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Blow Me (One Last Kiss) Deconstructed
Skip to: Audio/Video At a Glance Song Overview Structural Analysis Music & MTI Lyrics & Harmonic Progression The Vocal Melody Primary Instrumentation, Tone & Mix Compositional Assessment A&R Assessment Why it’s a Hit Songwriter/Producer Take Aways
Audio/Video Back to Top
At a Glance Back to Top
Artist: Pink Song/Album: Blow Me One Last Kiss / The Truth About Love Songwriters: Gregory Allen Kurstin, Alecia B.Moore Producer: Greg Kurstin Genre: Pop Sub Genre: Pop/Rock, Dance Length: 4:14 Structure: A-B-A-B-C-B Tempo: Mid/Up (114 BPM) First Chorus: 0:47 (19% into the song) Intro Length: 0:13 Outro Length: 0:17 Electric vs. Acoustic: Electric
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Primary Instrumentation: Synth, Electric Guitar Lyrical Theme: Love/Relationships, Inspirational Title Occurrences: “Blow Me (One Last Kiss)” occurs 14 times within the song Primary Lyrical P.O.V: 1st & 2nd
Overview Back to Top Written by Pink and Greg Kurstin, Blow Me (One Last Kiss) was the first single released from the forthcoming album, The Truth About Love, and proves that Pink hasn’t lost a step since her previous top-charting hits, Raise Your Glass and F**kn’ Perfect. Amongst the core characteristics and attributes that made this song a top-charting hit include:
An Exceptionally Clever Title “Blow Me (One Last Kiss).“ It’s evocative, grabs your attention and piques your interest to at least take a listen to the song. Translated it means “f**k you – goodbye!” Above all, it’s 100% “Pink” in nature.
Evocative Lyrics The song is emotionally charged, utilizing imagery and scathing lyrics to convey the hurt, animosity and moving on nature of the story, all the while conveyed in a purely “Pink” manner.
Familiarity The lead guitar melody is a lift from Modest Mouse’s “Float On,” the intro possesses a Blondie “Rapture” and “Heart Of Glass” vibe, and the overall nature of the song has a lot in common with Kelly Clarkson’s “Stronger” thanks to Greg Kurstin (who co-wrote both songs). That being said, Pink is a strong enough artist where she is able to take a generally unoriginal song, put her own unique stamp on it and make it all her own.
Strong Payoffs The listener is provided with two exceptionally strong payoffs within the chorus. The first occurs during the powerful chorus-A section (“I think I’ve finally had enough…”, and the second occurs when Pink takes the intensity level to a rousing peak during the “just when it can’t get worse” portion before taking the listener back to where it all began to end the full section.
Vocal Melody Repetition There’s abundant repetition in Pink’s vocal melody, both in individual lines as well as from section to section, doing a fantastic job of getting the song totally engrained in the listener’s head.
Non-Repetitive Lyrics With the exception of the chorus, each section of the song (including the three pre-chorus sections) has different lyrical content. The plus is that it provides the song with increased lyrical scope and depth. The negative is that it makes the lyrics harder to remember (less repetition). Note that most top charting songs utilize the same lyrical content in each pre-chorus section, and most only have two pre-chorus occurrences within the song.
It’s All About The Chorus
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Not surprisingly, the vast majority of time within the song (47%) is allocated to that super- infectious, memorable and powerful chorus. This is followed far behind by the pre-chorus, which accounts for just 20% of the song’s total composition.
Memorability By Melody Blow Me (One Last Kiss) is a very “wordy” song, coupled with the fact that the lyrical content differs in each section of the song except for the chorus as mentioned earlier. It’s the repetitive nature of the melody that comes to the rescue, providing the song with its memorable nature. You might not remember all of the lyrics, but you can still hum the melody to each section of the song.
Super-Strong Vocals It’s Pink who really brings this song to life and gives it it’s character. Her vocals are exceptionally powerful and she exudes her “Pinkness” throughout.
MTI Fluctuations Blow Me (One Last Kiss) makes great use of fluctuations in MTI (momentum, tension and intensity) levels throughout the song, providing the listener with a very engaging listening experience. For example, notice how the backing music drops out from underneath Pink’s vocals right before the chorus hits, briefly decreasing the MTI level to provide it with greatly increased punch and impact when it slams in.
A Bridge Or An Interlude? Most people would agree that a “proper” bridge provides both a melodic and lyrical departure from the rest of the song. Melodically, the vocal “la la la’s” are different than any other section within the song (though the nature of the backing music is similar). Lyrically, except for the phrase “blow me one last kiss,” there aren’t any “real” lyrics, just “la la la’s.” That being said, the nature in which Pink SINGS the “la la la’s” coneys the feeling of joy and lightness, which in its own way conveys meaning – just not through proper words. So, is it a bridge or an “interlude?” I would have to lean toward bridge.
The Outro/Chorus Combo The outro is a technically a play on the chorus, utilizing “la, la la’s” instead of “proper” lyrics to convey the chorus-A melody. This is then followed by the reversion back to the proper vocal chorus-B section to conclude the song.
Structural Analysis Back to Top
At-a-Glance
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Section Length (Length of each individual section within the song)
I=Intro, V=Verse, Chr=Chorus, Turn=Turnaround, Brg=Bridge
Blow Me (One Last Kiss) contains 16 individual sections within its framework, all of which are short to moderate in length.
Key points to note:
All but three sections land at exactly 0:17. The exceptions are the intro (0:13), the turnaround (0:04) and the bridge (0:16).
Notice that each of the three full chorus sections are actually 0:34 in length, comprised of two individual 0:17 segments (Chorus A & B). The final chorus within the song, (4-B), consists of just one 0:17 segment.
The frequent changeover of sections does a great job of aiding to keep the listener engaged throughout the song. By constantly providing them with something new entering the mix, there’s no time to get “bored.”
Timeline (Shows when each section hits within the timeline of the song)
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Total Section Analysis (Total time consumed by each section and its percentage of the total song)
As you can clearly see in the graph above, the vast majority of time within the song (47%) is devoted to the ultra-infectious, powerful payoff of the chorus. This is followed far behind by the pre-chorus (comprising 20%) and the verse (comprising just 13% of the song).
Let’s see how the sectional breakdown of Blow Me (One Last Kiss) stacks up against the average of the 23 songs that landed in the Billboard Pop Songs top 10 during Q2-2012:
Intro
Blow Me (One Last Kiss): Comprises 5% of the total song.
Q2-2012 Average: Comprises 4% of the total song.
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Comparison: Blow Me’s Intro is basically right in-line with the average for top 10 hits during Q2-2012.
Verse
Blow Me (One Last Kiss): Comprises 13% of the total song.
Q2-2012 Average: Comprises 24% of the total song.
Comparison: The amount of time that Blow Me allocates to the verse sections of the song is just about half that of the average top 10 Pop hit. This is primarily due to the greater amount of time dedicated to the pre-chorus.
Pre-Chorus
Blow Me (One Last Kiss): Comprises 20% of the total song.
Q2-2012 Average: Comprises 12% of the total song.
Comparison: Significantly more time is allocated to Blow Me’s Pre-Chorus than the average for Q2 top 10 Pop hits. This is primarily due to Blow Me containing three pre- chorus sections while the majority of other top 10 hits only contain two (remember that Blow Me utilizes a third pre-chorus right after the bridge).
Chorus
Blow Me (One Last Kiss): Comprises 47% of the total song.
Q2-2012 Average: Comprises 44% of the total song.
Comparison: Blow Me allocates 3% more time to the chorus than the average for top 10 Pop hits.
Bridge
Blow Me (One Last Kiss): Comprises 6% of the total song.
Q2-2012 Average: Comprises 13% of the total song.
Comparison: The amount of time that Blow Me allocates to the bridge is basically half that of the average for top 10 Pop hits.
Outro
Blow Me (One Last Kiss): Comprises 7% of the total song.
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Q2-2012 Average: Comprises 9% of the total song.
Comparison: The amount of time allocated to Blow Me’s Outro is just 2% less than the average for top 10 Pop hits.
Summary:
In-Line with Pop Song Averages: Blow Me’s Intro, Chorus and Outro are basically in- line with the average for Q2-2012 top 10 Pop hits.
Deviates from Pop Song Averages: Blow Me allocates significantly less time to the Bridge and the Verse while devoting more time to the Pre-Chorus than the average for top 10 Pop hits during Q2-2012.
Music & MTI (Momentum/Tension/Intensity) 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)
One of the core strengths of Blow Me (One Last Kiss) is the manner in which fluctuations in MTI (momentum/tension/intensity) levels are utilized throughout the song to provide the listener with an exceptionally engaging listening experience. This is all done while maintaining a cohesive flow throughout the song (i.e. all of the sections mesh perfectly with one-another – nothing seems out of place).
Additionally, the nature of the backing music (Pop/Rock and Dance) jibes perfectly with Pink’s vocals in each section of the song, doing a fantastic job of accentuating the emotional nature of the lyrics.
Intro (0:01 – 0:13) Blow Me (One Last Kiss) kicks off with an “airy” synth swell coupled with background electric guitar (that’s very low in the mix), lasting for 0:05 before slamming into the “full band” Pop/Rock/Dance portion of the intro. Notice that the core melody is basically a direct lift from Modest Mouse’s “Float On,” while the overall vibe has a lot in common with Blondie’s
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“Rapture” and “Heart Of Glass.”
Transition Point– Intro into Verse 1: A quick snare fill at the tail end of the intro leads into the verse.
Verse-1 (0:13 – 0:30) As soon as we hit the first verse, the MTI level drops off specifically due to the change-up in the instrumentation utilized within the section. Notice the music is primarily defined by the up-front kick and “warping” synth which filters toward the treble end of the spectrum and increases in level as the section progresses. As for Pink’s vocal delivery, it’s more subdued in relation to other sections of the song.
Transition Point – Verse 1 into Pre-Chorus 1: Seamless transition led by single snare hit at the tail end of the verse.
Pre-Chorus-1 (0:30 – 0:47) Once we hit the pre-chorus, the MTI level jumps back up due to the following reasons:
The addition of the snare and hats into the mix gets the momentum cooking, while the more up-front bass adds increased power to the section. The sound is rounded out by the low-level electric guitar.
Pinks more intense, driving vocals coupled with the higher-register vocal harmony increases the overall intensity factor of the section.
The overall MTI level remains basically constant throughout the section up until the tail end where we begin the transition into the chorus.
Transition Point – Pre-Chorus 1 into Chorus 1: There are two key factors that prep the listener for the chorus coming out of the pre-chorus.
First, the “airy” synth swell that enters into the mix around the lyric “nothing” and peaks right on the lyric “I” increases the overall tension. (Note that this technique is used in the majority of mainstream Pop songs).
Once the swell peaks, it abruptly cuts off (as does all of the backing music) and what we’re left with is a solo Pink/harmony vocal on the lyrics “let go.” By pulling the music out from under the vocal, it provides the chorus with greatly increased “punch” when it hits.
Chorus-1-A & B (0:47 – 1:21) The first part of the chorus slams in on a dime from the preceding transition point as mentioned above, possessing both a Dance and a Pop/Rock vibe. The overall MTI level is thrust way up primarily due to the “wall of synths” that dominate the mix coupled with Pink’s powerful, driving vocal delivery and the up-front Rock/Dance natured drums. Notice that the snare is further up in the mix than the preceding sections and is also brighter in nature in order to cut through the
8 / 47 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com dense wall of synths.
The second part of the chorus (“just when it can’t get worse…”) initially takes the MTI level of the song to its peak primarily due to the nature of Pink’s vocals. Here her harmonies reach their highest register in the song, which result in the intensity reaching a crescendo. The second half of this section reverts back to the first half of the chorus, resulting in the MTI level dropping down a notch (again, primarily due to the nature of Pink’s vocals).
Turn-Around (1:21 – 1:25) Once we hit the lyric “kiss” at the tail end of the preceding chorus, all of the backing music is pulled except for the electric guitar melody that defined the intro of the song. This is then followed by the “airy” synth swell once again which peaks right as the second verse hits.
Verse-2 (1:25 – 1:42) Here in the second verse the backing music is changed-up over that which defined the first verse. Basically, the section is utilizing the instrumentation that defined first pre-chorus (synths, electric guitar, up-front bass, snare and hats in addition to the kick from the first verse). The result is that the second verse kicks the song into a higher gear with increased momentum.
Transition Point – Verse 2 into Pre-Chorus 2: A low/mid level synth swell enters at the tail end of the verse (carrying over into the following pre-chorus) coupled with a quick snare fill.
Pre-Chorus-2 (1:42 – 1:59) The nature of the second pre-chorus is basically the same as that which defined the first pre- chorus of the song. The result is that the MTI level jump that we saw from the first verse to the first pre-chorus isn’t as pronounced the second time around. Notice that it’s Pink’s delivery that provides the increased intensity – not the backing music.
Transition Point – Pre-Chorus 2 into Chorus 2: It’s basically the same as the transition from the first pre-chorus into the first chorus as described earlier.
Chorus-2-A & B (1:59 – 2:33) For the most part, the second chorus possesses all of the same qualities and characteristics as the first chorus occurrence within the song.
Transition Point – Chorus 2 into the Bridge: There’s a low level swell that enters during the tail end of the chorus, but other than that it changes on a dime.
Bridge (2:33 – 2:49) Once we hit the bridge, the overall MTI level drops off for the following reasons:
The “wall of synths” have been pulled from the mix.
The snare is a lot less brash, bright and up-front as it was in the preceding chorus. The result is that the intensity is taken down a notch.
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The nature of Pink’s vocals are a lot more “care free” and light in nature (i.e. the “la la la’s”) as opposed to the preceding chorus.
Notice that the dance vibe is still in effect (primarily thanks to the drums) but the overall vibe is much lighter in nature.
Transition Point – Bridge into Pre-Chorus: The snare drum fill at the tail end of the bridge leads into the following pre-chorus.
Pre-Chorus-3 (2:49 – 3:06) The overall nature of the third pre-chorus is in line with that of the first two pre-chorus occurrences except for the fact that it’s more intense. This is primarily due to the electric guitar and bass being more prominent in the mix coupled with Pink’s slightly more intense vocal delivery.
Transition Point – Pre-Chorus-3 into Chorus 3: The characteristics of the transition are basically in line with that of the first two occurrences except for the fact that the backing music is pulled a bit earlier out from under Pink’s vocals (“will all be crystal clear“).
Chorus-3-A & B (3:06 – 3:40) The overall characteristics are in line with that of the previous chorus occurrences except for the fact that some of the higher-register harmony vocals (specifically on “blow me one last kiss”) stretch out a bit and provide the section with subtly increased diversity and intensity.
Transition Point – Chorus 3 into Outro: The quick snare fill at the tail end of the chorus leads into the outro.
Outro (3:40 – 3:57) With the exception of Pinks vocals (which convey the chorus melody with “la la la’s”) the backing music remains virtually the same as that which defined the preceding chorus. The result is that the overall MTI level remains pretty much constant.
Chorus-4-B (3:57 – 4:14) Here the MTI level reaches one final peak during the first half of the section before being brought down a bit during the second half. Note that chorus 4B is pretty much identical in nature to all of the previous chorus-B sections.
End The song ends abruptly with the music being pulled out from under Pink’s vocal on the lyric “kiss.”
MTI Level Recap:
MTI Increase: Intro into Verse-1
MTI Increase: Verse-1 into Pre-Chorus-1
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MTI Increase: Pre-Chorus-1 into Chorus-1-A
MTI Increase: Chorus 1-A into Chorus-1-B
MTI Decrease: First half of Chorus-1-B into the second half of Chorus-1-B
MTI Decrease: Chorus 1-B into the Turn-Around
MTI Increase: Turn-Around into Verse-2
MTI Increase: Verse-2 into Pre-Chorus-2
MTI Increase: Pre-Chorus-2 into Chorus 2-A
MTI Increase: Chorus 2-A into Chorus 2-B
MTI Decrease: First half of Chorus-2-B into the second half of Chorus-2-B
MTI Decrease: Chorus-2-B into the Bridge
MTI Increase: Bridge into Pre-Chorus-3
MTI Increase: Pre-Chorus-3 into Chorus-3-A
MTI Increase: Chorus-3-A into Chorus-3-B
MTI Decrease: First half of Chorus-3-B into the second half of Chorus-3-B
MTI Constant: Chorus-3-B into the Outro
MTI Increase: Outro into Chorus-4-B
MTI Decrease: First half of Chorus-4-B into the second half of Chorus-4-B
Vocals / Lyrics / Harmonic Progression Back to Top
Vocals
Above all else, what really brings Blow Me (One Last Kiss) to life and gives the song its character is Pink herself.
First and foremost, Pink has her own unique style. The second you hear that voice and delivery style, there’s no mistaking her, or the song, for someone else. The result – even though elements of the song don’t necessary come across as groundbreaking or original, Pink makes it all her own and easily stands out amongst others in the genre.
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Even though her vocals are processed, she still does a great job of conveying emotion because she sings it like she means it. You never get the sense that she’s just “going through the motions.” She’s putting everything that she has into her delivery, and the result is that the song snaps to life.
The lead vocal harmonies that occur throughout most of the song both provide it with a unique character while also doing a fantastic job of accentuating the emotional nature of the lyrics. Just listen to the high-register harmonies that occur in the chorus-B sections (“just when it can’t get worse…”) Talk about taking the intensity to the next level!
Song Title
In today’s mainstream Pop scene, some song titles are generic (Where Have You Been, Good Feeling), some are clever and pique your interest (Call Me Maybe, Payphone), and some are exceptionally powerful and evocative (Set Fire To The Rain). Blow Me (One Last Kiss) is by far one of the most clever, engaging and powerful song titles out there today for the following reasons:
It’s Powerful and Evocative “Blow Me.” You don’t get much more direct and powerful than that.
It’s Clever Even though the phrase “One Last Kiss” follows “Blow Me,” you still know EXACTLY what Pink is eluding to (after all, it’s a Pink song). This is further made apparent by the fact that “One Last Kiss” is in parenthesis (i.e. it’s not the primary focus of the title).
Put both of these phrases together and you get a dual meaning title that translates from “Pinkanese” to “F**k you – goodbye!”
It Instantly Lets You Know What The Song Is About All it takes is one look at the title to know exactly what the lyrical theme of the song is about (i.e. the breakup of a relationship gone bad). The title both conveys the animosity that Pink feels toward this person (“blow me”) and the fact that she wants this guy out of her life (“blow me one last kiss”).
Title Occurrences: Blow Me (One Last Kiss) occurs14 times within the song in three individual sections (chorus, bridge and outro).
Twice in chorus-A (2nd and 4th lines)
Once in chorus-B (the last line/phrase of the section)
Twice in the bridge
Twice in the outro
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Last line of the chorus that concludes the song after the outro
STORY FLOW, MEANING & TIMELINE:
OVERVIEW Blow Me (One Last Kiss) is a love/relationship themed breakup song with inspirational overtones conveyed in a purely “Pink” manner– edgy, biting, direct and ultimate. Notice that each section of the song except for the chorus possesses different lyrical content. This is even the case with the pre-chorus, which is usually uniform from section to section in top charting Pop songs.
Verse-1 (THE PRESENT) Here in the first verse we instantly find out that there’s tension and anger in the air, conveyed through imagery laden lyrics like “white knuckles,” “sweaty palms,” “clenched shut jaw” and “headache.”
We also get our first glimpse into the fact that Pink is getting ready to let this relationship go. This is brought to light in the first line, “White knuckles and sweaty palms from hanging on too tight.” Meaning – “hanging on” to this relationship is causing nothing but tension and angst.
*Note: There is never any direct mention of a relationship in the first verse. We assume it, based on the title of the song.
Pre-Chorus-1: (THE PAST & PRESENT) The first pre-chorus possesses two meanings:
The first two lines of the section reinforce the emotional toll that the relationship has taken on Pink (“eyes on fire and they burn from all the tears” and I’ve been crying, I’ve been dying over you”). Notice how the degree of hurt is taken to the ultimate level, conveyed through the phrase “dying over you.” It doesn’t get much more intense than that.
The last two lines of the section convey the fact that she was trying to hold on to the relationship. The problem was that there wasn’t a reason for her to stay in the relationship any longer (conveyed via “but there’s nothing to grasp”). We then learn that she decides to end the relationship (conveyed via “so I let go”).
*Note: It’s not until the second line of the section that we directly learn for the first time that all of this is pertaining to a relationship. This is brought to light via just one lyric – “you.”
**Notice how the last line of the section “but there’s nothing to grasp so I let go” sets up the breakup premise of the chorus that follows.
Chorus (THE PRESENT) Here’s the biting breakup section of the song conveyed in a purely “Pink” manner. Notice that there are two individual segments that comprise the full chorus section – the “I think I’ve finally had enough…” segment that is comprised of two stanzas, and the “just when it can’t get
13 / 47 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com worse…” segment that is also split into two stanzas.
Segment 1 (Chorus-A) The first stanza details Pink coming to the realization that she can’t take it anymore (“I think I’ve finally had enough”), that she’s been over thinking whether to stay or not (“I think I maybe think too much”) and that it’s probably time to call the relationship quits (“I think this might be it for us”). The stanza ends with the ultimate resolution – “blow me one last kiss,” which as mentioned earlier when translated from Pinkanese means “F**k you – goodbye!”
The second stanza gets into some conversational fighting, both conveyed by Pink: “YOU THINK I’m just too serious,” “I THINK you’re full of shit.” The third line, “my head is spinning so” reinforces the fact that all of this chaos is driving her nuts, and the fourth line once again reiterates the bottom line “blow me one last kiss.”
Segment 2 (Chorus-B) The first stanza is 100% pure “Pink” in nature. Notice that it doesn’t really have anything to do with the nature of the relationship, but instead describes something that her audience (or anyone, for that matter) can connect with. “Just when it can’t get worse, I’ve/you/we’ve had a shit day.” Basically she’s saying “when it rains, it pours.” This was very clever of her to include as it furthers the connection between her and the listener (she comes across as one of “them”). We’ve all experienced it.
The first line in the second stanza brings us back into the relationship where she’s basically saying that there’s no point in wasting any more time (“I think that life’s too short for this”). The second line conveys the fact that she wants to revert back to her state BEFORE she got into the relationship (“want back my ignorance and bliss”), while the third line sums up her feelings (“I think I’ve had enough of this”). The fourth line once again puts the stamp on it – “blow me one last kiss.”
*Notice how pretty much the entire section is all about HER (conveyed through “I think” and “My head”). There’s only one line where she switches to what HE thinks about HER (“you think I’m just too serious”). The other two lines she’s directly giving “instruction” to him (“blow me one last kiss”).
Verse-2 (THE PAST & PRESENT) The first line in the second verse “I won’t miss all of the fighting that we always did” is the first time within the song where Pink directly conveys the fact that there was a lot of fighting going on within the relationship. It had pretty much been inferred up until this point. The second line (“take it in, I mean what I say when I say there is nothing left”) is her directly addressing him where she’s basically stating “absorb what I’m saying – it’s over”).
Pre-Chorus-2 (THE PRESENT & FUTURE) The first two lines of the section convey her animosity toward him (especially “no more sick whiskey dick”) coupled with her impending freedom (“no more battles for me”), while the second two lines relate to her being positive, having fun and moving on with her life, and she’s happy to do it ALONE if need be (“I‘ll dress nice, I’ll look good, I’ll go dancing alone, I
14 / 47 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com will laugh, I’ll get drunk, I’ll take somebody home”).
Pre-Chorus-3 (THE PRESENT & FUTURE) The first line is all about her getting back to making herself the #1 priority in her life (“I will do what I please, anything that I want”). The second line relates to her getting rid all that anxiety and getting back to a calm nature (“I will breathe, I won’t worry at all”).
The last two lines of the section revert back to her disdain for HIM (“You will pay for your sins, you’ll be sorry my dear. All the lies, all the why’s, will all be crystal clear”). She’s basically saying “everything that you did to me will come back to you – and when it does you’ll know why”).
Bridge (THE PRESENT) Even though the “la la la’s” technically don’t possess a lyrical meaning, the manner in which they’re conveyed does. They provide a feeling of “carefree happiness and lightness,” giving us the impression that she’s happy that it’s all over and that she’s moving on with her life. This is intertwined with the jist of the story, “blow me one last kiss.”
LYRICS / HARMONIC PROGRESSION / WORD & SYLLABLE COUNT
Key (*): Indicates a chord that occurs before the beginning of a line or lyric Blue Font On Lyric: Indicates where the chord change takes place (Parethesis): Indicates a chord that carries over from the previous line
Verse-1 G6 / G / Bm / Em / C (10 words / 13 syllables) White knuckles, and sweaty palms from hanging on too tight
G6 / G / *Bm / Em / C (9 words / 14 syllables) Clenched shut jaw, I’ve got another headache again tonight
Pre-Chorus-1 *G / Bm (13 words / 13 syllables) Eyes on fire, eyes on fire, and they burn from all the tears
*Em / C (11 words / 13 syllables) I’ve been crying, I’ve been crying, I’ve been dying over you
*Em / Bm (12 words / 12 syllables) Tie a knot, in the rope, tryin’ to hold, tryin’ to hold,
*Em (9 words / 10 syllables) But there’s nothing to grasp so I let go
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Chorus-A *G (6 words / 8 syllables) I think I’ve finally had enough
*Bm (7 words / 8 syllables) I think I maybe think too much
*Em7 (8 words / 8 syllables) I think this might be it for us
C (5 words / 5 syllables) Blow me one last kiss
*G (6 words / 8 syllables) You think I’m just too serious
*Bm (6 words / 6 syllables) I think you’re full of shit
*Em7 (5 words / 6 syllables) My head is spinning so
C (5 words / 5 syllables) Blow me one last kiss
Chorus-B G / *Bm (11 words / 11syllables) Just when it can’t get worse, I‘ve had a shit day (NO!)
*Em7 / *C (10 words / 10 syllables) You had a shit day, (NO!), We’ve had a shit day (NO!)
*G (8 words / 8 syllables) I think that life’s too short for this
*Bm (6 words / 8 syllables) Want back my ignorance and bliss
*Em7 (7 words / 8 syllables) I think I’ve had enough of this
C (5 words / 5 syllables) Blow me one last kiss
Verse-2 G / *Bm / Em / C (11 words / 13 syllables)
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I won’t miss, all of the fighting that we always did
G / Bm / Em / C (15 words / 16 syllables) Take it in, I mean what I say when I say there is nothing left
Pre-Chorus-2 *G / Bm (10 words / 12 syllables) No more sick, whiskey dick, no more battles for me
*Em / C (10 words / 12 syllables) You’ll be calling a trick, ’cause you’ll no longer sleep
*Em / Bm (10 words / 12 syllables) I’ll dress nice, I’ll look good, I’ll go dancing alone
*Em (10 words / 12syllables) I will laugh, I’ll get drunk, I’ll take somebody home
Pre-Chorus-3 *G / Bm (10 words / 12 syllables) I will do, what I please, anything that I want
*Em / C (11 words / 12 syllables) I will breathe, I will breathe, I won’t worry at all
*Em / Bm (11 words / 12 syllables) You will pay, for your sins, you’ll be sorry my dear
*Em (11 words / 12 syllables) All the lies, all the why’s, will all be crystal clear
RHYMING & REPETITIVE LYRICS The following lyrics “tie” lines together in certain sections of the song. The highlighted letters are the “rhymers.”
Verse-1
“Too tight” on the first line ties in with “tonight” on the second line.
Verse-2
“Miss” on the first line ties in with “did” on the second line. Notice that it’s the prolonged nature of “i” that ties both together.
Pre-Chorus-1
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The “i” in “Fire” and the “y” in “Cryin’” help tie lines one and two together.
The “o” in “hold” and “go” help to tie lines three and four together.
Pre-Chorus-2
“Sick” and “Dick” on the first line tie in with “trick” on the second line via “i”
“Me” on the first line ties in with “sleep” on the second line.
“Alone” on the third line ties in with “home” on the fourth line.
Pre-Chorus-3
“Please” on the first line ties in with “breathe” on the second line.
“Want” on the first line ties in slightly with “all” on the second line
“Dear” on the third line ties in with “clear” on the fourth line.
Chorus-A
“Enough” on the first line ties in with “much” on the second line and “us” on the third line.
“I think” occurs at the beginning of the first, second and third lines.
“Blow Me One Last Kiss” ties the first and second stanzas together.
Chorus-B
“Had a shit day” is the main premise for the first part of the section (occurring after “I’ve,” “You” and “We’ve.”
“This” on the first line ties together with “bliss” on the second and “this” on the third line.
Bridge
Both lines repeat in the exact same manner.
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)
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Verse 1
White Knuckles (Imagery)
Sweaty Palms (Imagery)
Clenched shut jaw (Imagery)
Tonight (Time)
Verse 2: None
Pre-Chorus-1:
Eyes on fire (Imagery)
Tears (Imagery)
Tie a knot in a rope (Imagery)
Pre-Chorus-2: None
Pre-Chorus-3: None
Chorus-A: None
Chorus-B: None
Bridge: None
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)
Verse 1: The entire section exudes emotion – conveyed through lyrical imagery.
Verse 2: As with verse 1, the entire section is emotional in nature. The difference is that the emotion is NOT conveyed through imagery. It’s more about past action (i.e. “fighting”) and state of mind.
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Pre-Chorus-1: Every line in the section is emotional in nature, conveyed via imagery and action:
“Eyes on fire and they burn from all the tears” (anger and sadness)
“I’ve been crying, I’ve been dying over you” (sadness and immense hurt)
“Tie a knot in the rope, tryin’ to hold” (hope)
“Nothing to grasp so I let go” (coming to terms and moving on)
Pre-Chorus-2: The first two lines of the section convey animosity, while the last two lines convey feelings of positivity (“I’ll dress nice, I’ll look good”), self confidence (“I’ll go dancing alone”) and letting loose, having fun and being happy (“I will laugh, I’ll get drunk, I’ll take somebody home”).
Pre-Chorus-3: Lines one and two convey the feeling of freedom and relief.
“I will do what I please, anything that I want“
“I will breathe, I will breathe, I won’t worry at all“
Lines three and four convey her contempt for this guy:
“You will pay for your sins, you’ll be sorry my dear“
“All the lies, all the why’s, will all be crystal clear“
Chorus-A: The first stanza conveys the feeling of relief in an indirect manner by coming to terms that the relationship is over, while the second stanza conveys feelings of animosity (“I think you’re full of shit”) and being overwhelmed (“my head is spinning”).
Both stanzas convey additional animosity coupled with impeding freedom in the title line (“blow me one last kiss”).
Chorus-B: The first stanza conveys frustration, while the second stanza once again conveys the feeling of future relief.
Bridge: The only line in the section conveys animosity (“blow me”) coupled with impending freedom (“blow me one last kiss”).
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Action Based Lyrics & Phrases: (These lyrics get you into what the characters within the story have done, are doing or will do)
Verse 1:
Hanging on too tight
Verse 2:
Fighting
Pre-Chorus-1:
Crying
Dying
Tie a Knot
Tryin’ to hold
I let go
Pre-Chorus-2:
Calling a trick
Dancing
I will laugh
I’ll get drunk
I’ll take somebody home
Pre-Chorus-3:
I will breathe
Chorus-A:
Blow me one last kiss
My head is spinning
Chorus-B:
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Blow me one last kiss
Bridge:
Blow me one last kiss
Character/Person Based Lyrics & Phrases (Including Pronouns): (These lyrics show how all of the characters within the story are defined)
Verse 1:
I’ve
Verse 2:
I
We
Pre-Chorus-1:
I’ve
You
I
Pre-Chorus-2:
Dick
Me
You’ll
I’ll
I
Pre-Chorus-3:
I
You
You’ll
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Dear
Chorus-A:
I
I’ve
Us
Me
You
I’m
You’re
My
Chorus-B:
I’ve
You
We’ve
I
My
Me
Bridge:
Me
The Vocal Melody Back to Top
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There are three key factors that make the vocal melody so effective in each section of the song:
Chunking By utilizing short phrases and splitting lines into individual segments, the melody winds up being exceptionally easy to remember (think of it like a phone number).
Repetition There’s a good amount of repetition occurring both on individual lines as well from section to section within the song.
Simplicity The vast majority of the progressions are very simplistic in nature. The result is that it’s easy to sing along to and remember.
Blue Line: Lead Vocal Melody Red Line: Harmony Vocal Melody Red Diamond: Rest Black Diamond: Half & Dotted Half Blue Diamond: Quarter & Dotted Quarter Green Diamond: Eighth note Yellow Diamond: Sixteenth Note
VERSE
Verse-1
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Verse-2
Line Reference
Verse 1 Line 1: White knuckles, and sweaty palms from hanging on too tight Line 2: Clenched shut jaw, I’ve got another headache again tonight
Verse 2 Line 1: I won’t miss, all of the fighting that we always did Line 2: Take it in, I mean what I say when I say there is nothing left
Vocal Range High: C Low: G
Progression
With the exception of varying lyric and syllable counts, the same general progression is utilized on both lines in both verse sections.
Each line kicks off in the same manner, following a B-A-B progression.
Each line ends in the same manner, following a G-B progression.
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The middle of each line follows a virtually identical ascending – descending – ascending – descending progression. The first ascent is G to C or B to C (depending on the line), and the second ascent starts on G and ends on C on all lines. All descending progressions follow C-B-A-G.
Timing
The B-A-B progression that kicks each line off utilizes a half – dotted quarter – whole note delivery.
The G-B progression that ends each line utilizes an eighth – quarter note delivery.
The first descending B-A-G progression on lines one and two in the first verse and line three in the second verse utilize an eighth – quarter - quarter note delivery. Note that the progression in the second line of the second verse varies slightly with an eighth – quarter – eighth note value. The second B-A-G progression on each line utilizes an eighth – quarter – eighth note delivery.
What Makes It Effective
Two Distinct Melodic Segments Notice how each line is split into two distinct melodic segments, with each individual segment being similar in nature to one another. The result is that the “wordy” nature of each line is broken up, resulting in a more memorable, easy to digest and follow section
Segment 1: (Notice that each phrase followed the same B-A-B progression and has the same timing)
White knuck-les (line 1, first verse)
Clenched shut jaw (line 2, first verse)
I won’t miss (line 1, second verse)
Take it in (line 2, second verse)
Segment 2: (Notice that each phrase follows a similar melodic progression and possesses similar timing)
And sweaty palms from hanging on too tight (line 1, first verse)
I’ve got another headache again tonight (line 2, first verse)
All of the fighting that we always did (line 1, second verse)
I mean what I say when I say there is nothing left (line 2, second verese)
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Line Repetition Notice the melodic pattern repetition that occurs on each individual line, specifically in the second segment. The melody is like going “up and down hills,” following an ascending – descending – ascending – descending – ascending progression. The result is that the melody is both easy to follow and easy to remember.
Sectional Repetition Notice the repetition that occurs from line to line and section to section. The first segment on each line is exactly the same both from a progression and timing standpoint. The second segment on each line differs slightly from one to the next, but follows the same general melodic pattern as described above.
Simplicity Notice the overall simplicity of the melodic progression on each line. It’s not jumping all over the place from note to note (i.e. like F to C to A to D). The result is that it’s very easy to follow and sing along to.
PRE-CHORUS
Note: The vocal harmony is one octave above the lead vocal, depicted in the red lines above.
Line Reference
Line 1: Eyes on fire, eyes on fire, and they burn from all the tears
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Line 2: I’ve been crying, I’ve been crying, I’ve been dying over you Line 3: Tie a knot, in the rope, tryin’ to hold, tryin’ to hold, But there’s nothing to grasp so I let go
Vocal Range High: D Low: E
Progression Let’s first look at lines one and two:
The first thing to take note of is that both lines are identical in nature EXCEPT for the note that they end on. Line one ends on E while line two ends on B.
The first two-thirds of each line follow a simplistic and repetitive B-A-B-B-A-B-B-A progression.
The last third follows a descending D-B-A-G progression before dropping to E on the first line and climbing to B on the second line.
Notice how the jump to D on both lines is very effective on a few fronts. First, it breaks up the ultra-repetitive nature that defined the first two-thirds of the line. Second, it provides increased emphasis on two powerful lyrics: “burn” and “dyin’.”
Now let’s look at line three:
The vast majority of the line follows the same A-B-B-A progression that defined the first two-thirds of lines one and two.
The key shift occurs at the tail end where Pink first extends the lyric “grab” over a B-G progression. This is followed by another G on the lyric “so,” which is then followed by a jump up to E followed by B and D to conclude the line.
Timing
The progressions in the first two-thirds of lines one and two utilize an eighth – eighth – quarter note delivery (i.e. “eyes on fire”). The last third of each line (“burn from all the tears” and “dyin’ over you”) change things up by utilizing a quarter – eighth – eighth – sixteenth – eighth note delivery.
Line three also utilizes an eighth – eighth – quarter note delivery over the majority of the line up until the tail end. First, the lyric “grab” consists of two eighth notes (remember – the lyric was split over a B-G progression), and the last four lyrics “so I let go” all possess a quarter note value.
What Makes It Effective
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Two Distinct Melodic Segments As was the case with the verse sections of the song, each line within each pre-chorus is also split into two individual melodic segments, making it easier to grasp onto and remember.
Segment 1: (Notice that each phrase in the first segment of each line follows the same B-A-B progression while possessing the same timing)
Eyes on fire, eyes on fire and they (line 1)
I’ve been cryin’, I’ve been cryin’, I’ve been (line 2)
Tie a knot, in the rope, tryin’ to hold, tryin’ to hold but there’s nothing to grab (line 3)
Segment 2: (Notice that lines one and two follow the same D-B-A-G progression up until the last note and possess the same timing. Line 3 changes things up, following a E-B-D progression that leads into the chorus)
Burn from all the tears (line 1)
Dying over you (line 2)
I let go (line 3)
Short, Repetitive Phrases Specifically in the first segment of each line, each phrase consists of just three words that follow the same progression and possess the same timing. The result is that the memorability factor is greatly increased. Think of it as trying to remember a phone number. You wouldn’t try to remember all ten digits at once. Instead, you break it into three segments, which makes it much easier to remember.
Sectional Repetition Even though each of the three pre-choruses possess different lyrical content, all are pretty much the same from a melodic progression and timing standpoint.
Simplicity As mentioned above, each phrase in the first segment of each line follows an exceptionally simplistic B-A-B progression. The second segment on lines one and two follow a simple D-B-A- G progression before deviating on the last note. The second segment on the third line is the only time where the primary pattern is broken, but this does a great job of setting up the chorus that follows. All in all, the overall simplicity makes each line both easy to sing and remember.
CHORUS
Chorus-A
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Line Reference
1st Stanza Line 1: I think I’ve finally had enough Line 2: I think I maybe think too much Line 3: I think this might be it for us Line 4: Blow me one last kiss
2nd Stanza Line 1: You think I’m just too serious Line 2: I think you’re full of shit Line 3: My head is spinning so Line 4: Blow me one last kiss
Vocal Range High: D Low: D
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Progression
First Stanza
The first three lines are all identical in nature, following a descending D-D-B-B-A-A-G-G progression.
The change-up occurs on the fourth line, which happens to be the title line. It follows a C-A-A-G-D progression.
Second Stanza
Lines one and two follow virtually the same progression as lines one and two of the first stanza. The only difference is that instead of having two G’s to conclude line two, there’s only one (on the lyric “shit“).
Line three also follows basically the same progression except for the fact that it follows a D-D-B-A-A-G progression (there’s one less B and one less G).
Line four (the title line) is identical in nature to line two.
Timing
First Stanza
Lines one and two follow the exact same timing: eighth – eighth - eighth – eighth – sixteenth – eighth – sixteenth – eighth – rest.
Line three follows the same timing as well except at the tail end, where the last lyric ends on an eighth and is NOT followed by a rest.
Line 4 (the title line) changes things up by slowing things down. This provides increased emphasis to the phrase “blow me one last kiss.” Quarter – eighth – quarter – quarter – quarter.
Second Stanza
Lines one and two are virtually identical to lines one and two in the first stanza except for the fact that there’s one less sixteenth note toward the tail end (one less lyric).
Line three is where things get changed up a bit, utilizing an eighth – eighth – eighth – eighth – eighth- quarter delivery.
Line four (“blow me one last kiss”) is identical in its timing to the first occurrence of the line in the first stanza.
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What Makes It Effective
Line Repetition Notice that each of the first three lines in the first stanza are sung in the exact same manner. The fourth line (title line) is where things get changed up. The first three lines in the second stanza follow the same overall framework as the first stanza, but differs in nature slightly on the second and third lines. Bottom line – the melodic repetition gets the melody completely stuck in your head.
Sectional Repetition The chorus-A repeats in the exact same manner during each occurrence within the song. The result is the memorability factor keeps getting reinforced.
Simplicity As with the other sections within the song, the overall progressions are simplistic in nature, making it very easy to follow along to, sing and remember.
The Constant The manner in which the title line “blow me one last kiss” is sung throughout remains virtually the same throughout the entire song, with the exception being when some additional vocal harmonies are placed over it. The result is that the song’s title constantly gets reinforced within the listener’s head, taking the song’s overall memorability factor to the next level.
Chorus-B
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*Note: The vocal harmony on the first two lines of the section is two steps down from the lead vocal.
Line Reference
1st Stanza Line 1: Just when it can’t get worse, I’ve had a shit day (NO!) Line 2: You had a shit day? (NO!), We’ve had a shit day (NO!)
2nd Stanza Line 1: I think that life’s too short for this Line 2: Want back my ignorance and bliss Line 3: I think I’ve had enough of this Line 4: Blow me one last kiss
Vocal Range High: G Low: G
Progression
First Stanza
The first phrase on line one kicks off with Pinks highest vocal register within the song, following a descending G-F#-F#-E-D-D progression.
The second phrase on line one as well as both phrases on line two (“I’ve had a shit day, you had a shit day, we’ve had a shit day“) all follow an identical D-D-B-D-E progression.
Second Stanza
The entire second stanza reverts back to the progression that defined the first stanza of Chorus-A as described previously.
Timing
First Stanza
The first phrase on line one utilizes a quarter – eighth – eighth – eighth - quarter - quarter note delivery.
The balance of the stanza (all of the “…shit day’s”) utilize an eighth – eighth – eighth – eighth – quarter note delivery followed by an eighth rest.
Second Stanza
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The entire second stanza reverts back to the timing that defined the first stanza of Chorus-A.
What Makes It Effective
Diversity The first part of chorus-B completely changes things up from the nature of chorus-A from a melodic standpoint. The result is that the listener is given sort of a “bonus” section, taking the intensity to the next level and breaking things up so they don’t get overly monotonous where the listener’s attention might start to wander.
Familiarity Right after the departure that occurs during the first part of the section, the listener is brought back in to the exact same melodic progression that defined the first stanza of chorus-A. The result is that the section ends on a “familiar” level, bringing the listener back to where it all started, and as a result reinforcing the memorability factor.
Line Repetition All of the “…shit days” are sung in the exact same manner, which also hammers home the memorability factor.
Sectional Repetition Chorus-B repeats in the same exact manner each time that it occurs throughout the song.
Simplicity One again, the overall progressions are simplistic in nature, making it very easy to follow along,sing and remember.
BRIDGE
Line Reference
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Line 1: La la la la la, la la la la, Blow me one last kiss Line 2: La la la la la, la la la la, Blow me one last kiss
Vocal Range High: C Low: F
Progression Each line is broken into two sections – the “la la la” part and the “blow me one last kiss” part.
The “la la la” part follows a G-A-D-E-G-A-D-G progression on both lines.
The “blow me one last kiss” part initially follows a C-B-A-G progression on both lines, but deviates on the last note. The first time around the G is followed by D, and the second time around the G is followed by another G.
Timing
The “la la la” part utilizes a quarter – quarter – eighth – quarter – dotted half - quarter - eighth – quarter - whole note delivery.
The “blow me one last kiss” part utilizes a quarter – eighth - quarter - quarter – quarter note delivery. Notice that the timing is identical to the other occurrences of this line within the song.
What Makes It Effective
Two Distinct Melodic Segments Once again we have two individual segments on each line – the “la la la” segment and the “blow me one last kiss segment.” The “chunking” makes the line easier to get engaged with and remember.
Repetition
Each full line follows the exact same melodic progression.
One again the line “blow me one last kiss” is sung in the same manner as it had been throughout the entire song.
Notice that there are two similar melodic patterns in the first segment on both lines, reinforcing the memorability factor: D-E-G followed by A-D-G (both are down-up-down).
OUTRO
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Line Reference
Line 1: La la la la la la la la, La la la la la la la la Line 2: La la la la la la la la, Blow me one last kiss
Vocal Range High: D Low: G
Progression Here the progression is exactly the same as that which defined the first stanza of the chorus. The only difference is that the lyrics have been swapped out for the “la la la’s.”
Timing It’s the same story with the timing as it is for the progression. It reverts back to the timing of the first stanza of the first chorus.
Why It’s Effective
Repetition It’s exactly the same as the first stanza as chorus-A except for the nature of the lyrics.
Primary Instrumentation / Tone / Mix / Production Back to Top
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Production
As you can see in the waveform above, Blow Me (One Last Kiss) is exceptionally compressed for maximum sonic impact. That being said, the song is strongly assembled, perfectly bringing the Pop/Rock/Dance nature of the song to life while allowing for Pink’s powerful vocals to shine as the true star of the show.
Compositional Assessment Back to Top
Benchmark Analysis Compares Blow Me (One Last Kiss) 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 Blow Me (One Last Kiss) are in line with Q2-2012 top 10 Pop hits EXCEPT:
Blow Me is 0:31 longer than the average top 10 hit Pop song.
It contains an outro where the majority of top 10 Pop hits don’t.
Its chorus occurs 0:13 (3%) farther into the song than the average top 10 hit Pop song.
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Technically it follows an A-B-A-B-C-B form, but there is an extra partial chorus that occurs after the outro.
A&R ASSESSMENT Back to Top
HIT FACTORS
The “Holly Sh*t – You Gotta Hear This NOW” Factor: 7/10 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!!!”
Blow Me (One Last Kiss) marks a strong return to form for Pink and is definitely powerful enough to warrant her current and prospective fans to spread the word about the song. That being said, the exuberance level will most likely be like “hey – check out Pink’s new song – it’s REALLY good” rather than “holy sh*t!, this is the BEST song EVER! Drop what you’re doing and listen NOW!”
The “Would I Pay Money For This” Factor: 9/10 Is this a song that’s good enough where the listener would actually shell out money to own the song?
That’s a tough question considering even the best of the best songs are illegally downloaded or just streamed off of YouTube. That being said, is this song worth $1.29 on iTunes? Absolutely.
The “Multiple Listen” Factor: 9/10 Is this song engaging enough to warrant repeat listens?
Definitely. It’s fun, intense, danceable and contains relationship themed lyrics that are both clever and universal in nature.
The “Human” Factor: 6/10 Does this song exude a vibe that enables the listener to connect on a deep, emotional, HUMAN level?
Yes and no. When you take into account the lyrical content and the manner in which Pink “brings it” when she sings it, then yes. When you look at the glossy nature of the instrumentation and production coupled with the processing on Pink’s vocals, then no.
Memorability Factor- LYRICS: 5/10 How easy is it to remember the song’s lyrics?
It all depends on which section you’re looking at. The verse and pre-chorus sections are both quite wordy, and the result is that they’re tough to remember in their entirety. Also keep in mind that each of the three pre-chorus sections are completely different from a lyrical standpoint (which is normally not the case in hit Pop songwriting). The chorus is wordy as well, but at least
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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 might not remember the lyrics, but you’ll definitely remember the melody. It’s is equally as strong and infectious in each section of the song. The result – it’s memorable and you can at least hum it if you can’t remember the words.
Originality Factor – The Song Itself: 3/10 (music), 8/10 (when you include the “Pink” factor) To what degree did pre-existing influences play a roll in the song’s composition?
Excluding the unique essence of the “Pink” factor, the song itself is not very original at all. First, we have the primary melody that was lifted from Modest Mouse’s “Float On.” Second, the nature of the intro has a very strong Blondie “Rapture” and “Heart Of Glass” vibe. Third, it’s very similar in nature to Kurstin’s other recent top-charting hit – “Stronger,” which he composed for Kelly Clarkson. That being said, when you put the “Pink” factor back into the mix, the song becomes undeniably 100% Pink in nature. Overall, the “Pink” factor trumps the nature of the music in the originally department.
Originality Factor – Current Pop Genre: 8.5/10 Does this song have its own unique vibe when compared to other songs/artists in the current genre?
When you look at the top 20 songs in both the Hot 100 and Pop Songs Chart at the time of this writing (Billboard week of 9/1), there really aren’t any that come close to the Pop/Rock/Dance nature of Blow Me (One Last Kiss). Additionally, no one else out there sounds quite like Pink. The one song that came closest was Kelly Clarkson’s Stronger (which isn’t topping the charts anymore), but that’s only because both songs were co-written by Greg Kurstin, and he utilized a similar formula on both.
Artist “Celebrity” Factor: 9/10 Does the song have what it takes to launch and keep this artist in the public spotlight?
Absolutely. Blow Me (One Last Kiss) is the perfect song to launch Pink back into the Pop mainstream spotlight. It has all of the necessary “Pink” qualities and will no doubt create excitement and a buzz for the release of her upcoming album, The Truth About Love.
The Demographic Reach Factor: 7.5/10 Is this a song that’s pigeon holed in one gender/age bracket or does it have mass reach?
Lyrically, this is a song that will resonate with any woman who has been in a relationship gone bad. Melodically, this is a song that both women and men can both get into, whether it’s in a
43 / 47 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com club, a bar, at home or on the go. As for age groups – early teen through late thirties with the core landing in the late teen to mid-twenty range.
The “Controversy” Factor: 9/10 Is the title or lyrical content controversial in nature where it would heighten the visibility factor of the song?
It wouldn’t be a Pink song if it wasn’t controversial in some manner. First and foremost, the title Blow Me (One Last Kiss) is exceptionally controversial. Second, a core segment of the song (the first part of chorus-B), utilizes the lyric “shit” three times in the section. Third, the entire premise of the song can pretty much be summed up as “f**k you – goodbye!” So- is it controversial in relation to most other top charting hits out there? Absolutely. Will it get increased attention and visibility because of it? You bet.
Longevity Factor – Artist: 10/10 Will this song become a staple of the artist’s repertoire and catalog?
Absolutely. It’s right up there with all of Pink’s other top-charting hits.
Longevity Factor – Genre: 5/10 Does this song have what it takes to stand the test of time and rank amongst the all-time greats?
As mentioned throughout this report, Blow Me (One Last Kiss) is a very strong song. The problem is that it doesn’t break any new ground or possess any “WOW” factors that will enable it to have any sustained longevity within the genre. That being said, I don’t think anyone will be disappointed when it comes on the radio or is played in a bar or club.
COMPOSITIONAL FACTORS
Overall Craft: 9/10 How strong is the song as a whole? Are there any weak links?
From a compositional standpoint, Blow Me (One Last Kiss) is an exceptionally well crafted song There really aren’t any weak links that could be tweaked to make the song any better. Pink and Kurstin know how to assemble an exceptionally infectious Pop/Rock/Dance song with attitude that perfectly suits the artist’s (Pink’s) style.
Payoff: 10/10 Does the song provide the listener with a strong payoff (i.e. a hot chorus)?
Absolutely, and not only one, but two as mentioned earlier within the report.
Vocals: 9.5/10 Is the nature of the artist’s vocal delivery unique, engaging, conveying emotion and bringing the
44 / 47 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com nature of the lyrics to life?
Blow Me (One Last Kiss) is all about Pink and the exceptionally strong nature of her vocals. Without her, the song wouldn’t have nearly as much impact or unique character.
Title: 10/10 Is the song’s title fresh, evocative, original and clever? Will it pique someone’s interest to at least take a listen?
Blow Me (One Last Kiss) ranks amongst the top titles currently out there. It’s evocative, controversial, possesses dual meanings, sums up the lyrical theme of the song and above all is 100% Pink. You would expect nothing less from her. The result – as soon as you read that title, you MUST take a listen!
Lyrics 8/10 Are the lyrics fresh, original and clever? Do they utilize imagery, action & emotion to engage the listener on a deep level?
Even though the “relationship gone bad/break up” themed lyrics bring nothing new to the table from a story perspective, they do make great use of imagery, action and most of all scathing emotion to convey the story in a purely “Pink” manner. Additionally, the “just when it can’t get worse…” section of the chorus provides the song with a quick interesting departure that really hammers home an additional universal theme that just about anyone can connect with.
Melody 9/10 Is the melody infectious, engaging and memorable? Do you wake up with it running through your head?
Absolutely. One of the core strengths of the song is the fact that the melody is just as infectious and strong in every section of the song. The result is that it gets totally engrained in your head and is hard to shake once it’s in there.
Why It’s a Hit Back to Top
There are two primary reasons why Blow Me (One Last Kiss) is a global top-charting hit:
1. The Song: First and foremost, Blow Me (One Last Kiss) is a hit because it’s exceptionally strong on all fronts. The melody is infectious and memorable, the lyrics are evocative, the title is clever, the music is powerful, and above all, it stands out from the pack due to the unique character that Pink brings to the table via her vocals. Once you hear it, it envelopes you and doesn’t let go from start to finish, leaving you wanting more.
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2. The “Pink’s Back” Factor: Pink’s fans have been waiting for a while for her latest single and album to drop, and expectations were high after the stellar performance of her two previous top-charting singles, Raise Your Glass and F**kn’ Perfect. Blow Me (One Last Kiss) picks up where the others left off, leaving no doubt in the mind of her fans that she’s back and in top “Pink” form. The hype is on.
Songwriter/Producer Take Aways Back to Top
A Powerful, Clever Title Speaks Volumes Before someone listens to your song, the first thing they see is the title. Does it capture their attention? Is it evocative? Is It controversial? Does it sum up the entire nature of the story? Does it pique their interest enough to at least take a listen? Blow Me (One Last Kiss) achieves all of the above, all the while coming across in a manner that is 100% “Pink” in nature.
Two Payoffs Are Better Than One If Blow Me (One Last Kiss) only possessed the first part of the chorus (“I think I’ve finally had enough...”), the listener would have been quite happy with the payoff from a lyrical, sonic and melodic standpoint. What they got, however, is a “double payoff” via the inclusion of the “just when it can’t get worse…” section that both took the lyrical content in a new direction as well as bringing the intensity of the song to a rousing peak. If you want to go the extra mile and help take your song from great to amazing, this one way to go.
Sing It Like You Mean It! Even though Pink’s vocals are processed in nature, she still does a fantastic job of conveying emotion via the intense nature of her delivery. Remember, your job as a vocalist is to hammer those lyrics into the listener’s head and accentuate the emotional vibe of the song. How do you do this in the most effective manner possible? Simple – fully commit to and bring EVERY LYRIC within the song to life.
Dynamic Variation Is The Key To Engagement There’s nothing less engaging than a song that maintains a “linear” sonic vibe from section to section. Your melody and lyrics might be great, but if you don’t “keep the listener on their toes,” their attention is eventually going to start to wander. Blow Me (One Last Kiss) makes great use of MTI (momentum, tension, intensity) level fluctuations throughout the entire song brought about via the nature of the vocals AND the backing music. What you get is a song that holds the listener’s attention from start to finish.
Evocative Lyrics You want your audience to FEEL the nature of your story so that they can connect on a deep level. How do you do this? By utilizing copious amounts of imagery, action and emotion to get the point across. For example – take Blow Me (One Last Kiss):
“Eyes on fire and they burn from all the tears” (anger and sadness)
“I’ve been crying, I’ve been dying over you” (sadness and immense hurt)
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“Tie a knot in the rope, tryin’ to hold” (hope)
“Nothing to grasp so I let go” (coming to terms and moving on)
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