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Sexy and I Know It Deconstructed
Skip to: Audio/Video General Information At a Glance Structural Analysis Sectional Analysis Waveform Primary Instrumentation, Tone & Mix Benchmark Analysis Overall Assessment Hit Factor Assessment Conclusion Why it’s a Hit Take Aways
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General Information Back to Top
Artist: LMFAO Song/Album: Sexy and I Know It / Sorry For Party Rocking Songwriter(s): Stefan Kendal Gordy, Jamahl Listenbee, Erin Beck, G.M. Robe Producer(s): Party Rock Genre: Pop Sub Genre: Electro Pop/Club/Hip Hop
At a Glance Back to Top
Length: 3:19 Structure: A-B-A-B-C-B-B (plus pre-choruses – see report for specifics) Tempo: Mid/Up (124 bpm)
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First Chorus: 0:59 (30% into the song) Intro Length: 0:15 Outro Length: n/a Electric vs. Acoustic: Electric Primary Instrumentation: Synth Lyrical Theme: Self Esteem (conveyed in a comical manner) Title Occurances: Six times within the song, twice during the first two choruses and once in the third and fourth choruses. Primary Lyrical P.O.V: 1st Person
Structural Analysis Back to Top
At-a-Glance
Section Length (Length of each individual section within the song)
As you can see in the graph above, an equal amount of time is dedicated to pretty much every section within the song. The intro, pre-chorus A (girl, look at that body…), pre-chorus B (when I walk…) and chorus all land at 0:15, while the verse and bridge sections both land at 0:14. Considering the vast repetitive nature of the song, having a new section introduced once every 0:14 to 0:15 does a great job of keeping the listener engaged.
Structure 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)
In today’s top-charting hit Pop songs, the chorus typically accounts for anywhere between 45% and 55% of the song’s total composition. In the case of Sexy and I Know It, the chorus only accounts for 30% of the total song. So, where did that +/- 20% go? The pre-chorus.
What’s really interesting to note is that Sexy and I Know it possesses two distinct pre-chorus sections (that follow each other back-to-back except for the third time around,) and combined they account for 38% of the song’s total composition – outweighing the chorus by 8%.
The verse sections account for only 14%, and the intro and bridge each land at 8% and 7% of the total song respectively.
As a side note, a similar type of compositional breakdown was apparent in our previous Deconstructed report, Rihanna’s We Found Love, where the chorus only accounted for only 28% of the song’s total composition. In this case, it was the instrumental transition and
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Momentum/Intensity/Tension Factor (Evaluation of the intensity of each section within the song timeline on a scale of 1 – 10, 10 being the most intense)
Sexy and I Know It contains numerous shifts in momentum, intensity and tension levels that do a great job of maximizing the sonic impact and diversity between sections.
The intro kicks off in a mid/up tempo fashion characterized by the “airy” synth “swoosh,” repetitive lead synth line, synth bass and up-front kick, snare and hats.
The overall momentum drops off a bit as we enter the first verse at 0:15, primarily due to the fact that the drums and synth bass are pulled from the mix during the section. The nature of the vocal delivery does a good job of keeping the momentum of the section moving along, coupled with the introduction of the lead synth pattern that will define every section of the song moving forward.
At 0:29 we enter into pre-chorus A (Girl look at that body…), where we see the momentum and intensity levels kicked up via the addition of the trebly, dry snare/hat combo in conjunction with the repetitive nature of the lead vocal delivery and background “ahh’s” (in conjunction with the electronic tom hits) that do a great job of increasing the overall tension from the verse section that preceded it.
The overall momentum of pre-chorus A continues until increasing once again as we hit pre- chorus B at 0:44. Here, during the first half of the section, we see the overall intensity increased via the addition of the repetitive, up-front snare hits, background “airy” synth” swell that increases in level throughout the section, change-up in vocal delivery and the “morphing” of the lead synth line.
The overall intensity and momentum is then further increased during the second half of the section where we see the rapid fire snare used in conjunction with the “airy” synth, taking the overall tension and intensity to a rousing peak before hitting the one-second transitional pause that occurs at 0:57. At this point, everything is pulled from the mix – total silence.
Directly following the transitional pause, the momentum is kicked back up via the drum fill and sexy and I know it vocal before launching into the full chorus at 0:59. Here, during the first half
4 / 37 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com of the section, the momentum is carried by the repetitive lead synth line in conjunction with the synth bass and up-front kick. The momentum is then further increased during the second half of the section with the introduction of the snare that’s panned left and right in the mix. The overall flow continues until hitting another transitional pause at 1:13.
At 1:14 we enter into the second verse, where the overall momentum is kicked way up over that which defined the first verse specifically due to the electronic drums that are now featured prominently in the mix. The momentum of the section remains pretty much constant except during the two occurrences where the backing music is pulled from the mix to give more emphasis to the lyrics I’m in a speedo trying to tan my cheeks (from 1:19 – 1:21) and no shoes, no shirt and I still get service (from 1:26 – 1:28.)
Once we hit the second occurrence of pre-chorus A at 1:28, the momentum is increased a bit over the preceding verse section specifically due to the increased tension brought about by the repetitive “girl look at that body” vocals coupled with the addition of the “disco” hats entering the mix. The kick drum is pulled at the tail end of the section (the last two-seconds),before launching back into pre-chorus B.
At 1:43 we enter into the second occurrence of pre-chorus B, which this time is a bit “heavier” in nature than the first time around due to the increased level of the snare coupled with the addition of cymbals to the mix. The general flow of the section is the same as it was the first time around, and continues until once again hitting the transitional pause followed by the drum fill and sexy and I know it vocal that leads us into the second chorus.
Hitting at 1:58, the intensity of the second chorus is significantly more powerful than the first specifically due to the more “urgent” sound of the lead synth (higher register/harmony based) coupled with the “airy hiss” synth drone that sits on top of the mix. The overall flow of the section is similar in nature to that of the first chorus, and continues right up until the transitional pause that occurs right before the bridge.
At 2:13 we hit the first half of the bridge, where we see the backing music remaining pretty much the same as it was during the preceding chorus. The real defining factor that takes the intensity level of the section (and the song, for that matter) to its peak is the nature of the frantic wiggle, wiggle, wiggle vocal. The intensity and momentum continues until dropping off a bit when the vocals change over to do the wiggle man during the second half of the section, then decreasing a bit more as we enter into the third chorus at 2:27 (reverting back to the non-“urgent” synth sound that defined the first chorus).
At 2:42 we enter back into pre-chorus A for the third time, where we see the intensity levels kicked up once again specifically due to the reversion back to the “urgent” synths that defined the second chorus and bridge sections of the song.
Directly following pre-chorus A, we enter back into the chorus for the fourth time at 2:57 (notice that pre-chorus B is bypassed). Here we see the overall intensity decreasing from the preceding pre-chorus specifically due to the lead synth reverting back to the toned down sound that defined the into and first verse of the song coupled with the change-up in the electronic
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The drums are then pulled from the mix at 3:10, followed by the sexy and I know it vocal one last time and ultimately concluding with a cymbal hit utilizing a delay effect that fades out until coming to a final end at 3:19.
Sectional Analysis Back to Top
Intro: 8.5/10 Defined by the repetitive lead synth pattern, up-front kick, snare and hat, airy “swoosh” synth effect and synth bass, the intro section of Sexy and I Know It is strong on a number of levels:
It acts as a strong “identifier” for the song, enabling it to stand out amongst all others in the genre. The second you hear it, you know exactly what song it is. This also heightens the memorability factor of the song as well.
The repetitive and exceptionally infectious groove instantly engages the listener from the start. It hooks you in and doesn’t let go.
The nature of the intro instantly establishes the overall vibe of the song.
The airy synth “swoosh” does a great job of providing the section with additional “color.” It ushers the song in, fades out and then returns once again toward the end of the section as it transitions into the first verse. This effect will be used throughout the entire song – most notably during transition between sections.
As with the airy synth above, the double “woodblock” sounding hit that occurs at 0:06 also provides the section with additional coloring, breaking up the monotony of the repetitive synth, bass and electronic drums.
GRAPHICAL REPRESENTATION OF THE LEAD SYNTH PATTERN THAT DEFINES THE INTRO SECTION OF THE SONG (listen to the section while you look at this):
Key: Red Diamond: Notes longer in duration than an eight note and rests Yellow Diamond: 8th note Green Diamond: 16th note
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As you can see in the graph above, the lead synth melody is quite simplistic in nature, repeating a G-G-B-flat-C progression. The first note is a dotted eighth (G), followed by a sixteenth note (G), followed by two eighth notes (B-flat and C). All in all, it’s the sheer simplicity that enables it to get so easily engrained in your head, and as a result heightens the memorability factor of the song.
An interesting point to note is that this specific progression OCCURS ONLY DURING THIS SECTION OF THE SONG. It’s changed up a bit in the first verse and remains that way for the duration of the song (see the sections below for details).
Verses: 9/10 The verse sections in Sexy and I Know It are characterized by a monotone natured Rap vocal delivery, repetitive lead synth pattern and lyrics that make good use of imagery and action.
THE MUSIC
First Verse: Coming out of the intro, there are a few key points to take note of:
The lead synth pattern has been changed up slightly from what was defining the intro section (see the synth melody graph below for details). This new pattern will define the lead synth for the balance of the song.
Notice that the drums are immediately pulled from the mix at the onset of the section and remain that way for the duration. The first verse is solely defined by the lead synth and vocals.
The section begins with the peaking of the airy synth “swoosh” that began during the intro section and fades out as the section progresses. It does a great job of giving the verse a bit more of a “dramatic” entrance.
Notice how the lead synth “morphs” throughout the section. It starts off mostly on the treble end of the spectrum (in-line with the synth that defined the intro), and then as the section progresses the bass level begins to rise in conjunction with an overall gain in level. By the end of the section, the level and “fuzz” nature of the synth that was established carries right over into the following pre-chorus A section.
Second Verse: In sharp contrast to the first verse, the second verse continues the momentum and overall sound that was established during the preceding chorus section. Key points to note:
The airy synth “swoosh” returns once again, this time occurring at the very beginning of the second verse before fading out around half-way through. This differs from the manner in which it occurred during the first verse as described above.
Here the repetitive lead synth is up front in the mix and possesses a heavier “fuzz”
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effect. It’s also more “full” sounding compared to the synth that defined the intro and first verse of the song.
The electronic drums are up front in the mix and encompass a straight-up beat featuring the kick up the middle and the dry, trebly snare/clap hybrid panning left and right in the mix. The synth bass rounds out the sound, timed with the kick drum.
GRAPHICAL REPRESENTATION OF THE LEAD SYNTH PATTERN THAT DEFINES THE VERSE SECTIONS OF THE SONG (listen to the section while you look at this):
Key: Red Diamond: Notes longer in duration than an eight note and rests Yellow Diamond: 8th note Green Diamond: 16th note
As you can see in the graph above, the lead synth melody starts off identical in nature to that which defined the intro of the song. The primary difference occurs after the C, where we have four G’s (a sixteenth, two eighths and a sixteenth note) followed by a quick octave jump from G to G to end the pattern. It’s this octave jump that gives the overall sound a more “intense” and “urgent” vibe.
THE LYRICS & HARMONIC PROGRESSION What these lyrics lack in depth and though provoking content they more than make up for with their fun, comical and dare I say shallow nature. They perfectly jibe with the vibe of the music and make great use of imagery and action.
First Verse:
Key: Red font = rhyming lyrics
Gm When I walk on by, girls be looking like damn he fly Gm I pay to the beat, walking down the street in my new Lafreak, yeah Gm
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This is how I roll, animal print pants out of control Gm Its Redfoo with the big ass fro, and like Bruce Leroy, rock out the club (see the rhyming pattern section for details on this lyric)
IMAGERY BASED LYRICS & PHRASES IN THE FIRST VERSE:
Street Club Big ass fro Lafreak Animal print pants
EMOTIONAL BASED LYRICS AND PHRASES IN THE FIRST VERSE:
Out of control Damn he fly
ACTION BASED LYRICS & PHRASES IN THE FIRST VERSE:
Walk on by Girls be looking Walking down the street Rock out Pay it
CHARACTER BASED LYRICS & PHRASES IN THE FIRST VERSE (INCLUDING PRONOUNS):
Redfoo Bruce Leroy I He My
RHYMING PATTERNS IN THE FIRST VERSE:
Line 1: by / fly Line 2: beat / lafreak Line 3: roll / control Lines 4: It depends on what you think the last lyric on line 8 is. If it’s glow, then it rhymes with fro in line 7. It seems to be club, though. Will get to the bottom of this for substantiation!
Second Verse:
Key:
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Red font = rhyming lyrics
Gm When I’m at the mall, security just can’t fight them off (see the rhyming pattern section for details on this lyric) Gm And when I’m at the beach, I’m in a speedo trying to tan my cheeks Gm This is how I roll, come on ladies it’s time to go Gm We headed to the bar Baby don’t be nervous, no shoes, no shirt, and I still get service
IMAGERY BASED LYRICS & PHRASES IN THE SECOND VERSE:
Mall Beach Speedo Cheeks Bar Shoes Shirt
EMOTIONAL BASED LYRICS AND PHRASES IN THE SECOND VERSE:
How I roll Nervous
ACTION BASED LYRICS & PHRASES IN THE SECOND VERSE:
Fight them off Tan my cheeks We headed to the bar Get service
CHARACTER BASED LYRICS & PHRASES IN THE SECOND VERSE (INCLUDING PRONOUNS):
Security Them (I assume woman) Ladies Baby I’m I We
RHYMING PATTERNS IN THE SECOND VERSE:
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Line 1: mall / off (off is phrased in a similar manner to mall) Line 2: beach / cheeks Line 3: roll / go Line 4: nervous / service
COMMON ELEMENTS PRESENT IN VERSES 1 & 2:
Both sections consist of 4 lines/8 phrases. The third line in each section kicks off with this is how I roll.
THE VOCAL MELODY The vocal melody present in the verse sections of Sexy and I Know It is pretty much a monotone rapped delivery delivered in the key of G. It’s the phrasing that gives the vocals its character as well as enhancing the memorability factor of the section.
GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN THE FIRST VERSE (listen to the section while you look at this):
Key: Red Diamond: Notes longer in duration than an eight note and rests Blue Diamond: 8th note Green Diamond: 16th note
Verse 1 / Line 1:
Verse 1 / Line 2:
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Verse 1 / Line 3:
Verse 1 / Line 4:
Because the verses are rapped and mostly monotone in nature, the manner in which the lyrics are phrased is exceptionally important. LMFAO primarily utilize 8th and 16th note delivery on the lyrics, with each phrase on each line ending on a lyric that rhymes with the lyric that ends the following phrase on the line (see above graphic for details.) Note that the last lyric in each phrase holds the longest note duration of the section or is followed by a rest.
Key points:
Notice that the first phrase on lines 1, 2 and 3 only consist of 5 words (and syllables), with the longest note duration falling on the final word in each phrase (by, beat and roll). By keeping the phrase short, it does a great job of increasing the memorability factor of the section.
The exception occurs in the first phrase of the 4th line, consisting of 7 words (eight syllables).
***Each verse section consists of eight individual phrases***
Phrase breakdown of the first verse:
When I walk on by Girls be lookin’ like damn, he fly
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I pay to the beat Walkin down the street in my new lafreak This is how I roll Animal print pants out control It’s Redfoo with the big ass fro And like Bruce Leroy rock out the club
Phrase breakdown of the second verse:
When I’m at the mall Security just can’t fight them off And when I’m at the beach I’m in a speedo trying to tan my cheeks This is how I roll Come on ladies it’s time to go We headed to the bar Baby don’t be nervous, no shoes, no shirt, and I still get service
Pre-Chorus: 9.5/10 What separates Sexy and I Know It from most other top charting songs in the current Pop genre is the fact that it possesses two distinct pre-chorus sections. For the purposes of this report, Pre-Chorus A will denote the Girl look at that body section and Pre-Chorus B will denote When I walk in the spot… Note that the common element between both pre-chorus sections is the repetitive lead synth pattern.
THE MUSIC
Pre-Chorus A:
1ST Occurrence:
Coming out of the first verse, the lead synth pattern remains pretty much constant with the sound established at the tail end of the preceding section. It does start to “morph” toward the end, however, becoming a bit more trebly and incorporating notes that are an octave higher (this becomes much more pronounced during pre-chorus B).
Electronic drums now enter the mix, increasing the momentum and intensity factor from what was defining the first verse (note that there were no electronic drums present in the first verse). What sounds to be a trebly, dry snare/hat combo drives up the middle, and an electronic tom hit occurs in tandem with the vocal “ahhh,” providing it with more “punch.”
2nd Occurrence:
Coming out of the second verse which was defined by the electronic kick and snare coupled with the more “fuzz” natured synth, the second occurrence of pre-chorus A
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continues in the same manner but also adds an electro synth “blip” to the mix plus an up-front “disco” hat pattern that helps to increase the momentum of the section. The electronic tom hits occur in the same manner as they did during the first occurrence of pre-chorus A (described above), and the section concludes with a quick 3 note synth “blip” run that leads into pre-chorus B.
3rd Occurrence:
Coming out of the third chorus, the third occurrence of pre-chorus A contains all of the attributes that defined the second pre-chorus A occurrence (as described above) with the main difference being that the lead synth pattern now encompasses an “urgent,” harmonized, mostly higher register sound that also defines the 2nd chorus and bridge.
Pre-Chorus-B:
1st Occurrence: Coming out of the first occurrence of pre-chorus A, pre-chorus B changes things up in the following manner:
The beat is now defined by the lone snare in the mix, changing over to a “roll” during the second half of the section and as a result taking the momentum and intensity factor to its peak before hitting the transitional pause and releasing into the chorus that follows.
The lead synth initially continues with the same sound characteristics that defined the first occurrence of pre-chorus A but then starts to “morph” toward the treble end of the spectrum and an octave up as the section progresses. Additional amounts of reverb are also added which starts to “mask” the synth, causing it to come close to disappearing from the mix before launching into the chorus.
An airy synth “swoosh” effect enters low in the mix during the onset of the section, then increasing in level as the section progresses before peaking at the tail end right before the transitional pause that leads into the chorus that follows.
2nd Occurrence:
Coming out of the second occurrence of pre-chorus A, the only real difference between this pre-chorus B and the one that preceded it are the cymbals that are now present in the mix and the heavier, semi “filtered” nature of the snare.
GRAPHICAL REPRESENTATION OF THE LEAD SYNTH PATTERN THAT DEFINES BOTH PRE-CHORUS SECTIONS OF THE SONG (listen to the section while you look at this):
Key: Red Diamond: Notes longer in duration than an eight note and rests Yellow Diamond: 8th note Green Diamond: 16th note
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*Note that this is the same exact synth pattern that defines the verse and chorus sections of the song.
THE LYRICS & HARMONIC PROGRESSION
In pre-chorus A, it’s all about simplicity and repetition. The entire section consists of two phrases: Girl look at that body, (repeated three times,) followed by the phrase I work out. This combination is then repeated a second time around (making sure that it gets totally ingrained in the listener’s head).
In pre-chorus B, the lyrics change over to a “storytelling” theme, providing the listener with the final set-up into the lyrical payoff in the chorus that follows (I’m sexy and I know it.)
Pre-Chorus A (All Occurrences)
Gm Girl look at that body (ah) Gm Girl look at that body (ah) Gm Girl look at that body (ah) Gm I…I…I work out (Repeat)
IMAGERY BASED LYRICS & PHRASES IN PRE-CHORUS A:
Body
EMOTIONAL BASED LYRICS AND PHRASES IN PRE-CHORUS A:
None
ACTION BASED LYRICS & PHRASES IN PRE-CHORUS A:
Look at that body
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Work out
CHARACTER BASED LYRICS & PHRASES IN PRE-CHORUS A (INCLUDING PRONOUNS):
Girl I
Pre-Chorus B (All Occurrences)
Key: Red font = rhyming lyrics
Gm When I walk in the spot Gm This is what I see Gm Everybody stops and they staring at me Gm I got a passion in my pants Gm And I aint afraid to show it (show it, show it, show it)
IMAGERY BASED LYRICS & PHRASES IN PRE-CHORUS B:
Spot (location) Pants
EMOTIONAL BASED LYRICS AND PHRASES IN PRE-CHORUS B:
Passion …ain’t afraid
ACTION BASED LYRICS & PHRASES IN THE FIRST VERSE:
…what I see Everybody stops …staring at me Show it
CHARACTER BASED LYRICS & PHRASES IN PRE-CHORUS B (INCLUDING PRONOUNS):
I Everybody Me
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Interestingly, there are only two rhyming lyrics in pre-chorus B:
see, which is the last lyric on the second line. me, which is the last lyric on the third line.
THE VOCAL MELODY As with all of the other sections within Sexy and I Know It, both pre-chorus sections are conveyed pretty much in a monotone styled (rapped) vocal delivery, with the exception of just a couple of lyrics. Because of this style of delivery, the way that each phrase is broken up coupled with the duration of each note becomes exceptionally important in making each pre- chorus section engaging and memorable.
GRAPHICAL REPRESENTATION OF VOCAL MELODY PRESENT IN PRE-CHORUS A & B (listen to the section while you look at this):
Key: Red Diamond: Quarter note and rests Yellow Diamond: 8th note Green Diamond: 16th note
Pre-Chorus A:
Key points to note:
This section, as well as the chorus, are the only sections of the song which don’t possess a fully monotone styled vocal delivery.
Pre-chorus A is defined by copious amounts of repetition. The overall progression depicted in the graph above is repeated twice, with each progression comprised of three girl look at that body phrases and ending with I, I, I work out.
Each of the first three phrases above starts in the key of C (Girl,) and then follows with a monotone delivery of look at that body in the key of G. By starting girl on C, it breaks up the monotony of the otherwise monotone nature of the section, and also gives more emphasis to the lyric as well.
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The final phrase of the section, I, I , I work out, jumps an octave from the low G that was defining the three previous phrases of the section.
In regard to the note duration applied to the lyrics, each girl that begins each phrase is an eighth note, followed by two sixteenth notes on look at, followed by two eighth notes on that bod-, and concludes with a rest after the y in body.
Pre-Chorus B:
As you can see in the graphic above, the vocal melody now reverts back to the monotone G delivery that defined the verse sections of the song.
The entire section consists of eighth and quarter note vocal delivery. There are eight phrases within the section, with the last lyric in each phrase followed by a rest or a note of longer duration than an eighth or a sixteenth. Phrase breakdown as follows:
When I walk In the spot This is what I see Everybody stops And they staring at me (notice that the quarter note falls on the lyric “at,” since “me” races right into the next line with an eighth note value. I got Passion in my pants And I ain’t afraid to show it
Chorus: 9/10
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Interestingly, the chorus consists of just one line – I’m sexy and I know it. It occurs twice during the first and second choruses, and once in the third and fourth choruses (at the beginning of chorus three and at the end of chorus four, concluding the song). The chorus is primarily defined by the repetitive lead synth pattern.
THE MUSIC
1st Chorus: Following the transitional pause coming out of pre-chorus B-1, the 1st chorus is ushered in by brief drum fill in conjunction with the lyrics I’m sexy and I know it. The section is split instrumentally into two halves, with the first half characterized by the up-front kick drum and “full bodied fuzz” lead synth (note that it’s more up front in the mix than in the preceding intro, verse and pre-chorus sections, and has a “thicker” tone than the preceding sections as well). The second half continues in the same manner except for the fact that the dry, trebly snare enters the mix, panned left and right. Also note at the tail end of the section the lead synth “morphs” toward a higher register.
2nd Chorus: Following the transitional pause coming out of pre-chorus B-2, the 2nd chorus is once again ushered in by a brief drum fill in conjunction with the lyrics I’m sexy and I know it. The primary difference between the first and second chorus resides in the nature of the synths. Here in the second chorus the lead synth takes on a more “urgent” sound brought about by the higher register harmonization coupled with the “hissing” high-pitched synth that rides the top of the mix. The electronic drums are still in line with that of the first chorus, with the first half defined by the kick and the second half incorporating the snare into the mix.
3rd Chorus: Coming out of the bridge, the third chorus immediately transitions from the “urgent” lead synth sound that defined the 2nd chorus and bridge back to the lower register “fuzz” synth that defined the 1st chorus. Notice that there wasn’t any pause this time around in the transition between sections. The chorus is ushered in via the airy synth “swoosh” coupled with the up-front “disco” hi-hat being added to the mix. Also notice that the kick/snare combo is in full effect from the get-go. It isn’t spilt up between the solo kick followed by kick/snare as in the preceding chorus sections. There’s also an additional “blip” oriented synth that enters the mix during the 3rd chorus as well.
4th Chorus: Coming out of Pre-Chorus A-3, the 4th chorus reverts back to the lead synth sound that defined the intro and first verse sections of the song (less “fuzzy” and more trebly). As with the 3rd chorus, the kick/snare combo is in effect right from the start, coupled with the “disco” hats (though they’re not as far up in the mix as they were during the 3rd chorus). The “blip” synth is also present and up-front in the mix as well.
GRAPHICAL REPRESENTATION OF THE LEAD SYNTH PATTERN THAT DEFINES THE CHORUS SECTION OF THE SONG (listen to the section while you look at this):
Key: Red Diamond: Notes longer in duration than an eight note and rests Yellow Diamond: 8th note Green Diamond: 16th note
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*Nothing new here. It’s still the same synth pattern that has been defining every section of the song except for the intro.
THE LYRICS & HARMONIC PROGRESSION
Here we get to the “payoff” lyric that the song had been building toward through the verse and both pre-chorus sections. It’s simple, to-the-point, and definitive, giving the song it’s “self- esteem” theme.
Gm I’m Sexy and I know it
IMAGERY BASED LYRICS & PHRASES IN THE CHORUS:
None
EMOTIONAL BASED LYRICS AND PHRASES IN THE CHORUS:
I’m sexy and I know it
ACTION BASED LYRICS & PHRASES IN THE CHORUS:
None
CHARACTER BASED LYRICS & PHRASES IN THE CHORUS (INCLUDING PRONOUNS):
I’m I
*Note that lyrics sexy and I know it actually both end the bridge and start the third chorus at the same time.
THE VOCAL MELODY & HARMONIC PROGRESSION
GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN THE CHORUS
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(listen to the section while you look at this):
Key: Red Diamond: Any note value longer in duration than an 8th note (including rests) Yellow Diamond: 8th note Green Diamond: 16th note
With the exception of one lyric, know, the entire I’m sexy and I know it phrase is once again sung with a monotone delivery in the key of G. Know jumps to B-flat before going back down to G on it. The entire section consists of a half-note vocal delivery.
Bridge: 9/10 You can look this section in one of two ways. You can call it a third verse or you can call it a bridge. As a rule of thumb, a bridge should provide both a melodic and lyrical departure from the rest of the song. Considering that the same repetitive lead synth pattern is utilized in just about every section of the song, it’s the nature of the wiggle, wiggle, wiggle… vocal delivery coupled with the repetitive, unique lyrics that enable this section to stand out from every other section in the song. Also, note that this section only appears once and takes the intensity factor to a level above just about every other section within the song.
Regardless of what you call it, this section provides the listener with yet another engaging section to sink their teeth into (just picture how people will react on the floor and in concert).
THE MUSIC
The bridge slams right in following the brief transitional pause after the 2nd chorus. The lead synth follows the same pattern and embodies the same “urgent” sound characteristics that defined the preceding section, and also continues with the kick/snare combo beat. The primary difference that you’ll notice is that the “hissing” synth that sat on top of the mix during the preceding chorus is now pulled from the mix. Also notice how at the very end of the section the B-flat/C progression as well the upper G sees the synth at a louder level in the mix that on the preceding notes (i.e. they jump out at you).
GRAPHICAL REPRESENTATION OF THE LEAD SYNTH PATTERN THAT DEFINES THE BRIDGE SECTION OF THE SONG (listen to the section while you look at this):
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Key: Red Diamond: Notes longer in duration than an eight note and rests Yellow Diamond: 8th note Green Diamond: 16th note
*Still the same as every other section besides the intro.
THE LYRICS & HARMONIC PROGRESSION
Gm Wiggle wiggle wiggle wiggle wiggle yeah Gm Wiggle wiggle wiggle wiggle wiggle yeah Gm Wiggle wiggle wiggle wiggle wiggle yeah Gm Wiggle wiggle wiggle yeah yeah Gm Do the wiggle man Gm I do the wiggle man
IMAGERY BASED LYRICS & PHRASES IN THE BRIDGE:
None
EMOTIONAL BASED LYRICS & PHRASES IN THE BRIDGE:
None
ACTION BASED LYRICS & PHRASES IN THE BRIDGE:
Wiggle
CHARACTER BASED LYRICS & PHRASES IN THE BRIDGE (INCLUDING PRONOUNS):
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I’m I
THE VOCAL MELODY
Here’s where the vocal delivery arrives at its most “frantic” state, taking the intensity factor of the song to its peak (specifically during the first 4 phrases of the section). As with the majority of other sections within the song, the vocal melody present in the bridge resides in the key of G. There are a total of six phrases in the section, three of which are identical and three that vary in nature:
GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN THE BRIDGE (listen to the section while you look at this):
Key: Red Diamond: Any note value longer in duration than an 8th note (including rests) Yellow Diamond: 8th note Green Diamond: 16th note
Repeats Three Times:
This phrase occurs three times in a row during the section and consists of all 16th notes except on the last two sylables, where it switches over to an eighth followed by a quarter/sixteenth tie. There are 5 wiggles and one yeah.
Occurs Once:
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This is the “concluding” 4th phrase in the wiggle, wiggle, wiggle section. As with the first three phrases, it’s all 16th notes. The primary differentiating factor from the previous wiggle phrases is that there are only four wiggles as opposed to five, and there are two yeahs at the end of the phrase instead of CHORUS. The first yeah is a dotted eighth and the second is a quarter/sixteenth tie.
Addittionally, also notice how Redfoo changes up the tonality of the delivery a bit in this fourth (and last) wiggle phrase, bringing the wiggles to a conclusion before proceeding into the do the wiggle… portion of the bridge.
Occurs Once:
This section does a great job of bringing down the momentum and intensity levels coming out of the frantic wiggle phrases that preceded it (from a vocal delivery perspective,) and as a result “preps” the listener for the chorus that follows. As with the preceding phrases, we’re looking at sixteenth note delivery followed by an eighth & quarter/sixteenth tie on the last two syllables of each phrase.
Waveform Back to Top
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As you can see in the waveform above, Sexy and I Know It is ultra-compressed for maximum sonic impact.
Primary Instrumentation, Tone & Mix Back to Top
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Benchmark Analysis Back to Top
Compares Sexy and I Know It to all songs that have entered the Billboard Pop top 10 during Q3-2011.
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The key elements present in Sexy and I Know It are in-line with all year-to-date top 10 Pop hits EXCEPT:
The song is 0:33 shorter than the average top 10 Pop hit.
The first chorus occurs 0:28 (17%) farther into the song than the average top 10 Pop
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hit. This is primarily due to the two pre-chorus sections that precede it.
The lyrical theme is not love/relationship or partying clubbing based.
While Sexy and I Know It does posses dance influences, it also includes strong elements of Hip Hop as well.
Overall Assessment Back to Top
Structure: 9/10 Does the song flow in a cohesive manner & keep the listener engaged? Considering the immense repetitive nature of the song, Sexy and I Know It does a great job of keeping the listener engaged by changing-up each of the thirteen sections once every fourteen to fifteen seconds, resulting in the listener always being provided with something new entering the mix. There’s no time for the listener to get board or have their attention wander when listening to this song. Each section of the song also builds off of one another quite well, increasing momentum and tension levels before releasing into the chorus.
Additionally, the transitional pauses that occur between some of the sections throughout the song do a great job of creating tension and giving the section that follows more impact when it hits. Here’s a breakdown of how each section within the song transitions in and out of one another:
Intro to Verse 1: Synth swell effect and break. Lead synth carries over.
Verse 1 to Pre-Chorus A: Lead synth pattern carries over into pre-chorus.
Pre-Chorus A to Pre-Chorus B: Lead synth pattern carries over coupled with synth swell.
Pre-Chorus B to Chorus: Pause followed by drum fill and vocal.
Chorus to Verse 2: Pause
Verse 2 to Pre-Chorus A: Solo vocal followed by “ahhh” and kick hit.
Pre-Chorus A to Pre-Chorus B: Three note synth riff.
Pre-Chorus B to Chorus: Pause followed by drum fill and vocal.
Chorus to Bridge: Pause
Bridge to Chorus: Beat carries over coupled with the “sexy and I know it” vocal that ends the bridge and starts the chorus at the same time.
Chorus to Pre-Chorus A: Beat carries over coupled with the three note synth riff.
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Pre-Chorus A to Chorus: Snare hit and delay effect vocal plus brief “airy” synth swell.
Production:9/10 How does the production stand up in maximizing the songs impact? The production values present in Sexy and I Know It do a fantastic job of maximizing the electro/dance/club nature of the song. Each instrument is positioned effectively in the mix to create an engaging sonic landscape (see the instrumentation/tone/mix section of the report for specifics on panning.) Yes, the levels are pushed to the max and the song is quite compressed for maximum sonic impact, but it actually works to the song’s advantage considering its nature (it’s not Adele.) To really appreciate the production of this song, check it out in a club setting.
Instrumentation/Tone: 9/10 Does the instrumentation and associated tones maximize the vibe of the song? All of the instrumentation and their associated tones jibe perfectly with one another and perfectly accentuate the electro/dance nature of the song (see the primary instrumentation, tone and mix section for specific details). Considering that the heart of the song is the ultra-repetitive lead synth pattern, it pays to take a detailed look at how its “coloring” is changed up from section to section to help keep it sounding fresh and engaging:
Intro:
Trebly and “filtered” in nature.
Verse 1:
Trebly and “filtered” to start, more bass and fuzz and the section progresses.
Pre-Chrorus A-1:
Moderate fuzz (same as verse 1), starts to “morph” a bit as the section progresses.
Pre-Chorus B-1:
Moderate fuzz, continues to “morph” throughout the section coupled with increasing amounts of reverb.
Chorus 1:
Heavy fuzz, “morphs” at the tail end of the section.
Verse 2:
Heavy fuzz, same as what defined the preceding chorus.
Pre-Chrorus A-2:
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Heavy fuzz, same as what defined the preceding verse.
Pre-Chorus B-2:
Fuzz continues to “morph” throughout the section coupled with increasing amounts of reverb.
Chorus 2:
“Urgent” higher pitched fuzz synth harmony
Bridge:
“Urgent” higher pitched fuzz synth harmony
Chorus 3:
Heavy fuzz (same as chorus 1)
Pre-Chorus A-3:
“Urgent” higher pitched fuzz synth harmony. “Morphs” at the tail end of the section.
Chorus-4:
Trebly in nature with moderate fuzz and similar to what defined the intro and first verse.
As you can see above, the overall intensity of the lead synth increases from the intro through the bridge, before being brought back down in the third chorus, then slamming back in during the third pre-chorus, and then reverting back to a level that’s on par with the intro during the final chorus and out. These variations do a great job of providing the song with sonic diversity, texture and coloring that in the end make for a much more engaging listening experience than if the lead synth had its original tone remain static throughout.
Lyrics: 8.5/10 Are the lyrics strong, fresh & original? The lyrics that define Sexy and I Know It aren’t deep and thought provoking, and they don’t need to be. Conversely, they’re shallow, comical, and fun and jibe perfectly with the vibe of the music. They make great use of imagery and action, and as a result do a great job of painting a picture in your head while you listen. Additionally, the storyline has a great flow to it, perfectly building up to the lyrical “payoff” in the chorus, I’m sexy and I know it.
Vocal Delivery: 8.5/10 Does the tonality and phrasing of the vocals maximize the songs impact? Considering that the entire song pretty much consists of a monotone rapped vocal delivery in the key of G, the manner in which the vocals are timed and phrased is that much more important. This is
33 / 37 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com something that LMFAO pulled of quite well, keeping the phrases short enough where they’re easy to remember coupled with an engaging flow that basically acts as another rhythm instrument over the repetitive lead synth line. Additionally, Redfoo delivers the lyrics in a style that’s all his own, providing the song with additional color, character and depth.
Hit Factor Assessment Back to Top
Memorability: 9.5/10 How easy is it to remember this song after you hear it once? Sexy and I Know It is an exceptionally memorable song specifically due to its overall simplicity, excellent phrasing, vast repetitive nature and engaging lyrics. Here’s a look at the three most memorable sections within the song:
Chorus (I’m sexy and I know it): One phrase coupled with the repetitive synth.
Pre-Chorus A (Girl look at that body): Three “girl look…” phrases followed by one “I work out” phrase. This is repeated twice within the pre-chorus.
Bridge: (Wiggle): The lyric wiggle is repeated 18 times in four phrases followed by two “do the wiggle…” phrases.
What do all three of the sections above have in common? Repetition, repetition, repetition.
Originality: 8.5/10 Does this song have its own unique vibe when compared to other songs/artists in the genre? LMFAO definitely have their own unique vibe in today’s Pop genre, and it’s in full effect in Sexy and I Know It. That being said, you can definitely hear where some of their influences come from, and certain components of the song aren’t overly unique or original in nature as a stand- alone. Put all of the elements together, however, and you get something that is 100% LMFAO in nature.
Payoff: 9/10 Does the song provide the listener with a strong payoff (i.e. a hot chorus)? Sexy and I Know It is interesting in the sense that it doesn’t possess one clearly defined payoff within the song (such has a huge, soaring chorus). Instead, it provides the listener with a number of “smaller” payoffs, most notably the release and groove that the chorus provides coming after the sonic peak in Pre-Chorus B, the Wiggle, Wiggle Wiggle bridge and the lyrical payoff in the chorus with the phrase sexy and I know it (it’s what the story had been building toward through the verse and both pre-choruses of the song).
Longevity: 10/10 (Artist), 7/10 (Overall genre Genre) Does this song have what it takes to stand the test of time? Will it become a staple of the artist’s repertoire? As far as Sexy and I Know It standing the test of time in LMFAO’s catalog, there’s no doubt that it will be considered a top highlight and will most likely be featured in their live shows for the duration of their career. In regard to the overall Pop genre, I think it will live on in future party/club compilations and possibly film/TV licensing. The bottom line is that it’s a
34 / 37 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com very well crafted, fun party song – nothing more, nothing less.
Conclusion: 9/10 Back to Top
Song Strengths:
Sexy and I Know It is an exceptionally memorable song specifically due to the abundant use of repetition and effective vocal phrasing.
Sections change over frequently (once every 0:14-0:15,) and as a result make for an engaging listening experience (you’re attention never has a chance to wander.)
Considering the vast repetitive nature of the lead synth pattern, LMFAO do a great job of keeping it fresh and engaging by changing up its “coloring” throughout sections of the song.
Even though the entire song is in one key, there is enough diversity between sections to keep the listener engaged.
The lyrics are fun and engaging, making great use of imagery and action to help “paint a picture” in the listener’s head.
The overall storyline has a great flow, culminating in the lyrical payoff within the chorus (which also happens to be the song’s title), I’m sexy and I know it.
The title of the song is very effective in the sense that it’s quite bold in nature, and as a result will pique someone’s interest to at least take a listen.
The song provides the listener with multiple payoffs (specifically lyrically and musically in the chorus, and in the “wiggle” bridge).
The overall production of the song is very strong, with each instrument clearly defined and well positioned in the mix.
Song Weaknesses:
None
Why it’s a Hit Back to Top
There were a few primary factors that worked together in making Sexy and I Know It a hit:
The Music: For reasons stated throughout this “deconstruction,” Sexy and I Know It is an exceptionally well crafted, memorable song that instantly draws you in and keeps you engaged throughout. The lyrics make great use of action and imagery that do a great job of bringing a smile to your face, and the infectious, ultra-repetitive lead synth pattern
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coupled with the driving beat hooks you into the groove and never lets go. Above all, this song is just pure FUN, and has clearly resonated with listeners.
Party Rock Anthem Momentum: To-date, the mega-successful Party Rock Anthem has hit #1 in 18 Countries and landed in the top spot on more than 20 charts. As a result, LMFAO have been very much in the public’s eye and at the forefront of the charts for quite a while. The public was ready for another strong helping of LMFAO.
Music Video: The music video of Sexy and I Know It has become massively popular due to its hilarious, bizarre nature, and at the time of this writing has received over 168 million views on YouTube. Now THAT’S effective marketing!
Take Aways From Sexy and I Know It: Back to Top
Abundant use of repetition is an exceptionally effective way to maximize the memorability factor of your song. LMFAO’s Sexy and I Know It utilizes repetition not just within the characteristics each individual section (i.e. vocally and musically), but also in how those sections repeat throughout the entire song. Remember though, that too much repetition without some sort of diversity will start to bore the listener and cause them to lose interest.
If your song does utilize lots of repetition, a good way to help keep things fresh, moving along and engaging for the listener is to change up sections frequently. Sections within Sexy and I Know It change over once every 0:14-0:15, and as a result never give the listener a chance to get bored.
If you have one element that repeats throughout the vast majority of your song (such as a synth pattern,) try adding varying degrees of “color” to the sound to help keep things interesting and engaging. The lead synth pattern in Sexy and I Know It occurs throughout 88% of the entire song (first verse and on). The way that LMFAO kept it fresh was by changing its sonic characteristics throughout (i.e. more trebly and lighter fuzz in the beginning and end of the song, heavier fuzz in the first chorus and 2nd verse and the “urgent” sound present in the second chorus and bridge, for example).
Make sure that your lyrics make great use of imagery, action and emotion to really connect with the listener and help to “paint a picture” in their heads. Even though as a whole Sexy and I Know It isn’t high on emotion, it does make fantastic use of imagery and action.
Your storyline should possess a consistent flow, taking the listener on a journey and providing them with a lyrical payoff at some point in the song (i.e. the title in the chorus.) This is a strong-point within Sexy and I Know It, where the story built in conjunction with the momentum and intensity levels before releasing in the chorus with the title, I’m sexy and I know it.
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Speaking of payoff’s, if your song doesn’t possess one “grandiose” payoff for the listener (like an over-the-top, soaring chorus), make sure that other areas of your song provide the listener with something that they can sink their teeth into. Sexy and I Know It provided the listener with multiple payoffs, most notably in the wiggle bridge and the release that came in the chorus following pre-chorus B.
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