primary Instrumentation Featured In The Mix:
Acoustic Guitars (Mid/Up in the mix) 9:00 – 3:00
Kick Drum (Mid/Up in the mix) 12:00
Snare Drum (Electronic – sounds like a bright snare/clap hybrid – up front in the mix) 12:00
Tambourine (Low-Level in the mix – works in tandem with the kick) 12:00
Hats (Low/Mid-level in the mix) 12:00
Banjo (Mid level in the mix) 10:00 – 11:00
Bass (Mid-level in the mix) 12:00
Synth (Pad – low/mid level in the mix) 10:00 – 2:00
The backing music that defines the outro is basically just a continuation from that which defined the preceding chorus with the exception being that the synth pad is a bit higher up in the mix.
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There is a change-up during the second half, however, where during the “we are never ever…” part the music reverts back to the more “stop/start” acoustic guitar nature that defined the first half of choruses one and two.
Overall, as a whole the Outro is very effective in the sense that it combines two of the most infectious sections of the song under one roof – the “Oo, oo, oo, oo, oo” part of the pre- chorus and break sections with the overall nature of the chorus. Together, they end the song on an ultra-infectious, memorable high note.
End
The music is pulled at the tail end of the outro (chorus part), out from under Swift’s “back together” vocal. This is followed by Swift’s quick breath of air which then abruptly ends the song. Notice that this type of ending is right in line with the “false” endings which define the vast majority of hit Pop songs.
Vocals / Lyrics / Harmonic Progression Back to Top
Vocals:
Love or hate Taylor Swift’s vocal style, the one thing you must admit is that she has a vibe that’s all her own. The second you hear one of her songs, there’s no mistaking that voice for someone else.
That being said, let’s take a look at Swift’s vocals in We Are Never Ever Getting Back Together:
The first thing that you’ll notice is that there is virtually no COUNTRY vibe present in her vocal style within this song. The only two instances that resemble a tinge of MODERN Country reside in the way that she goes up in inflection on the lyric “together” which carries over from the second chorus into the break, and the vocal harmony that defines the first part of the second half of the third chorus (“you go talk to your friends talk to my friends talk to me”).
You can easily hear how she’s been “coached” vocally to exude more of a modern Pop vibe. For example, listen to how she sings the lyric “time” at the tail end of the pre- chorus. This is total Katy Perry. Additionally, listen to the manner in which she proclaims “no-ohhhh” at the tail end of the “spoken” section that leads into the third chorus. Once again, Katy Perry. Could this have something to do with Max Martin?!?!?
As far as conveying emotion through her vocals goes, well, there isn’t much. It seems that she’s so focused on nailing the overall melody (which she should be), that she forgets to instill emotion to accentuate the nature of the lyrics. Think about it. Take the lyrics “we are never ever ever getting back together,” for example. It’s a strong line in regard to the finality of one’s relationship. It should be a BIG deal, and conveyed as such. The problem is that she doesn’t sing it like she means it. Just think of how Pink
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or Kelly Clarkson would have HAMMERED that line home. That being said, the one place where she does instill a bit of emotion into her vocal occurs in the third chorus via the lyrics “you go TALK to your friends TALK to my friends…” Listen to how she emphasizes and instills some anger in the lyric “talk.” Unfortunately, though, that’s not the place that really needed it…
On the plus side, she DOES do a good job of singing the song in a “teen manner” that easily connects with the core demographic of her audience (girls in their teens to early twenties).
So – the bottom line is this – does the overall nature of Taylor Swift’s vocals suit the nature of the song? From an emotional standpoint (i.e. bringing the lyrical content to life), then no. From the standpoint of singing in a manner that connects with her core audience, then yes.
Song Title:
When gauging the effectiveness of a song’s title, there are a number of factors that you need to consider:
1. Is it unique? 2. Does it stand out? 3. Is it memorable? 4. Does it pique your interest enough to take a listen to the song? 5. How does it work within the lyrical framework of the song?
To answer the first question – is it unique – the answer is “kind of.” If the title were simply “we are never getting back together,” then it would be a resounding no, winding up as just another generic love/relationship break up themed title. However, by adding in the lyric “ever,” it provided the title with more power and a semi-unique spin. So in regard to the second and third questions – does it stand out and is it memorable? The answer to both of those questions would be yes based on the inclusion of just that one lyric.
In regard to the question “does it pique your interest enough to at least take a listen to the song,” it all depends on which demographic you’re looking at. The older you are, the less effective that title is going to be. This is because by adding in the lyric “ever,” it provides the title with a more “juvenile” connotation. Conversely, if you’re in your early to late teens, the title is going to be more apt to resonate because it’s more in line with the way that you might actually think and speak.
In regard to how the title works within the overall framework of the song, it perfectly sums up the overall premise of the story – the relationship wasn’t working, she put her foot down, and they’re never ever getting back together – like…ever.
Title Occurrences:
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We Are Never Ever Getting Back Together occurs 11 times within the song in three individual sections (chorus, bridge and outro) with some slight variations (i.e. the number of “ever” occurrences).
Note that the actual title “we are never ever getting back together” never occurs within the song. This is because “ever” is never stated just once. It’s used two or three times depending on the section of the song.
The title appears on three out of four lines in all three full chorus sections.
We are never ever ever getting back together (two “evers”) encompasses the first two lines of each full chorus section.
We are never ever ever ever getting back together (three “evers”) encompasses the last line of each full chorus section.
The title occurs again in the outro during the reversion back to the second half of the chorus, and ends on the title phrase.
A variation of the title also occurs during the spoken part of the bridge section (“like we’re never getting back together, like ever”).
Story Flow, Meaning & Timeline:
Verse-1
First Stanza (THE PAST) Here Swift is reflecting on the past – specifically the first time that they broke up. In a nutshell, they haven’t seen each other for a while (a month), so she tells him that she can’t take it anymore. His response is that he needs “space,” which completely seems to floor her considering what she just said about them not spending enough time together. This is then followed by Taylor’s perplexed lyric “what?” which completely sums up the nature of the stanza.
Overall, the first stanza immediately sets the scene and establishes the tone for the sections that follow within the song.
Second Stanza (THE PRESENT & PAST) The second stanza follows a predictable course of action that occurs after the breakup of a relationship.
After him “screwing up” the relationship as depicted in the first stanza, he then comes back around on the first two lines of the second stanza where he says that he misses her and swears that he’s gonna change. The gravity of this is then heightened by the inclusion of one key word at the tail end of the second line – “trust me.”
The last two lines of the stanza revert back to Swift’s point-of-view, where she counters him
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Pre-Chorus-1 & 2: (THE PAST & PRESENT) There are only two lines within the pre-chorus, both of which perfectly set-up the chorus that follows:
“We called it off again last night.” The meaning of this is simple – they broke up, AGAIN.
“This time, I’m telling you, I’m telling you” This phrase sets in motion the finality of the relationship from her perspective that culminates in the content of the chorus that follows. Notice how this line also acts like a lyrical “cliffhanger.” “This time, I’m telling you…” Telling WHAT? You find out in the chorus that follows. It builds the tension from a lyrical standpoint.
Chorus 1, 2 & 3 (THE PRESENT & FUTURE) Here in the chorus we get the lyrical “payoff” of what the story had been building toward throughout the preceding verse and pre-chorus sections. Three out of four lines (one, two and four) possess basically the same lyrical content that needs no interpretation: “We are never ever ever (ever) getting back together.” So for him coming around saying that he misses her and swearing that he’s going to change, it doesn’t matter. Her mind is completely made up. This is all that’s stated on the first two lines of the section.
She then proceeds to reinforce this fact on the third and fourth lines where she states “you go talk to your friends talk to my friends talk to me, BUT we are never, ever, ever, ever getting back together.” This basically means that he can go through what ever channels he wants in order to try and get the message back to her that they should make up and get back together, but it’s NOT GOING TO HAPPEN. This is even further reinforced by adding in the third “ever” (as opposed to the two that were used on the first two lines of the section.
*Note – the line “We are never ever…” is in the present. The line “you go talk to your friends…” infers a potential future action.
Verse-2 (THE PAST) Here we delve back into past, revisiting the nature of their fights. Notice the sarcasm that occurs within the section:
“I’m really gonna miss you picking fights…”
“…find your piece of mind with some indie record that’s much cooler than mine.”
It seems that she’s inferring that he didn’t take her songwriting all that seriously, or he
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Also notice how that one line breaks away from the universal nature of the lyrics that defines the vast majority of the song. That specific line relates directly to Taylor Swift via the referral to her music.
Bridge (THE PAST) The first two (sung) lines of the bridge take the story in a completely different direction, hearkening back to the past when she felt differently about the relationship:
“I used to think, that we were forever, ever”
“And I used to say, never say never.”
This is then followed by the spoken section where she takes a complete 180, making her feelings once again 100% clear:
She’s having a conversation with someone in regard to him calling her up, saying “I love you.” She follows this by stating that it’s “exhausting” (i.e. they’ve been through this many times before), and she reiterates the overall premise of the entire song, the fact that they are never getting back together, like ever. (Note the clever placement switch on the lyric “ever”).
Lyrics / Harmonic Progression / Word & Syllable Count:
Key (*): Indicates a chord that occurs before the beginning of the line Blue Font On Lyric: Indicates where the chord change takes place (Parenthesis): Indicates a chord that carries over from the previous line
Verse-1
1st Stanza
Csus2 / G5 (9 words / 11 syllables) I remember when we broke up, the first time
Dsus4 / Em (9 words / 12 syllables) Saying this is it, I’ve had enough, because like
Csus2 / G5 (8 words / 9 syllables) We hadn’t seen each other in a month,
Dsus4 / Em (7 words / 8 syllables) When you, said you, needed space, what?
2nd Stanza
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Csus2 / G5 (7 words / 9 syllables) Then you come around again and say,
Dsus4 / Em (12 words / 14 syllables) Baby, I miss you and I swear I’m gonna change, trust me
Csus2 / G5 (7 words / 10 syllables) Remember how that lasted for a day,
Dsus4 / Em (14 words / 14 syllables) I say, I hate you, we break up, you call me, I love you
Pre-Chorus
Csus2 / G5/ Dsus4 / Em (12 words / 13 syllables) Oo, oo, oo, oo, oo we called it off again last night
Csus2 / G5/ Dsus4 / Em (14 words / 16 syllables) But Oo, oo, oo, oo, oo, this time I’m telling you, I’m telling you
Chorus
Csus2 / G5/ Dsus4 / Em / D(add4) (8 words / 14 syllables) We are never ever ever getting back together
Csus2 / G5/ Dsus4 / Em / D(add4) (8 words / 14 syllables) We are never ever ever getting back together
Csus2 / G/ Dsus4 / Em (13 words / 13 syllables) You go talk to your friends talk to my friends talk to me
(D(add4)) / Csus2 / G/ Dsus4 / Csus2 (10 words / 17 syllables) But we are never ever ever ever getting back together
(G5) / Dsus4 / (Em) (2 words / 3 syllables) Like ever…
Verse-2
Csus2 / G5 (7 words / 10 syllables) I’m really gonna miss you picking fights,
Dsus4 / Em (9 words / 11 syllables) And me, falling for it screaming that I’m right,
Csus2 / G5 (11 words / 12 syllables)
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And you, would hide away and find your piece of mind,
Dsus4 / Em (9 words / 12 syllables) With some, indie record that’s much cooler than mine
Bridge
Csus2 / G / Dsus4 / Em (9 words / 12 syllables) I used to think, that we, were forever ever ever
Csus2 / G / Dsus4 / Em (8 words / 10 syllables) And I used to say, never say never
(Csus2) / G (12 words / 12 syllables) So he calls me up and he’s like, I still love you
Dsus4 / Em / Csus2 (10 words / 12 syllables) And I’m like, I’m just…this is exhausting, you know
G / Csus2 (8 words / 12 syllables) Like we’re never getting back together, like ever
LYRIC TYPES This section highlights the types of lyrics and phrases used throughout each section of the song. Notice that some of the lyrics and phrases appear in more than one category.
Imagery, Place & Time Based Lyrics & Phrases: (These lyrics “paint a picture” in your head and establish the place and time within the story)
Verse 1
I remember when we broke up the first time (TIME)
We haven’t seen each other in a month (TIME)
Then you come around again and say (PLACE)
Remember how that lasted for a day (TIME)
Verse 2:
And you would hide away and find your piece of mind (INFERRING A PLACE)
With some Indie record that’s much cooler than mine (IMAGERY – OBJECT)
Pre-Chorus
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We called it off again last night (TIME)
This time I’m telling you, I’m telling you (TIME)
Chorus
We are never ever ever getting back together (TIME)
Bridge:
I used to think, that we, were forever ever ever (TIME)
Like we’re never getting back together, like ever (TIME)
Emotional Based Lyrics and Phrases: (These lyrics and phrases convey emotion –either directly or indirectly- enabling you to connect with what the characters are feeling or going through on an emotional level within the story
Note that pretty much every line of the song directly conveys or infers emotion.
Verse 1:
I remember when we broke up, the first time
Saying this is it, I’ve had enough, because like
When you, said you, needed space, what?
Baby, I miss you and I swear I’m gonna change, trust me
I say, I hate you, we break up, you call me, I love you
Verse 2:
I’m really gonna miss you picking fights,
And me, falling for it screaming that I’m right,
And you, would hide away and find your piece of mind…
Pre-Chorus
We called it off again last night.
Chorus
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We are never ever ever (ever) getting back together (even though this line doesn’t directly indicate a specific emotion, you can still infer what it’s all about).
Bridge:
I used to think, that we, were forever ever ever (infers love in an indirect manner)
And I used to say, never say never (infers hope)
So he calls me up and he’s like, I still love you
And I’m like, I’m just…this is exhausting, you know
Like we’re never getting back together, like ever (reference the chorus)
Action Based Lyrics & Phrases: (These lyrics get you into what the characters within the story have done, are doing or will do)
Verse 1: It’s all about conversational action.
I remember when we broke up the first time
Saying this is it, I’ve had enough,
When you, said you, needed space, what?
Then you come around again and say
Baby, I miss you and I swear I’m gonna change, trust me
I say, I hate you, we break up, you call me, I love you
Verse 2:
I’m really gonna miss you picking fights
and me, falling for it screaming that I’m right
Pre-Chorus
we called it off again last night
this time I’m telling you, I’m telling you
Chorus
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You go talk to your friends talk to my friends talk to me
Bridge:
I used to think, that we, were forever ever ever
And I used to say never say never
So he calls me up and he’s like, I still love you
Character/Person Based Lyrics & Phrases (Including Pronouns): (These lyrics show how all of the characters within the story are defined)
*Notice that there is never a mention of a specific name throughout the entire song. If there was, the song wouldn’t be universal in nature anymore.
Verse 1:
I remember when we broke up, the first time
Saying this is it, I’ve had enough, because like
We haven’t seen each other in a month,
When you, said you, needed space, what?
Then you come around again and say,
Baby, I miss you and I swear I’m gonna change, trust me
Remember how that lasted for a day, I say,
I hate you, we break up, you call me, I love you
Verse 2:
I’m really gonna miss you picking fights,
And me, falling for it screaming that I’m right,
And you, would hide away and find your piece of mind,
With some, indie record that’s much cooler than mine
Pre-Chorus
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Ooh, ooh, ooh, ooh, ooh we called it off again last night
But Ooh, ooh, ooh, ooh, ooh, this time I’m telling you, I’m telling you
Chorus
We are never ever ever getting back together
We are never ever ever getting back together
You go talk to your friends talk to my friends talk to me
But we are never ever ever ever getting back together
Bridge:
I used to think, that we, were forever ever ever
And I used to say, never say never
So he calls me up and he’s like, I still love you
And I’m like, I’m just…this is exhausting, you know
The Vocal Melody Back to Top
By far the strongest aspect of We Are Never Ever Getting Back Together lies in the vocal melody. Each section is equally as infectious and memorable from a melodic standpoint. The result – the song AS A WHOLE is memorable – not just specific parts.
There were three key factors that went into making the vocal melody so effective:
Repetition
In-line repetition: (e.g. “you go talk / to your friends talk / to my friends talk…)
Line to Line repetition: (e.g. “Oo, oo, oo, oo, oo” occurs on both lines in the bridge and “we are never ever getting back together” which occurs on three out of the four lines in the chorus).
Sectional repetition: (each occurrence of the verse, pre-chorus and chorus are pretty much carbon copies of one another from a vocal melody standpoint).
Simplicity
In both the flow of the progressions as well as the vocal melody range. The result – it’s
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easy to sing along to as well as easy to remember.
Clever Phrasing
The manner in which certain lyrics and phrases are sung: (e.g. the entire verse, the lyric “we” in the chorus, as well as the phrase “never, ever, ever” in the chorus). The clever nature of the phrasing both adds “color” and enables each section to “pop.”
Also notice the manner in which most lines are broken up in order to make them more memorable in nature (e.g. “I remember when we broke up, the first time” in the verse and “Oo, oo, oo, oo, oo, we called it off again last night” in the pre-chorus). Think of it like trying to remember a phone number. By breaking it up into shorter segments, it’s easier to remember and as a result gets engrained in your head.
GRAPHICAL KEY
Blue Line: Lead Vocal Melody Red Diamond: Rest Black Diamond: Half & Dotted Half Blue Diamond: Quarter & Dotted Quarter Green Diamond: Eighth & Dotted Eighth Yellow Diamond: Sixteenth Note
Verse 1:
First Stanza
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Second Stanza
Line Reference: Verse 1 1st Stanza Line 1: I remember when we broke up, the first time Line 2: Saying this is it, I’ve had enough, because like Line 3: We haven’t seen each other in a month, Line 4: When you, said you, needed space, what?
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2nd Stanza Line 5: Then you come around again and say, Line 6: Baby, I miss you and I swear I’m gonna change, trust me Line 7: Remember how that lasted for a day, Line 8: I say, I hate you, we break up, you call me, I love you
Vocal Range High: D Low: G
Overall, the vocal melody that defines both verse sections of the song is exceptionally infectious and memorable. Even if you can’t remember the lyrics, I guarantee that the melody gets completely stuck in your head and is hard to shake once it’s in there. This is primarily due to the following factors:
The overall progression of each line is simplistic in nature, encompasses a limited vocal range (making it easy to sing along to) and utilizes a good amount of repetition.
The first three lines of each stanza are broken into two distinct segments. That along with the repetition heightens the overall memorability factor. See below for details.
Additionally, notice that the manner in which the lines are broken up from a phrasing standpoint. They don’t necessarily jibe with how the lines should flow from a lyrical standpoint in all cases. It’s quite clever, however, and puts a unique spin on the section. For example, take the second verse:
The way it’s phrased: Line 1: I’m really gonna miss you picking fights, and me Line 2: Falling for it screaming that I’m right, and you Line 3: Would hide away and find your piece of mind, with some Line 4: Indie record that’s much cooler than mine
The way it should read from a lyrical standpoint: Line 1: I’m really gonna miss you picking fights, Line 2: And me falling for it screaming that I’m right, Line 3: And you would hide away and find your piece of mind, Line 4: With some indie record that’s much cooler than mine
So – from a lyrical standpoint “and me,” “and you,” and “with some” should technically be kicking off each line. The manner in which those lyrics are phrased, however, does a much better job of concluding the line than kicking it off.
You can also think of the last two lyrics on each line acting as sort of a “cliffhanger,” leading you into the line that follows.
Key Points:
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Note the similar nature of the vocal melody on lines 1, 2 & 3 (first stanza) and lines 5, 6 &7 (second stanza).
The monotone (D) delivery that kicks off each line.
The D to B descents and B to D ascents that occur after the monotone D delivery.
The last line in each stanza, (lines four and eight), deviate from the flow that defined the preceding three lines. They do, however, encompass the same general vibe considering the usage of the D – B progression that for the most part concludes each of the first three lines of each stanza.
Phrases with the same color are similar in nature from a melodic progression standpoint:
Line 1: I remember when we broke up, the first time Line 2: Saying this is it, I’ve had enough, because like Line 3: We haven’t seen each other in a month, Line 4: When you, said you, needed space, what?
Line 5: Then you come around again and say, baby Line 6: I miss you and I swear I’m gonna change, trust me Line 7: Remember how that lasted for a day, I say Line 8: I hate you, we break up, you call me, I love you
Note that the same general progression occurs in the second verse as well, though not depicted in the graphs above:
Line 1: I’m really gonna miss you picking fights, and me Line 2: Falling for it screaming that I’m right, and you Line 3: Would hide away and find your piece of mind, with some *Line 4: Indie record that’s much cooler than mine
*Notice that line four deviates from all of the other lines in the sense that it basically spoken in a monotone delivery. This enables the line to really stand out amongst the others (and considering the nature of the lyrics as mentioned earlier, it should).
Pre-Chorus:
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Line Reference Line 1: Oo oooo oo oo, We called it off again last night Line 2: But oo oo oo oo oo, This time, I’m telling you I’m telling you
Vocal Range High: D Low: F
Key Points:
Each line is broken into two segments (“oo, oo, oo” followed by the lyrics). This helps to make the full line easier to remember (think of it in the same manner as you remember a telephone number).
The tying factor between both lines is the “oo…oo, oo, oo, oo” phrase. It’s sung in the same exact manner both times around and is exceptionally infectious.
The second phrase on each line differs from one another, however, they’re both sung in a simplistic manner that’s both engaging and memorable.
Chorus:
First Half
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Second Half
Line Reference Line 1: We are never ever ever getting back together Line 2: We are never ever ever getting back together Line 3: You go talk to your friends talk to my friends talk to me Line 4: But we are never ever ever ever getting back together
Vocal Range High: D Low: D
What makes the vocal melody so effective?
Melodic Repetition On Each Line
Notice the manner in which “never, ever, ever” is sung on lines one, two and four. It always follows a B – A – B – A progression. The result- that phrase completely gets stuck in your head.
Notice the manner in which line three (the only NON “never, ever, ever” line) is broken up. With the exception of the last two lyrics on the line (“to me,” which follows an A – G progression to conclude the line), each of the three segments follow virtually the same progression: F – G – G / D – F – G – G / D – F – G – G (“You go talk / to your friends / talk to my friends”). Again, the simplicity and “phone number chunking” aspect of the line makes it exceptionally easy to remember.
Melodic Repetition Across Lines
With the exception of a couple of minor differences, lines one, two and four are sung in the same exact manner (note that the lyrics are identical as well except for the lyric
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“but” that kicks off the fourth line).
Clever Phrasing
As was the case with line 3 (“you go talk…”), lines one, two and four were also split into three segments, doing a fantastic job of accentuating the memorability factor of the section: We are never ever ever getting back together. Notice the manner in which the lyrics “ne-ver, ev-er ev-er” are sung. By providing each syllable with different timing, (sixteenth followed by an eighth note), it enables those lyrics to really stand out in relation to the “stable timing” provided by the backing music.
The primary differentiating factor between lines one and two/three is the manner in which the lyric “we” is sung. On line one “we” is sung in the key of B, possessing a quarter note value followed by an eighth reset. On lines two and three, “we” is stretched over a B – D progression, possessing a quarter note / eighth note value. Notice that this change-up added just enough diversity between lines one and two so that they didn’t get overly monotonous, and also acts as a melodic “magic moment” in the sense of how it really makes the line, and the section as a whole stand out.
Bridge:
Line Reference Sung: Line 1: I used to think, that we, were forever ever ever Line 2: And I used to say, never say never
Spoken: Line 1: So he calls me up and he’s like, I still love you Line 2: And i’m like, i’m just…this is exhausting, you know Line 3: Like we’re never getting back together, like ever
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Vocal Range High: D Low: D
Key Points:
As was the case with the pre-chorus and chorus, each sung line of the bridge is “chuncked” into segments, making them much easier to remember:
I used to think / that we / were forever ever ever
And I used to say / never say never
Notice that the first half of each line, “I used to think” and “I used to say,” are sung in the same exact manner, following a G – G – D – B progression and possess the same timing as well.
Even though the second half of each line differs in nature from one another, there is a similarity in the manner in which “ev-er” on the first line and “nev-er” on the second line are sung. They both follow a B – A progression. This similarity (repetition) once again heightens the memorability factor of the line, and the section as a whole.
Additionally, notice how the G – D – B progression on the lyrics “used to say” and “used to think” does a great job of adding “color” to the melody, especially by the jump up to D.
Top 10 Assessment Back to Top
Benchmark Analysis Compares We Are Never Ever Getting Back Together to the 23 songs that landed in the Billboard Pop Songs top 10 during Q2-2012.
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All of the compositional characteristics and attributes present in We Are Never Ever Getting Back Together are in line with Q2-2012 top 10 Pop hits EXCEPT:
It follows an A-B-A-B-C-B form EXCEPT for the fact that it has a vocal/instrumental break section occurring right before the bridge.
It’s 0:32 shorter than the average song length of a top 10 Pop hit.
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It contains an outro where most top 10 hit Pop songs don’t. That being said, the outro is basically a play on the chorus theme.
Never primarily features acoustic guitar in the mix, where the majority of top charting Pop hits feature a solid mix of instrumentation (i.e. synth + guitar).
It utilizes a combination of acoustic and electric based instrumentation where the majority of top 10 Pop hits are purely electric in nature.
Even though the song contains a mix of primary sub-genre influences which is in line with most top 10 Pop hits, Country isn’t usually one of them (actually, she’s pretty much the only one).
A&R Hit Factors Back to Top
Artist Career & “Celebrity” Factor: 9/10 (Celebrity), 3/10 (Career) Does the song have what it takes to launch and keep this artist in the public spotlight?
As far as the celebrity factor goes, Never did a great job of launching Swift back into the limelight (as if she ever really left), and has further accentuated the buzz around her upcoming album, Red.
As far as Swift’s career goes, was this the right song and direction for her to take at this point? I would have to say no. As mentioned before, she had a real opportunity to come up with something that pushed the boundaries of Country and Pop (and whatever other genre she wanted) beyond what anyone else had done in the past. With such a song, she could have solidified her position as a true star that might acquire that rare commodity in today’s music industry – LONGEVITY.
Instead, it looks like she opted for what she thought would be a sure thing – to team up with two of today’s hottest writers and producers (Martin and Shellback) and craft an infectious Pop hit that would be sure to hit the top of the charts, which it did. The problem, and I’ll say it again, is that it’s just one of the pack. There’s nothing overtly special about it.
So instead of differentiating herself and carving out her own niche within the modern Pop and Country genres where she could really shine, she instead opted to compete with the likes of Britney and Perry.
The public doesn’t need another Britney or Perry. Let’s see what the rest of the album is like, and whether the other songs will help take her career to the next level or wind up stagnating it.
Originality Factor – The Song Itself: 5/10 Does the song push genre boundaries and possess a unique nature or have you heard it all before?
There are two primary factors (influences) that need to be considered while evaluating the
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The Taylor Swift factor
The Max Martin/Shellback factor
On one side of the coin we have Swift, who on her previous albums wrote her own music and embraced a combination of Country, Straight-Up Pop and Rock. On the flip side we have Max Martin and Shellback, who have co-written and produced hits for a who’s who of today’s hit Pop artists including Katy Perry, Britney Spears and P!nk.
You would think that by putting Taylor Swift into a co-writing session with Martin and Shellback that you would wind up with something completely unique that pushes the boundaries of Modern Country and Pop to new limits as mentioned before. Unfortunately, that was not to be the case.
The Martin/Shellback influence won out, and what you wound up with is a straight-up Pop song with a tinge of Country that has Swift trying harder to emulate Katy Perry than stay true to her own unique nature that enabled her to become a star in the first place. The song wound up as being just “one of the bunch.”
Originality Factor – Current Pop Genre: 4/10 Does this song have its own unique vibe when compared to other songs/artists in the current genre?
We need to look at this in two ways:
As far as the melody and overall vibe of the song goes, there isn’t anything that’s overtly original going on that enables it to really stand out from the pack in the Pop genre. You’ve heard it all before in the artists that Max Martin and Shellback have written/produced for.
From an instrumental standpoint, it DOES stand out from the pack. Very rarely do you hear of an upbeat acoustic guitar driven song reaching the top of today’s Pop chart. So in that regard, Never does have an original vibe amongst its peers.
Overall, however, as mentioned earlier, The Martin/Shellback influence has the song blending in more than standing out.
The “Controversy” Factor: 8.5/10 Are there any social aspects surrounding the release of the song or within the song itself that could help increase its visibility, reach and success potential?
There were two “controversy” factors (if you want to call it that) that helped to accentuate the visibility and reach of the song:
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The “who was this song written about” factor.
The “Taylor teams up with Max and Shellback” factor.
It’s not news that Taylor Swift LOVES to sing about her relationships. So when she releases a song with a title that states “We are never ever getting back together” without naming names, people have a field day with trying to figure out who the song is about. Is it John Mayer? Joe Jonas? Taylor Lautner? Or how about Jake Gyllenhaal? It’s a great marketing ploy, and it does a great job of keeping the song in the spotlight. Additionally, so as to make sure that the “curiosity” factor doesn’t fizzle out, Swift stated that she will be providing a clue in her lyric book in late October, 2012. Stay tuned…
Now, maybe not as intriguing as who the song was written about, the fact that Swift teamed up with two of today’s top Pop hitmakers for a co-write definitely raised the curiosity factor to see what the team would churn out. Unlike who the song was written about, this factor ceased to be as soon as the song was released.
The Demographic Reach Factor: 7/10 Is this a song that’s pigeonholed in one gender/age bracket or does it have mass reach?
The core demographic target for this song is early to late teen girls. That being said, the infectious nature of the song coupled with the universal “breakup” themed lyrics can easily translate into an older woman demographic, but probably not much above late 20’s / early 30’s. I think that it’s safe to say that this song would not be as appealing to men – especially in regard to the lyrics!
The “Holly Sh*t – You Gotta Hear This NOW” Factor: 10/10 (Curiosity) 2/10 (Song) Is this a song where someone would instantly call up their friend and say “drop what you’re doing – you gotta listen to this – NOW!!!”
You can look at this question in one of two ways. In regard to satiating curiosity and her fan’s longing for a new Taylor Swift single, then absolutely yes. The initial sales figures proved it.
Now, looking at this strictly from a song perspective, the answer would be no. It’s a good, well crafted, infectious Pop song, nothing more, nothing less. It doesn’t push any boundaries, chart new territory or top what you currently hear on the radio, however. It’s “one of the bunch.”
The “Multiple Listen” Factor: 4/10 (Alone) 9/10 (Right Atmosphere) Is this song engaging enough to warrant repeat listens?
As far as listening on your OWN just for the sake of LISTENING, Never is a song that will start to wear on you after repeat listens. Yes, it’s infectious and fun, but there’s really nothing past that that you can really “sink your teeth into” – specifically in regard to emotion (from a vocal or backing music standpoint). It doesn’t connect on a deep level.
That being said, for a teen girl who wants to break up or just broke up with her boyfriend, the
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Now, in a public setting, be it background music at a party or a club or seeing Swift perform it live in concert, it will no doubt succeed no matter how many times you’ve heard it (considering that you’re a fan of the song in the first place). It’s infectious, fun, upbeat and easy to sing along to.
The “Human Emotion” Factor: 4/10 Does this song exude a vibe that enables the listener to connect on a deep, emotional, HUMAN level?
Not really. Swift traded much of the raw emotion that defined her previous album for straight-up Pop gloss. The result – you don’t really connect on an emotional level with what she’s trying to convey via the lyrics. Now, if Pink or Kelly Clarkson were singing the chorus “We are never ever ever getting back together”, I guarantee you that you would and KNOW FOR A FACT that they’re never ever getting back together.
When Swift sings it, it sounds like she’s just going through the motions – concentrating more on getting the melody right than putting any real personality into her delivery.
Memorability Factor- LYRICS: 8/10 How easy is it to remember the song’s lyrics?
It all depends on which section you’re looking at. The verse sections are the most wordy, and as a result are the least memorable (you’ll most likely remember parts after repeat listens, but not the entire section).
On the other hand, the pre-chorus, bridge and especially the chorus are exceptionally memorable in nature from a lyrical standpoint. Why?
The pre-chorus consists of only two lines, half of which is the “oo, oo, oo, oo, oo” part. The second half of each line (“we broke it off again last night” and “this time, I’m telling you I’m telling you”) are both quite “simplistic” in nature, making them easy to remember.
The bridge also consists of just two lines which are simplistic in nature as well.
Regarding the chorus, three out of four lines possess virtually the same lyrical content (“we are never ever, ever, (ever) getting back together”). The third line of the section, as was the case in the bridge and pre-chorus, is simplistic and broken up into individual segments, making it very easy to remember (“you go talk / to your friends talk to my friends talk to me”).
*Remember that it’s the nature of the vocal melody coupled with how lines are broken up (remember – phone numbers) that greatly helps to get those lyrics engrained in your head.
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Memorability Factor – MELODY: 9/10 How easy is it to remember the song’s melody? Is each section of the song just as memorable?
You may or may not remember the lyrics, but you’ll definitely remember the vocal melody. It’s is equally as strong and infectious in each section of the song. This is primarily due to the abundant use of repetition coupled with simplicity and segmenting as mentioned earlier in the report.
Longevity Factor – Artist: 7/10 Will this song become a staple of the artist’s repertoire and catalog?
It depends. If Swift chooses NOT to pursue a “pure Pop direction” with the majority of her future output, then Never will serve as a defining moment of the experiment within the scope of her career and as a result live on. If she does compose more straight-ahead Pop oriented songs, it’s a toss-up whether this one will survive depending on how many and how good the future hits are (i.e. will it get “buried”).
Longevity Factor – Genre: 2/10 Does this song have what it takes to stand the test of time and rank amongst the all-time greats?
Never is a fun, infectious well crafted Pop song with universal “breakup” themed lyrics – nothing more, nothing less. Does it have what it takes to hold up against timeless classics? Unfortunately not.
Conclusion Back to Top
Now that we have thoroughly explored We Are Never Ever Getting Back Together, let’s review the core PRO’s and CON’S of the song:
PROS
It’s exceptionally well structured. Sections are short and turn over frequently, doing a great job of keeping the listener engaged throughout the song.
It makes good use of MTI level fluctuations throughout the song, further accentuating the engagement factor.
Never is exceptionally memorable, both on a melodic and lyrical level (especially where it counts the most – in the chorus).
The chorus provides the listener with an exceptionally strong payoff – melodically and lyrically.
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The song ends in a strong manner via the outro, combining elements of the pre-chorus and chorus to make for an exceptionally infectious section.
It’s very well produced.
Swift’s “teen” vocal style heightens the potential of the song connecting with her core target audience – teen girls.
The title “We Are Never Ever Getting Back Together” is unique just enough so that it stands out and is memorable in nature. This was achieved via one lyric – “ever.” Additionally, the title is constantly reinforced in the listeners head via the fact that it occurs eleven times throughout the song in three individual sections.
The lyrics for the most part are universal in nature and will appeal to any girl (specifically on the younger side) that is going through or has gone through the breakup of a relationship.
The conversational lyrics make good use of action and emotion to engage the listener in the storyline throughout the song, even though very little imagery is utilized.
The vocal melody is equally as infectious and memorable in each section of the song. This was achieved primarily through repetition, overall simplicity and clever phrasing.
Never possesses many of the core traits found in current top charting hit Pop songs including a short intro, a first chorus that hits early within the song, an almost straight-up A-B-A-B-C-B form (plus the break), and a Love/Relationship lyrical theme.
Never stands out from most other current top-charting Pop songs in the sense that it’s an acoustically driven Teen Pop song with a tinge of Country.
The “who was this song written about” factor played a solid role in accentuating the buzz around the song.
The overall nature of the song is perfectly suited for its core target audience – teen girls.
The song did a great job of accentuating the buzz around Swift’s forthcoming album, Red.
CONS
For the most part, Swift failed to convey emotion through her vocals, which was most glaringly apparent in the chorus (where it counts the most). The result is that you don’t “buy into” what she’s singing about. The lyrics, and the song in general would have connected on a much deeper level if she “sang it like she meant it.”
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With the exception of a few lines (e.g. “…hide away and find your piece of mind with some indie record that’s much cooler than mine”), the lyrics are generic and not particularly interesting or clever (keep in mind, again, who the target audience is).
After the massive success of her previous album, Speak Now, Swift decided to play it safe rather than push the envelope, enlisting Pop hitmakers Max Martin and Shellback to help her craft a song that would be destined to reach the top of the charts. It did, but it came with a price. The song comes across as being just “one of the bunch.” There’s nothing overtly special or unique about it.
So, as you can see, the sheer number of PRO’s far outweigh the CON’s. However, does the gravity of the CON’s outweigh the PRO’s?
The bottom line is this:
We Are Never Ever Getting Back Together is exceptionally well crafted on all fronts and is perfectly suited to connect with its intended core target audience – young teen through mid- twenty year old girls. Yes, her vocals for the most part lack emotion, but does it really matter? The song was meant to be fun, infectious and entertaining, which it is, and judging by the initial sales figures, it succeeded.
Keep in mind that you need to look at a song in the right context in order to effectively judge it’s potential. If you’re comparing it to evocative, drama filled songs like Fleetwood Mac’s The Chain or Adele’s Rolling In The Deep, then of course you’re going to say that it’s “shallow and frivolous.” It’s all relative.
Now, the ultimate question is this – after the massive success of Speak Now, did Never take what Swift achieved on that album to the next level, solidifying her stance as a groundbreaking artist who will stand the test of time? I think that you would have to agree that the answer is a resounding no. As mentioned before, she played it safe – pure and simple. There isn’t anything overtly special about the song and it didn’t chart new ground. The result is that with THIS song, she’s just “one of the bunch” – competing with the likes of Britney Spears, Carly Rae Jepsen and Katy Perry for a slice of the Teen Pop pie.
So, even though Never is a hit in the short run, it could be the start of a stagnated career for Swift in the long run if the rest album doesn’t push the boundaries of modern Pop and Country. She needs to solidify her position as a unique star, and the only way to do that is by cutting groundbreaking songs. We Are Never Ever Getting Back Together unfortunately was not one of those songs.
Songwriter/Producer Take Aways Back to Top
Melody
If your goal is to craft mainstream Pop songs with hit potential, then if nothing else remember this – KEEP IT SIMPLE (K.I.S.S.)! Remember, your song needs to instantly
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connect with the listener, keep them engaged and coming back for more. If your melody is too complex and they have to “work” to get into it, then your chances of success in the mainstream will be slim to none. This is an area where Never greatly succeeded.
Use the “phone number” principal while crafting your song in order to make the melody more “digestible” and memorable. This is done by “chunking” a line into segments. For example, take the third line of Never’s chorus. As a whole, it’s very wordy. However, by “chunking” it into segments, it enables the line to come across in an engaging, memorable manner: You go talk / to your friends talk / to my friends / talk to me. This was achieved by varying the timing on certain lyrics (i.e. an eighth note followed by a sixteenth followed by an eighth).
MTI Levels (Momentum, Tension, Intensity)
A lull in MTI level gives listener a “breather” following a more intense section, and serves to “reset” the song, so to speak. In the case of Never, MTI lulls occurred during the turn-around coming out of chorus 1, and in the bridge. The intro also possessed a low MTI level due to its sparse nature.
MTI level peaks occur when you want to maximize the excitement and intensity level of a section, usually in the chorus or bridge. In the case of Never, the MTI levels peaked in all three chorus sections (payoffs), the break section as well as in the outro.
A great way to subtly increase the intensity/excitement factor as the song progresses is to increase the overall levels and add additional instrumentation into the mix in certain sections. For example, the second verse was differentiated from the first verse primarily by adding the bass from the pre-chorus into the mix, which also served to increase the drive of the song. Additionally, each subsequent chorus section was more intense than the preceding, peaking in the third chorus through the majority of the outro.
Lyrics & Song Title
Keeping your lyrics as universal in nature as possible will maximize the potential reach of the song (as well as open it up to an array of licensing opportunities). Aside from just a handful of lines, Never’s lyrics are completely universal in nature.
Lyrics don’t necessarily need to have deep meaning to be effective. Actually, they don’t need to have any meaning at all if sung with a really infectious melody. Reference the “oo, oo, oo, oo, oo” part of the pre-chorus, break and outro section for a great example.
Lyrical “cliffhangers” area great way to lead the listener from one section of the song to the next. In the case of Never, the last line of the pre-chorus acts as a “cliffhanger,” resolving in the chorus that follows (i.e. “this time, I’m telling you, I’m telling you…” followed by the chorus “We are never ever ever getting back together”).
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Putting a unique or clever spin on your song’s title will enable it to stand out from the pack and aid in garnering interest. In the case of We Are Never Ever Getting Back Together, it was one just word – ever – that gave it that unique spin. Without it, it would have wound up being just another generic love/relationship breakup themed title.
The more frequently you use the title within the song, the greater the memorability factor. We Are Never Ever Getting Back Together (with fluctuating “ever” counts) occurs eleven times within the song, in three individual sections (chorus, bridge and outro).
Vocals
It’s of paramount importance to instill emotion into your vocals so that the lyrics, and the entire song for that matter, connect on a deep, emotional level. This is one of the key areas where Never failed to deliver. Swift didn’t sing it like she meant it. That being said, as discussed within the report, this was probably not the end of the world considering who her core target demographic is – teen girls. The lyrics and nature of the melody probably supersede deep emotion for that demographic based on the overall nature of the song. You should still sing with emotion, though!!!
Make sure that your vocal style connects with your target demographic. This is an area where Never succeeds, with Swift singing in a teen style manner.
Hybrid Sections
If you really want to create an infectious section, try combining the most infectious elements of two sections into one, as was done in Never. In this case, the outro incorporated elements of both the chorus and the “oo, oo, oo, oo, oo” segment of the pre-chorus under one roof, before reverting back to the chorus to end the song.
Memorability
Probably the most effective way to foster memorability within your song besides having an ultra-infectious melody is to use copious amounts of repetition throughout the song. Never utilized in-line, line to line as well as sectional repetition to aid in getting the song completely stuck in the listener’s head.
Blue Line: Lead Vocal Melody Red Line: Harmony Vocal Melody Red Diamond: Rest Black Diamond: Half & Dotted Half Blue Diamond: Quarter & Dotted Quarter
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Green Diamond: Eighth note Yellow Diamond: Sixteenth Note
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