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We Found Love 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
Audio/Video Back to Top
General Information Back to Top
Artist: Rihanna featuring Calvin Harris Song/Album: We Found Love / Talk That Talk Songwriter(s): Calvin Harris Producer(s): Calvin Harris Personnel: M. Tovar (Vocal recording), A Barajs (Asst. recording engineer), P.Tan (Mixing), D. Lewis (Asst. mixing) Chart Position: #1 Billboard Hot 100 Genre: Pop Sub Genre: Electro Pop/Dance
At a Glance Back to Top
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Length: 3:36 Structure: A-B-IB-A-B-IB-A-B-IB-B Tempo: 120 bpm First Chorus: 0:37 (17% into the song) Intro Length: 0:07 Outro Length: n/a Electric vs. Acoustic: Electric Primary Instrumentation: Synth Lyrical Theme: Love/Relationships Title Occurances: 16 times within the song, appears as the first phrase in each line of the chorus Primary Lyrical P.O.V: 1st and 2nd
Structural Analysis Back to Top
At-a-Glance
Section Length (Length of each individual section within the song)
Aside from the intro, second instrumental break and reverb trail-off at the end of the song, every single section within We Found Love lands at 0:15 in length. Considering the ultra-repetitive nature of the song, incorporating frequent change-ups in sections was imperative to aid in keeping the listener engaged throughout the song.
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)
What’s most interesting about the total time dedicated to each section within We Found Love is the fact that the chorus only accounts for 28% of the song’s total composition. Typically, as we’ve seen in some of our other hit Pop song deconstructions (i.e. Perry, Spears, etc…), the chorus typically accounts for anywhere between 45% and 55% of a songs total composition.
So – what was the primary contributing factor that makes the compositional breakdown of this song so different from other Pop hits? It’s the 14% of the song that accounts for the instrumental transition sections and the 18% that accounts for the instrumental breaks. Combined, they account for 32% of the song’s total composition – outweighing the chorus by 4%. Looks like Calvin’s instrumental influence outweighed all else in the song!
Momentum/Intensity Factor (Evaluation of the intensity of each section within the song timeline
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Considering the vast repetitive nature of We Found Love, the engagement factor is aided via effective shifts in momentum, intensity and tension levels throughout the song.
The intro to We Found Love kicks off in a moderate fashion, defined by the repetitive solo synth line that reoccurs throughout the song in various manifestations. The first verse hits at 0:07, where we see the intensity levels increased just a tad due to the onset of Rihanna’s vocals. The momentum levels remain pretty much constant throughout the section, eventually being kicked up via the vocal carry-over into the pre-chorus.
As soon as we hit the pre-chorus at 0:22, the intensity level is kicked up a couple of notches via the introduction of the synth bass and snare/clap hybrid beat into the mix coupled with the overall increase in level. The change-up in Rihanna’s vocal delivery from the preceding verse also adds a subtly increased tension to the section as well.
The momentum and intensity levels that defined the pre-chorus carry over into and throughout the entire first chorus section, which hits at 0:37. At 0:52 we enter into the instrumental transition that delivers the song to its sonic peak, brought about the electronic drums and synths that increase in pitch throughout the section, ultimately bringing the tension to the boiling point before releasing into the full-on “club” driven instrumental break section that occurs at 1:07. The momentum continues throughout the balance of the section until arriving at the second verse.
At 1:22 we enter the second verse where we see the momentum levels being brought down a notch from the instrumental break via the change-up in synth and electronic drums (specifically the “driving” hats being pulled from the mix – it’s more of a straight-up “club” beat now. The overall levels are decreased slightly as well). This momentum pattern continues until seeing the intensity and tension kicked up a notch in the second pre-chorus via the re-introduction of the “driving” hats into the mix coupled with the change-up in Rihanna’s vocal delivery (same vocal style as in the first pre-chorus).
The second chorus hits at 1:22 where we see the momentum and intensity levels increased to that which was defining the instrumental break section earlier in the song (the backing music in the second chorus utilizes the same backing music that’s present in the instrumental break).
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The momentum remains constant throughout the section until we hit the next instrumental break at 2:07, where we see the momentum dropping way down due specifically to the drums being pulled from the mix. The overall tension remains high, however, due to the “darker” nature of the synth and bass in relation to what was going on in the rest of the song up until this point. You can almost call this instrumental break and the 3rd verse that follows a “verse/bridge” section –specifically due to the change-up in overall vibe (NOT due to the lyrical content or melody, which is the same as the first verse).
The overall intensity is increased a notch as we move into the third verse at 2:15, brought about by the onset of Rihanna’s vocals into the mix. The overall level remains constant until increasing in intensity via the addition of the “airy” synth swell that enters into the mix toward the end of the section, leading into the third chorus at 2:30. The momentum level of the third chorus is on par with that of the first chorus, and remains constant until we hit the instrumental transition section once again at 2:45 which takes the tension to a sonic peak before releasing once again into the instrumental break section at 3:00 (same progression as was defined earlier in the song).
The momentum levels present in the instrumental break section carry right through the fourth and final chorus, before ending abruptly at 3:30, followed by a reverb trail-off that finally ends the song at 3:36.
Sectional Analysis Back to Top
Intro: 8.5/10 Like so many other of today’s top charting Pop hits, the intro section to We Found Love is just the backing music of the first verse. In this case, it’s just two solo synths defining the section. That being said, it is quite effective on a few levels:
The nature of the synths coupled with the pattern in G-flat acts as a unique “identifier” for the song, enabling it to stand out amongst all others in the genre. The second you hear it, you immediately know what song it is.
The intro transitions seamlessly into the first verse (specifically due to the fact that it’s the backing music of the first verse).
The overall simplicity coupled with the repetitive nature of the pattern does a great job of fostering memorability.
Verses: 9/10
THE MUSIC
Verse 1: Utilizes the same bright solo synth pattern that was established during the intro of the song. Notice that there are two synths in the section – one for the main pattern and one that’s fast paced/delay oriented that provides texture and color to the mix.
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Verse 2: Here we enter into full “club” territory. The backing music is characterized by the “club” oriented eighth-note electronic drum beat, mid to upper-mid level bass synth, and E-flat minor / C-flat 5 / G-flat 5 / A-flat 5 synth progression. Notice how the tone of the synth has changed from the instrumental break section that preceded it – providing the verse with sonic and color diversity.
Verse 3: The third verse is interesting in the fact that it functions both as a verse (lyrically) and as a bridge (musically). From a musical perspective, here we see the nature of the synths encompassing a “darker” vibe, characterized by the low, “gritty” E-flat / F-flat synth bass progression coupled with the brighter “ping delay” oriented synth that’s bouncing through the mix. Together they create an engaging sonic landscape for Rihanna’s reversion back to the lyrical content that was present in the first verse of the song. Also notice that the electronic drums have been pulled from the mix in the third verse, further accentuating the “tension” that’s defining the section. Toward the end of the section we see the “airy” synth effect being applied to the mix, which then leads us into the third chorus.
THE LYRICS
The storyline in the verse sections of We Found Love makes great use of imagery, emotion and semi-cryptic lyrics to convey a “relationship gone wrong” theme in a clever and engaging manner. Overall it does a great job in setting the scene for what follows in the pre-chorus and chorus sections of the song.
LYRICS AND HARMONIC PROGRESSION IN VERSES 1, 2 and 3 (Note that verse 3 is the same as verse 1):
VERSE-1 G-flat Yellow diamonds in the light G-flat And we’re standing side by side G-flat As your shadow crosses mine G-flat What it takes to come alive
IMAGERY BASED LYRICS & PHRASES IN THE FIRST VERSE:
Yellow diamonds Standing side by side (not an actual image, but conjures one up in your mind). Shadow
EMOTIONAL BASED LYRICS AND PHRASES IN THE FIRST VERSE:
Come alive
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ACTION BASED LYRICS & PHRASES IN THE FIRST VERSE:
As your shadow crosses mine
VERSE-2 E-flat minor / C-flat 5 / G-flat 5 / A-flat 5 Shine a light through an open door E-flat m / C-flat 5 / G-flat 5 / A-flat 5 Love and life I will divide E-flat m / C-flat 5 / G-flat 5 / A-flat 5 Turn away ’cause I need you more E-flat m / C-flat 5 / G-flat 5 / A-flat 5 Feel the heartbeat in my mind
IMAGERY BASED LYRICS & PHRASES IN THE SECOND VERSE:
Light Open door
EMOTIONAL BASED LYRICS AND PHRASES IN THE SECOND VERSE:
Love a life I will divide Feel the heartbeat in my mind
ACTION BASED LYRICS & PHRASES IN THE FIRST VERSE:
Shine a light through an open door Turn away
VERSE-3 E-flat minor Yellow diamonds in the light E-flat minor And we’re standing side by side E-flat minor As your shadow crosses mine
IMAGERY BASED LYRICS & PHRASES IN THE THIRD VERSE:
Yellow diamonds Standing side by side (not an actual image, but conjures one up in your mind). Shadow
EMOTIONAL BASED LYRICS AND PHRASES IN THE THIRD VERSE:
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None
ACTION BASED LYRICS & PHRASES IN THE THIRD VERSE:
As your shadow crosses mine
THE MELODY The vocal melody present in all three of the verse sections within We Found Love is simplistic in nature, utilizes vast amounts of repetition and as a result comes across exceptionally engaging and memorable. The primary difference that you’ll see in the melody graphs below is how the last lyric of each verse section is stretched through G-flat / B-flat /A-flat to lead the listener from the verse into the pre-chorus.
*Note: Considering the virtually identical nature of the vocal melody in each verse section, I’m going to detail the key points to take note of here as opposed to repeating them under each graph below (you’ll understand why as soon as you take a look at the melody graphs):
*Rihanna’s phrasing primarily consists of eighth an quarter note delivery.
*Notice how she changes pitch on syllables within certain words for increased effect:
Verse 1 (First Line):
Yel-low: A-flat to B-flat Dia-monds: B-flat to G-flat Li-ight: G-flat to A-flat (note that she now incorporates this technique into a one- syllable word) Stand-ing: B-flat to G-flat
Verse 1 (Second Line):
Shad-ow: B-flat to G-flat Cross-es: F to G-flat Mi-ne: G-flat to A-flat (same point in the line as “light” in the first line of the section) A-li-iv-ve: B-flat to G-flat to A-flat and back up to B-flat (transitions into the pre- chorus)
Verse 2 (First Line):
O-pen: F-flat to G-flat Do-or: G-flat to A-flat (same point in the line as “light” in verse 1) Di-vide: B-flat to G-flat
Verse 2 (Second Line):
Mo-re: G-flat to A-flat
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Heart-beat: B-flat to G-flat Mi-i-ind: B-flat to G-flat to A-flat and back up to B-flat (transitions into the pre-chorus)
*Total words and syllables utilized in both verse sections:
VERSE 1: First Line: 11 words / 15 syllables Second Line: 11 words / 17 syllables
VERSE 2: First Line: 13 words / 16 syllables Second Line: 13 words / 18 syllables
The primary difference between the number of syllables in verses 1 and 2 stems from the extra G-flat that’s included in the second verse on the lyrics “an” and “I.” Notice how the note duration is changed up to make it work. In verse 1, for example, the lyrics “…di-monds in…” all have quarter note values. The same area in the second verse, with the lyrics “…light through an…” utilizes a quarter note followed by two eight notes. Check out the graphs below for details.
*Notice the repetition that’s used at the beginning of each phrase on each line in the verse sections. This does a great job of fostering memorability:
Verse 1 – Line 1 (both follow an A-flat/B-flat/B-flat/ G-flat progression): Phrase 1: Yel-low dia-monds Phrase 2: And we’re stand-ing
Verse 1-Line 2 (both follow an A-flat/B-flat/B-flat/ G-flat progression): Phrase 1: As your shad-ow Phrase 2: What it takes to
Verse 2 – Line 1 (both follow an A-flat/B-flat/B-flat/ G-flat progression): Phrase 1: Shine a light through Phrase 2: Love and life I
Verse 2-Line 2 (both follow an A-flat/B-flat/B-flat/ G-flat progression): Phrase 1: Turn a-way cause Phrase 2: Feel the heart-beat
*Notice the melodic similarities at the end of each line in verses 1 and 2, again, utilizing repetition to foster memorability:
Verse 1/Line 1: “side by side” (C-flat/B-flat/G-flat) Verse 2/ Line 1: “will di-vide” (C-flat/B-flat/G-flat)
Verse 1/ Line 2: “come a-li-i-ve” (C-flat/B-flat/G-flat/A-flat/B-flat) Verse 2/ Line 2: “in my mi-i-ind” (C-flat/B-flat/G-flat/A-flat/B-flat)
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GRAPHICAL REPRESENTATION OF VOCAL MELODY PRESENT IN ALL THREE VERSE SECTIONS (listen to the section while you look at this):
*Note: for formatting purposes, I left the “flats” out in the graphs so that it didn’t get too busy. Note, however, that each note in the vocal melody below is a “flat” EXCEPT for F, which is natural.
Key: Red Diamond: Quarter note and rests Blue Diamond: 8th note Green Diamond: 16th note
1st Verse & 3rd Verse (Partial in the 3rd verse – up until the lyric “mine”)
2nd Verse
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Pre-Chorus: 8.5/10 Utilized after the first and second verses (does not occur after the partial third verse), the pre- chorus in We Found Love does a great job of changing up both the momentum and melody within the song while providing an effective “bridge” between the verse and chorus sections.
THE MUSIC
Pre-Chorus-1: Coming out of the first verse which was characterized by the solo synths and Rihanna’s vocals, the 1st pre-chorus kicks up the energy of the song via the increase in overall level (specifically the synths), change-up in the synth chord pattern (see below for details), the addition of the synth bass and what sounds to be an electronic snare/clap hybrid entering the mix. Overall, the 1st pre-chorus provides for a seamless transition into the first chorus, considering that the 1st chorus utilizes the exact same music as that of the pre-chorus. The only “marker” that we have to signal the transition between sections is the splash cymbal hits.
Pre-Chorus-2: Here we see a continuation of the “club” oriented music that defined the second verse (refer to the verse section above for details) with the primary difference being the inclusion of the upfront hi-hat cymbal pattern that increases the overall intensity of the section. What’s interesting to note is how the 2nd pre-chorus differs in its transition into the 2nd chorus from what defined the 1st pre-chorus/chorus transition. In the second pre-chorus, we see the synths being pulled to the back of the mix, and to the forefront we get the “airy” synth swell effect coupled with the electronic drum fill that ushers us into the second chorus (as opposed to the splash cymbal in the 1st pre-chorus/chorus transition).
THE LYRICS
Here in the pre-chorus Rihanna conveys the story purely from an emotional standpoint. There’s no imagery or action here – it’s 100% introspective in nature. She’s basically stating that the relationship isn’t working and she has to “let it go.”
LYRICS AND HARMONIC PROGRESSION IN THE PRE-CHORUS:
D-flat/A-flat / E-flat minor / C-flat 9 / G-flat / D-flat/A-flat / E-flat minor It’s the way I’m feeling I just can’t deny D-flat/A-flat / E-flat minor / C-flat 9 / G-flat / D-flat/A-flat But I’ve gotta let it go
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IMAGERY BASED LYRICS & PHRASES IN THE PRE-CHORUS:
None
EMOTIONAL BASED LYRICS AND PHRASES IN THE PRE-CHORUS:
It’s the way I’m feeling I just can’t deny But I’ve gotta let it go
ACTION BASED LYRICS AND PHRASES IN THE PRE-CHORUS:
None
THE MELODY
Take note of the change-up in Rihanna’s vocal delivery in comparison to the verse sections. The first thing that you’ll notice is that her delivery is much more “soaring,” “breezy,” and “evocative” in nature. Considering that the nature of the music remains pretty much constant (specifically in the 2nd verse/pre-chorus), it’s her vocals that provide diversity and as a result aid in keeping the listener engaged in the song.
*Notice how Rihanna changes pitch on syllables within certain words for increased effect:
• Feel-ing: B-flat to A-flat • De-ny-y-y: G-flat to G-flat to A-flat to B-flat • Got-ta: D-flat to C-flat • Go-o-o-o: G-flat to A-flat to C-flat to B-flat (occurs only in the 2nd pre-chorus during the transition into the chorus).
*Total words and syllables utilized in the pre-chorus: 15 words / 20 syllables (23 in the 2nd pre-chorus due to the lyric “go”).
GRAPHICAL REPRESENTATION OF VOCAL MELODY PRESENT IN THE PRE-CHORUS (listen to the section while you look at this):
*Note: for formatting purposes, I left the “flats” out in the graphs so that it didn’t get too busy. Note, however, that each note in the vocal melody below is a “flat.”
Key: Red Diamond: Quarter note and rests Blue Diamond: 8th note Green Diamond: 16th note
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As you can see in the graph above, Rihanna is primarily utilizing a descending vocal melody in each of the three phrases in the section. Key points to take note of:
The first phrase (It’s the way I’m feeling) starts out on D-flat and descends to A-flat. The Second phrase (I just can’t deny) then starts on C-flat and descends to G-flat (one step down from the first phrase). Together, they help to give the section movement and diversity, as opposed to if she just exactly repeated the second phrase in the same manner and progression as the first.
Notice how the jump from A-flat (on the syllable “ing” in feeling) to C-flat on “I” gives increased emphasis to the lyric and increases the engagement factor from a melodic flow standpoint (i.e. the jump from A-flat to C-flat provides an engaging transition between phrases).
Notice how the upward G-flat/G-flat/A-flat/B-flat progression on the lyric “deny” does a great job of setting up the first lyric of the third phrase, “But.” “But” drops way down to D-flat before jumping up an octave on the lyric that follows, “I’ve,” before continuing on the descending progression down to D-flat. It does a great job of breaking things up and adding color to the melodic nature of the section.
Chorus: 9/10 Even though the chorus in We Found Love doesn’t provide the listener with a “sonic” payoff, it does provide the listener with an effective “lyrical” payoff.
THE MUSIC
1st Chorus: Interestingly, the backing music of the 1st chorus is identical in nature to the backing music that defined the 1st pre-chorus that preceded it (refer to the pre-chorus section for details). Now, I say interesting in the sense that usually when your chorus hits (and especially in Pop music), you want the chorus to be sonically above that of the section that preceded it – to give the section lift and to provide the listener with a sonic payoff that they can sink their teeth into. The 1st chorus in We Found Love deviates from this common practice, instead relying on the repetitive nature of the lyrics “We found love in a hopeless place” to provide the listener with the payoff.
2nd Chorus: Here we see the “club” based music that defined the 2nd pre-chorus continuing into the 2nd chorus. The primary difference between the two is that we see the “bright” synth that defined the first chorus return in the second. It wasn’t present in the pre-chorus that
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3rd Chorus: Transitioning out of the 3rd “bridge” oriented verse as mentioned earlier in the report, here we see the music in the 3rd chorus reverting back to that which defined the 1st Chorus (synths and snare/clap hybrid). There is one subtle addition to the mix to take note of, however. If you listen closely you can hear a bright synth drone in the back of the mix that adds some color and texture to the section.
4th Chorus: Here we see the music reverting back to that which defined the 2nd “club” oriented chorus. Also note that the backing music is exactly the same as the instrumental break section that preceded it, with the only “transitional announcement” between sections being the crash cymbal.
THE LYRICS
Here’s where Rihanna sums up what the story had been building toward during the verse and pre-chorus sections of the song. The pre-chorus ends on the line “But I’ve gotta let it go.” The chorus lyrics that follow, “We found love in a hopeless place,” tells WHY she needs to let it go. Again, as with the pre-chorus, the lyrics are 100% emotional in nature. There isn’t any imagery or action here.
LYRICS AND HARMONIC PROGRESSION IN THE CHORUS:
E-flat minor / C-flat 9 / G-flat / D-flat/A-flat We found love in a hopeless place E-flat minor / C-flat 9 / D-flat/A-flat We found love in a hopeless place E-flat minor / C-flat 9 / G-flat / D-flat/A-flat We found love in a hopeless place E-flat minor / C-flat 9 / G-flat / D-flat/A-flat We found love in a hopeless place
IMAGERY BASED LYRICS & PHRASES IN THE CHORUS:
None
EMOTIONAL BASED LYRICS & PHRASES IN THE CHORUS:
We found love Hopeless place
ACTION BASED LYRICS & PHRASES IN THE CHORUS:
None
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THE MELODY
Considering that there isn’t a great “sonic lift” oriented payoff in the chorus to really move the listener, the chorus in We Found Love ops for simplicity and abundant repetition that ultimately makes for an exceptionally memorable section.
*Notice how she changes pitch on syllables within certain words for increased effect:
Phrases 1 & 3: Hope-less: F to G-flat Pla-ace: G-flat to A-flat
Phrases 2 & 4: Hope-less: C-flat to B-flat
GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN THE CHORUS (listen to the section while you look at this):
*Note: for formatting purposes, I left the “flats” out in the graphs so that it didn’t get too busy. Note, however, that each note in the vocal melody below is a “flat” EXCEPT for F, which is natural.
Key: Red Diamond: Quarter note and rests Blue Diamond: 8th note Green Diamond: 16th note
Key points to take note of regarding the chorus vocal melody in We Found Love:
The phrase “We found love in a hopeless place” is repeated four times within each full chorus
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*Notice how the note duration on specific lyrics changes to provide increased emphasis:
First & Third phrases: The lyric “we” is an eighth note, which is followed by “found love,” which possesses quarter note values. The result is that the emphasis is put on the lyrics “found love.” The same occurs during “in a,” which are eight notes, followed by “hope-less pla-ace,” which is prolonged in duration.
Second & Fourth phrases: It starts out in the same manner as the first and third phrases, except this time the entire phrase “hope-less place” is prolonged in nature.
Regarding vocal pitch, notice that the beginning of each phrase has a monotone oriented vocal delivery in the key of B-flat (We found love). This is then followed by another monotone delivery on the lyrics “in a,” which drops down to the key of G-flat.
The primary variant in the section occurs on the lyrics “hopeless place.” In the first and third phrases, “hopeless place” follows an ascending progression via F/G-flat/G-flat/A-flat. In the second and fourth phrases, “hopeless place” follows a descending progression via C-flat/B-flat/G-flat. The result is that it gives the section some much needed diversity that really aids in keeping the listener engaged (if the progression in phrase 1 repeated all four times, the listener would most likely lose interest. It would also detract from the payoff factor of the section).
Instrumental Break & Transition Sections: 8.5/10
Comprising 32% of the songs total composition (18% instrumental break and 14% instrumental transition), the instrumental segments present in We Found Love play an exceptionally important role in its framework and effectiveness.
Instrumental Transition / Instrumental Break Combo Sections: The first time that we see this occurring is right after the first chorus (remember that the first chorus was NOT the full “club” oriented chorus that occurs the second time around. It’s characterized by the synth and snare/clap hybrid beat).
The transition is characterized the synths that increase in pitch and intensity throughout the section coupled with the electronic drums that bring the tension to a climax before releasing into the “club” oriented instrumental break section that defines the next part of the song. The momentum established here carries right through the third “bridge” oriented verse section that occurs at 2:15.
The next time that they occur together is right after the third chorus (note that the third chorus is similar sonically to the first chorus) in order to usher in once again the “club” oriented vibe that will define the balance of the song.
There’s one point in the song where the instrumental break occurs without the instrumental
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Waveform Back to Top
As you can see in the waveform above, the levels within We Found Love are pushed to the max for maximum sonic impact – primarily in the instrumental transitions, the “club” oriented instrumental breaks and full “club” chorus sections of the song. There are a few areas that possess a bit of breathing room, however:
The intro section The first and third verses The second instrumental break (the one that leads into the third verse)
Primary Instrumentation, Tone & Mix Back to Top
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Benchmark Analysis Back to Top
Compares the song being analyzed to all Pop songs that have entered the Billboard Pop top 10, Q1 through Q3-2011
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The key elements present in the We Found Love are in-line with all year-to-date top 10 Pop hits EXCEPT:
The form is A-B-IB-A-B-IB-A-B-IB-B as opposed to A-B-A-B-C-B.
The song length is 0:16 shorter than the average top 10 hit Pop song.
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We Found Love is sung by a female lead vocalist. The majority (50%) of top 10 hit Pop songs are sung by a male lead vocalist.
The song does not contain a proper bridge, where 68% of top 10 hit Pop songs do.
Overall Assessment Back to Top
Structure: 9/10 Does the song flow in a cohesive manner and keep the listener engaged? Each section within We Found Love flows seamlessly in and out of one another and the frequent change-over in sections (once every 0:15) does a great job of engaging and holding the attention of the listener throughout the song. Additionally, the instrumental transition and instrumental break sections do a great job of changing up the momentum and intensity levels throughout the song.
Production: 9/10 How does the production stand up in maximizing the songs impact? The production values present in We Found Love perfectly maximize the electro/club nature of the song, and it’s 100% primed for the floor. Yes, the there is abundant use of compression and the levels are pushed to the max throughout most of the song (reference the waveform graphic for details), but the nature of the song warrants it.
Instrumentation/Tone: 9/10 Does the instrumentation and sound maximize the vibe of the song? As with the production values, the instrumentation used and their associated tones perfectly bring out and accentuate the electro “club” nature of the song. Reference the “primary instrumentation, tone and mix” section of the report for specific details regarding the instrumentation used in each section.
Lyrics: 9/10 Are the lyrics strong, fresh and original? Do they serve the song and jibe with the vibe of the music? Overall, the lyrics in We Found Love do a great job of conveying a “relationship gone wrong” theme in a semi-cryptic, engaging manner that makes great use of imagery and emotion.
Let’s take the title “We Found Love” for example. On its own it sounds like any other “generic” love/relationship themed title that you’ve ever heard. However, when you hear how the title is used in the chorus, it takes things to a whole new level: “We found love in a hopeless place.” It’s deep, evocative and it makes you think. Additionally, the use of imagery such as “yellow diamonds in the light” and “shine a light through an open door” enables you to “see” the story in your head, and lyrics such as “But I’ve got to let it go” and “Turn away ‘cause I need you more” gets you right inside the emotion that Rihanna is struggling with. Additionally, the storyline is laid out in an engaging manner, with the lyrical content perfectly leading us through the verse and pre-chorus sections right into the payoff in the chorus.
Vocal Delivery: 9/10 Does the tonality and phrasing of the vocals maximize the songs impact? Rihanna does a fantastic job of utilizing emotion and effective phrasing techniques in bringing the lyrical content
22 / 25 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com of We Found Love to life. Her delivery is evocative, sultry and flowing, all the while sounding 100% “Rihanna” in nature (i.e. she has a style all her own).
Hit Factor Assessment Back to Top
Memorability: 9/10 How easy is it to remember this song after you hear it once? As mentioned throughout this report, We Found Love makes great use of both instrumental and vocal repetition throughout the song – most notably in the chorus. As a result, the song very quickly gets engrained in your head and is really tough to shake once it’s in there.
Originality: 5/10 Does this song have its own unique vibe when compared to other songs/artists in the genre? The originality quotient in We Found Love is pretty much split down the middle. From a backing music standpoint, there really isn’t anything new or original in the mix that you haven’t heard before (though Calvin Harris does have his own unique style). Overall, it’s straight-up electro based club music – nothing more, nothing less. Now, on the other hand, we have Rihanna, who totally has her own unique vibe amongst all others in the genre. That in addition to a standard “relationship gone wrong” theme being conveyed in a unique and engaging manner. In the end, you basically wind up with a song that sounds both old and new, which isn’t a terrible thing in the sense that it fosters “familiarity” for the listener (i.e. they feel comfortable when they hear the song).
Payoff: 8.5/10 Does the song provide the listener with a strong payoff (i.e. a hot chorus)? We Found Love provides the listener with two payoffs. The first occurs during the sonic build in the instrumental transition section that takes the tension of the song to its zenith before releasing into the full “club” instrumental break section of the song. The second payoff resides in the chorus. Though not a payoff from a “sonic” perspective, it functions as a payoff for the listener from both a lyrical (it sums up what the lyrics have been building toward since the verse) and a repetition standpoint (i.e. the simplicity and repetitive nature of the melody gets totally engrained in your head).
Longevity: 6/10 (Artist), 3/10 (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? We Found Love is a very good song, but personally I don’t think it compares to some of Rihanna’s previous hits such as S&M and Only Girl (In The World), which are much more innovative and unique in nature. In the scope of Rihanna’s catalog of past and future hits and the Pop genre in general, We Found Love’s staying power will most likely be short lived.
Conclusion: 8.5/10 Back to Top
Song Strengths:
We Found Love makes great use of repetition, both from an instrumental and vocal melody standpoint. The result is that the song is highly infectious and memorable in
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nature.
Sections of the song change over frequently, (once every 0:15), and as a result does a great job of keeping the listener engaged throughout the song.
We Found Love provides the listener with two payoffs – both in the instrumental transition/break sections (sonically) and in the chorus (lyrically and repetition of the vocal melody).
The song possesses clever and engaging lyrics that make good use of emotion and imagery.
Rihanna’s vocal delivery is strong – both in her phrasing and tonality.
Even though We Found Love doesn’t contain a “proper” bridge, the third verse does provide a “musical vibe” departure from the rest of the song.
Song Weaknesses:
None
Why it’s a Hit Back to Top
There were a couple of primary factors that aided in making We Found Love a hit:
1. Rihanna & New Album Buzz: Considering that We Found Love was the first single released from Rihanna’s forthcoming album Talk That Talk, her fans were ready to devour any new music from the artist that they could get their hands on. We Found Love didn’t disappoint, and as a result the frenzy led to the song hitting #1 in thirteen countries at the time of this writing. 2. The Music: As mentioned throughout this report, We Found Love is strong on numerous levels, including a typical “relationship gone wrong” theme being conveyed in a unique manner that makes great use of imagery and emotion in the lyrics, abundant use of repetition that gets the song engrained in your head right after the first time you hear it, two “payoffs” for the listener and as well as a host other factors. Combined, all of these attributes provided Rihanna’s fans with a satisfying taste of things to come in anticipation of her new album.
Take Aways Back to Top
Repetition is the key to fostering memorability within your song. This is something that We Found Love pulled off in grand fashion – both lyrically and melodically. Make sure, however, that you also provide the listener with diversity in other areas to keep things fresh, interesting and engaging. Otherwise too much of the same repetition will start to bore them.
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Frequently changing over sections within your song is an effective way of maximizing the engagement factor for the listener – especially when there’s a lot of repetition involved. In the case of We Found Love, each section (save for the intro and second instrumental break) changed over once every 0:15.
If your song doesn’t possess a “sonic” payoff in the chorus (i.e. a soaring lift), make sure then that it contains some other type of payoff that will be satisfying to the listener. In the case of We Found Love, it was the repetition of the phrase “We found love in a hopeless place” that provided the payoff.
Speaking of payoffs, there’s no harm in providing your listener with more than one payoff within the framework of your song (the more the merrier!) In addition to the repetitive lyrical payoff in the chorus, the instrumental transition sections of the song provided the listener with a much needed “sonic” payoff, taking the tension to a rousing peak before releasing into the “club” natured instrumental break sections that followed.
Providing your song with shifts in momentum and intensity levels is a great way to keep the listener engaged as well as giving your song increased depth and character. This was a strong point within We Found Love, which incorporated these shifts throughout the entire song.
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