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Do I Wanna Know Deconstructed
Skip to: Audio/Video Overview Song Structure Momentum/Tension/Intensity (MTI) Music/Instrumentation/Vocal Delivery Vocal Melody Lyrics Benchmarking A&R Hit Factors Highlights & Takeaways
Audio/Video Back to Top
At a Glance Back to Top
Band: Arctic Monkeys Song/Album: Do I Wanna Know / AM Songwriters: Turner, Cook, Helders, O’Mailey Genre: Rock Sub Genres/Influencers: Psyc, Alt/Indie, 60?s / 70?s Retro Length: 4:31 Structure (Form): A-B-A-B-*PC/B Tempo: 85 bpm First Chorus: 1:36 / 35% into the song Intro Length: 0:29 Outro Length: 0:22 Electric vs. Acoustic: Electric Primary Instrumentation: Electric Guitar, Prominent Bass Lyrical Themes: Love/Relationships, Introspection Title Occurrences: 5 full occurrences, 1 partial Primary Lyrical P.O.V: 1st & 2nd
Overview Back to Top
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Released as the second single from their latest album, AM, Do I Wanna Know finds the Arctic Monkeys at the forefront of the Retro Psychtrend that is currently permeating the airwaves, alongside contemporaries including Cage The Elephant (Melophobia), Beck (Morning Phase), and The Black Keys (Turn Blue).
As you’ll see within this report, despite its overtly retro leanings, Do I Wanna Know still manages to come across as fresh and exciting in today’s music scene. This is specifically due to a combination of Alex Turner’s unique vocal and lyrical contributions to the song coupled the exceptional craft that is imparted throughout.
Most importantly, Do I Wanna Know contains a wealth of hit songwriting characteristics and techniques that when studied will undoubtedly help take your songwriting and producing skills to the next level!
Song Structure Back to Top
TIMELINE (Shows when each section hits within the timeline of the song)
Form
Do I Wanna Know’s form (structure) starts off like many other chart-topping Rock and Pop hits that we see. It kicks off with an intro, which is then followed by a verse, pre-chorus and chorus, and then repeats the progression save for the intro for a second time around:
Intro – Verse – Pre-Chorus – Chorus- Verse – Pre-Chorus – Chorus (I – A – PC – B – A – PC – B)
What happens next is where Do I Wanna Know breaks from the norm. First, instead of following the second chorus with a bridge as you would typically expect, the song goes into another pre-chorus, which is quite rare. It then goes into a unique pre-chorus/chorus
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“hybrid” section (reference the music/instrumentation/vocal section of the report for details) before heading into the outro and the conclusion of the song.
As a whole, Do I Wanna Know’s full form looks like this:
Intro – Verse – Pre-Chorus – Chorus – Verse – Pre-Chorus – Chorus – Pre-Chorus – Pre- Chorus/Chorus “Hybrid” – Outro (I – A – PC – B – A – PC – B – PC – PC/B – O)
Additionally, notice that the song DOES NOT contain a bridge or a prominent instrumental break within its framework.
SECTION LENGTH & COUNT (Length of each individual section within the song)
I=Intro, V=Verse, PC=Pre-Chorus, CHR=Chorus
Section Count
Do I Wanna Know contains 10 full sections within its framework as follows:
1 intro
2 verse sections
3 pre-chorus sections
2 chorus sections
1 pre-chorus/chorus “hybrid” section
1 outro
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Section Length
In regard to the length of full sections within the song, they range from the moderate to quite long, with the majority landing in the low 0:20 range:
Moderate
0:18 pre-chorus/chorus “hybrid”
0:22 pre-chorus 1, 2 & 3
0:22 outro
0:23 chorus 1 & 2
0:29 intro
Long
0:45 verse 1 & 2
The longest section is not what you would expect
Typically you would expect the chorus (i.e. the “payoff” for the listener) to be the longest section, which is the case with most mainstream Rock and Pop songs. Do I Wanna Know, however, has its longest section being the verse, which is much more in-line much with Hip Hop/Rap songs than the aforementioned genres.
The reason is because Do I Wanna Know, along with many Hip Hop/Rap songs, is verse centric as opposed to chorus centric. For those of you familiar with the Arctic Monkeys, this should come as no surprise considering that Turner’s lyrics and unique vocal style are often the centerpieces of their songs.
The second longest section is REALLY not what you would expect!
Notice that the second longest section within the song is not the chorus, pre-chorus or outro. It’s the INTRO! As you know, the rule of thumb is to keep your intros on the shorter end of the spectrum in order to minimize the chance of the listener losing patience and tuning out (as I say, “hook’em in and get on with it!”).
The Arctic Monkeys knew the rule, but they chose to break it. Did this detract from the song’s overall effectiveness? Not at all, as you’ll see why within the intro section of the report.
TOTAL SECTION BREAKDOWN (The total time consumed by each section and its percentage of the total song)
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As was the case with section length as discussed above, when we look at the total time that was allocated to each section within the song, the majority once again goes to the verse, which is more in-line with the Hip Hop/Rap genre than Rock or Pop. This was due to both occurrences being significantly longer than any other section within the song.
The next greatest amount of time as you would expect went to the chorus (payoff) sections of the song. Right? WRONG! It actually went to the pre-chorus, which is an extreme rarity by mainstream standards. In this case, however, it was well warranted. Not only is it exceptionally infectious, but it’s also the only section within the entire song besides the pre-chorus/chorus “hybrid” section to feature the title lyric in its entirety.
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And finally, we have the chorus. Notice that it accounts for just 17% of the song’s entire composition, almost HALF that of the verse. Does this mean that it’s not well crafted or any less important than the other sections within the song? NOT AT ALL. On the contrary, it’s just as, if not more infectious, engaging, memorable and important than all of the other sections, as you would expect a chorus to be. We’ll get into why later…
One more surprise is that following the chorus it wasn’t the outro or pre-chorus/chorus “hybrid” section that were allocated the most amount of time. It was the INTRO, totaling 11% of the song’s entire composition. Now that’s something that you don’t typically expect to see!
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)
CHR=Chorus, V=Verse, PC=Pre-Chorus, TRANS=Transition Point
When we talk about a song’s MTI level, we’re referring to how fluctuations in momentum, tension and intensity levels are utilized within each section of the song.
Do I Wanna Know is characterized by a slow burning, seductively dark groove that embodies each section within the song. Considering that the overall essence of the groove remains pretty much constant throughout, shifts in MTI levels are brought about via the addition/subtraction of instrumentation within the mix coupled with shifts in the nature of the vocal melody/delivery.
MTI Levels – Section By Section
Intro
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Do I Wanna Know kicks off with a low/mid intensity level brought about by the solo drums during part A of the intro. The introduction of the primary riff and bass into the mix during the second half then functions to kick the overall MTI level up a couple of notches.
Verse 1
The MTI level is kicked up a notch over that of the preceding intro via the introduction of the lead vocal into the mix. This results in an increase in both intensity and tension.
Pre-Chorus 1
The MTI level further increases first and foremost due to an increase in tension, followed by an intensity increase as well.
Transition – Pre-Chorus Into Chorus
The MTI level takes a brief dip specifically due to the drums being pulled from the mix.
Chorus 1
The MTI level is shot up to its first apex within the song from an intensity and momentum standpoint, brought about via the shift in the nature of the backing music and vocal delivery.
Verse 2
The MTI level is initially brought way back down due to the “breakdown” (i.e. sparse) nature of the first half of the section. The intensity and momentum then increase during the second half primarily due to the reintroduction of the primary riff.
Transition – Verse 2 Into Pre-Chorus 2
The MTI level drops down a couple of notches primarily due to the drums being pulled from the mix. Notice however that the time spent in “limbo” without the drums coupled with the guitar feedback which has entered the mix increases the tension and anticipation leading into the pre-chorus that follows.
Pre-Chorus 2
The MTI level once again increases. Notice that the level is slightly higher than pre-chorus 1 due to the overall levels within the section running a bit hotter.
Transition – Pre-Chorus 2 Into Chorus 2
The MTI level decreases due to the drums being pulled from the mix. Notice, however, that the feedback keeps the tension and intensity at a heightened level.
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Chorus 2
The MTI level reaches its highest point in relation to the preceding sections of the song. Additionally, notice that the level is higher than that of chorus 1 primarily due to the overall levels running a bit hotter, providing it with a more intense feel.
Pre-Chorus 3
The MTI levels are basically on par with that of the preceding chorus. This is due to both sections possessing the same general backing music characteristics.
Pre-Chorus/Chorus “Hybrid”
Once again the overall MTI level remains pretty much constant at an apex due to the backing music similarities compared to the preceding section.
Outro
The MTI level is initially brought down a notch in relation to the preceding “hybrid” section, primarily due to the vocals being removed from the mix. The MTI level then decreases further during the second half, primarily due to the reversion back to the drums that defined the intro.
Additional Points To Note
Sonic Bombardment
Notice that the listener isn’t provided with any sort of intensity respite during the last 3 sections of the song. They’re constantly being bombarded with a repetitive sonic onslaught. As a result, it’s up to the vocal melody, lyrics and riffs to provide engaging diversity from section to section in order to ensure that the listener is kept engaged (more on that within the music, vocal & instrumentation section of the report).
Chorus Impact Accentuators
Notice that right before each of the 2 choruses hit that the MTI level takes a dip as mentioned earlier. This enables these powerful sections to hit with much greater perceived impact.
WAVEFORM
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As you can see in the waveform graphic above, Do I Wanna Know possesses 3 primary sonic level ranges throughout the song – low, mid & high.
Lowest Sonic Levels
The lowest sonic levels within the song occur within the solo drum portion of the intro, as well as at the onset of the second verse due to its “breakdown” (sparse) nature.
Mid Sonic Levels (Lowest To Highest)
Second half of the intro
The majority of verse 2
Verse 1
Pre-chorus 1
Pre-chorus 2 Second half of the outro
Highest Sonic Levels (Lowest To Highest)
First half of the outro
Chorus 1
Chorus 2 & Pre-chorus 3 (they’re pretty much equal)
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Pre-chorus/chorus “hybrid”
Overall, as is the case with the MTI levels within the song, Do I Wanna Know provides a good amount of sonic diversity which ultimately makes for an engaging listening experience.
The levels are pushed to the max exactly where you would expect (i.e. heightening the impact and accentuating the excitement level of the last 3 sections within the song as well as the first chorus), and are pulled back within the verse and pre-chorus sections in order to provide the listener with a sonic respite and to maximize the impact of the chorus sections when they hit.
GENRES, SUB-GENRES, & VIBE INFLUENCERS
Just as other recent hits such as Get Lucky, Treasure & Happy wear their retro influences on their sleeve by hearkening back to a bygone era of 60?s / 70?s R&B, Soul, Funk and even Disco, Do I Wanna Know does the same, just in different genres.
In this case, it’s a combination of late 60?s / early 70?s Psychwhich defines the primary essence of the song, coupled with an infusion of current Alt/Indie and other subtle modern twists as well.
Genre/Influencer Elements
Late 60?s / Early 70?s Psyc
Vintage fuzz distortion
The use of a 12 string guitar in a fuzzed fashion
The pronounced tremolo effect (this is the most overtly Psychcharacteristic)
The nature of the guitar riffs
Bowie & Lennon
The general nature of the song possesses a quality that you could have expected to find on David Bowie’s 1970 The Man Who Sold The World album, while the nature of Turner’s delivery channels John Lennon at times (specifically during the first half of the second verse).
Current Alt/Indie
The unique nature of Turner’s delivery (aside from the channeling of Lennon) is completely identifiable as the Arctic Monkeys “sound.”
Modern Element
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The processing on the drums, (primarily the “clap” nature of the snare), possesses more of a modern natured characteristic than anything you would expect to hear stemming from the 60?s or 70?s.
MUSIC/INSTRUMENTATION/VOCAL CHARACTERISTICS
GUITAR RIFFS
*Note that the verse riff detailed above is the same for the intro and chorus as well.
As you’ve by now noticed, Do I Wanna Know is a VERY riff-centric song. It contains 3 primary riffs that occur throughout, each defining a specific section within the song as detailed above.
Despite their differences, notice that these riffs also contain similarities in relation to one another which accentuates the overall memorability factor of the song for the listener:
Intro/Verse/Chorus Riff Vs. Pre-Chorus Riff
Notice that even though they differ from a melodic standpoint that both possess significant rhythmic similarities.
Pre-Chorus Riff Vs. Outro Riff
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Notice that the repetitive riff that defines the entire outro is a segment taken from the pre- chorus, specifically the B-flat – C – D – G run.
BASS (INTRO & VERSE)
Notice the sparse nature of the primary bass line that defines the intro and verse sections within the song. It consists of just 4 notes: E-flat – C – D – G.
Additionally, note that D slides down to G, which is not depicted within the notation above.
All in all, the sparse nature of the bass line provides a solid foundation for the guitar riff to shine within the aforementioned sections, while also enabling the other sections within the song to come across with a “heavier” nature once the bass begins emulating those primary riffs.
DRUM PATTERNS
As you can see, there are 4 primary drum patterns which occur within Do I Wanna Know, all of which are quite simplistic and straight forward in nature:
Intro, Verse 1, First Half Of Verse 2, Second Half Of Outro
Consists of an alternating kick/electronic snare/clap quarter note beat. Note the kick occurs on all 4 beats while the snare hits exclusively on 2 & 4.
Chorus
Notice that the kick/snare pattern of the intro and verse remains in effect with the following changeups:
Tambourine has been added into the mix, hitting in tandem with the snare throughout.
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A crash cymbal has been added into the mix, hitting at different levels of intensity on each beat within the measure.
The nature of the kick has been changed up at certain points within the section, specifically via the back to back kicks as notated above.
Pre-Chorus 1 & 2 / Second Half Of Verse 2
Follows the quarter note driven kick – snare pattern coupled with a tambourine hit on 4.
Pre-Chorus 3 & First Half Of The Outro
Follows a repetitive kick – snare – kick – kick pattern coupled with the crash and tambourine characteristics from the chorus.
SECTION BY SECTION Note: Pan is represented on a scale from 9:00 to 3:00 (i.e. left to right, with 12:00 being right up the middle). Keep in mind that in most cases an instrument will bleed throughout the entire mix, but the pan depicted here represents its primary placement in the mix (i.e. where the level is most pronounced).
Intro (0:00 – 0:29)
Primary Instrumentation Featured In The Mix
Drums (Kick & snare – electronically processed – ample reverb – up front within the mix) The kick is pretty much straight up the middle with the snare hitting around 10:00 / 2:00. The reverb trail envelopes the entire mix.
Electric Guitars (12 string – vintage 60?s/early 70?s fuzz – light to moderate tremolo – up front within the mix) Primary around 10:00 / 2:00 but bleeds throughout the entire mix.
Electric Bass (Overdriven and “dark” in nature – mid/up within the mix) Primary around 12:00
KEY CHARACTERISTICS & ATTRIBUTES
It’s LONG
Clocking in at 0:29, DIWK’s intro is exceptionally long by mainstream standards. It’s actually so long in fact that it clocks in longer than all of the intros that defined the songs that landed within the Billboard Hot 100 top 10 during the past year. Radioactive came the closest, having its intro land at 0:28.
That’s not to say that DIWK’s intro wasn’t effective, however. On the contrary, it’s
13 / 112 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com exceptionally effective as you’ll see below.
It’s Engaging
Despite its long length, DIWK’s intro has no trouble keeping the listener engaged throughout the section. This is both due to its “multi-faceted” nature (i.e. solo drums followed by the riff entering into the mix), as well as the ultra-infectious nature of the primary riff which instantly grabs and holds the listener’s attention right through the verse.
Now I know some of you might be thinking, “the riff’s repeated twice in the same manner over a span of 0:24. Wouldn’t that cause someone to lose interest due to its monotonous nature?”
With some songs, the answer would be yes. But in this case, there’s enough variation within the riff itself coupled with its overall infectious nature which does a great job of holding the listener’s attention throughout.
Genre & Sub-Genre/Influencer Establishment
Notice how the 3 primary elements within the section – the drums, guitar and bass, instantly establish the overall genre mix of the song:
Drums
The electronic nature of the kick and especially the snare (which also has a “clap” quality about it) provides the section (and the song for that matter) with a modernistic vibe as opposed to anything overtly retro. As a result, the first 0:05 of the song gives no indication to the listener that DIWK will be VERY retro natured song.
Guitars & Bass
The second that the guitars enter the mix, all doubt is put to rest as to what type of song this is. The 12 string guitar, vintage fuzz, and especially the tremolo effect screams mid to late ’60?s / early 70?s Psych, while the riff coupled with the nature of the bass fits perfectly into the dark, heavy, post Psych mold of David Bowie’s 1970 The Man Who Sold The World Album (reference She Shook Me Cold and Saviour Machine to get an idea).
Vibe Establishment
The nature of the drum pattern and guitar riff instantly establish the slow-burning, dark, seductive, bluesy, retro Psychvibe that envelopes the entire song.
Tempo Establishment
Right off the bat, the kick/snare quarter note rhythm establishes the fact that Do I Wanna Know is most likely going to be a mid-tempo (85 BPM) song barring any tempo changes that may occur at a later point. As a result, the listener instantly knows that they’re in store for
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Introduction Of Primary Riff 1
DIWK wastes no time in introducing the infectious, engaging and memorable primary riff that will come to be a defining theme throughout the song. As previously mentioned, the run is repeated twice in the same manner, which gets it firmly engrained within the listener’s head without causing them to lose interest.
It Acts As A Unique Identifier For The Song
As a whole, the solo drums and guitar riff act as a unique identifier for the song. What this means is that in a current airplay environment the song is easily recognizable in relation to most other songs within the rotation, and as a result jumps out and instantly grabs the listener’s attention. There’s no mistaking it for something else.
That being said, add it to a classic 60?s/70?s heavy Psych rotation, and it’s going to blend in a lot more than it sticks out!
Transition Point – Intro into Verse 1: Seamless transition. The backing music of the intro carries right over into the first verse.
Verse-1 (0:29 – 1:14)
Vocals & Primary Instrumentation Featured In The Mix
Drums (Kick & snare – electronically processed – ample reverb – up front within the mix) The kick is pretty much straight up the middle with the snare hitting around 10:00 / 2:00. The reverb trail envelopes the entire mix during the solo drum part of the section (0:00 – 0:05) and his honed in more toward the middle once the guitars enter the mix.
Electric Guitars (12 string – vintage 60?s/early 70?s fuzz – tremolo – up front within the mix) Primary around 10:00 / 2:00 but bleeds throughout the entire mix.
Electric Bass (Overdriven and “dark” in nature – mid/up within the mix) Primary around 12:00
*Lead Vocal (Male – reverb/delay – up front within the mix) – Primary around 12:00
*Indicates a new or changed up instrument/vocal relative to the preceding section
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Backing Music
The first thing to take note of regarding the first verse is that it utilizes the same backing music that defined the preceding intro. This achieves the following:
It keeps the slow-burning, dark, seductive vibe of the song in full effect
It provides the perfect backdrop for Turner’s vocal to shine
It further reinforces the primary riff within the listener’s head
The “Loose” / “Artsy” Vocal
The only difference between the first verse and the preceding intro is that the lead vocal has been added to the mix.
Now, if you’re at all familiar with the Arctic Monkeys, you know that Turner is unconventional (by mainstream standards) in the formulation of his lyrics and especially the nature of his delivery.
Where other Pop and Rock artists such as Katy Perry, Imagine Dragons and artists of the like are more dare I say “predictable” in the formulation of their melodies, Turner plays it loose and left of center. This results in the following, which will be discussed further in depth within the vocal melody section of the report:
It accentuates the impact of specific lyrics and phrases
The “unpredictable” nature of the vocal melody coupled with the pauses provide the section with a heightened degree of drama and tension, which perfectly jibes with the nature of the lyrics and Turner’s dark, “matter of fact” vocal delivery.
It provides for an engaging interplay with the nature of the primary guitar riff.
Despite the strength of the qualities detailed above, the area where this loose, left of center vocal delivery falters is in the memorability department. Where the vocal melody of songs from artists like Katy Perry are designed to get completely engrained within the listener’s head right after the first listen, DIWK’s verse melody takes significantly more work, and more listens to get the job done.
Is that a bad thing? Yes and no. Yes in the sense that it’s more difficult to remember. No in the sense that it’s what gives the section, and the song for that matter, its unique character.
Perfect Prosody
One of the most important attributes to note about the first verse to note is that EVERY ELEMENT within the section – the guitar, bass, drums, riff, vocal melody, delivery and lyrics are
16 / 112 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com all working in perfect tandem with one another in terms of the vibe that they’re eliciting. As a result, the listener is enveloped at the deepest possible level, which makes it a much more profound and engaging listening experience.
Transition Point – Verse 1 into Pre-Chorus 1: It’s a relatively seamless transition considering that the nature of the drums remains constant between both sections. Notice, however, that feedback enters into the mix at the transition point which carries over into the pre-chorus, and that the main guitar riff of the verse concludes on a D which heightens the tension and anticipation leading into the pre-chorus. Additionally, notice that a crash cymbal strikes for the first time within the song at the onset of the pre-chorus as well.
Pre-Chorus-1 (1:14 – 1:36)
Vocals & Primary Instrumentation Featured In The Mix
The general instrumentation that was utilized within the verse remains in effect within the pre- chorus with the following change-ups and additions:
Electric Guitars
Notice that the tremolo effect is MUCH more pronounced than it was within the preceding verse or intro. This, coupled with the increase in the degree of fuzz being utilized accentuates the Psych nature of the section.
Bass
In contrast to its more sporadic use within the intro and verse sections, here the bass primarily follows the guitar riff throughout the entire section. This provides the pre-chorus with a heavier, more intense vibe relative to the preceding verse.
Feedback Drone
Notice that the searing guitar feedback that entered the mix at the transition point between the verse and pre-chorus remains in effect at a low/mid level throughout the entire section. This both adds a heightened degree of tension, intensity and overall uneasiness to the section.
Tambourine
Notice that a mid-level tambourine has been added into the mix, hitting in tandem with the electronic snare on the fourth beat of each measure. This, as subtle as it is, provides engaging contrast relative to the preceding verse as well as in accentuating the sonic “coloring” of the section as a whole.
Riff 2
Notice that the nature of the primary riff has shifted from what it was within the preceding verse,
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Additionally, despite the note changes, notice that the general nature of the rhythm remains pretty much the same as the riff from the intro and verse. This does a fantastic job of keeping the general flow intact as well as getting the rhythmic nature of both riffs firmly engrained within the listener’s head.
Vocals
Besides the shift in the nature of guitar riff, the most pronounced difference between the pre- chorus and verse resides in the nature of the vocal:
Background Vocal
First and foremost, notice that for the first time within the song background vocals have been added into the mix. Originally slated to be sung by the female trio Haim, due to scheduling conflicts members of the Arctic Monkeys (Turner, Cook and Helders) had to take the task on themselves. Note the following:
The falsetto nature of the vocal provides the section with an eerie, “icy” quality, taking the dark, uneasy mood of the song to the next level along with the shift in the nature of the primary riff.
Notice the more straight forward nature of the vocal melody relative to that of the lead within the preceding verse. As a result, it does a great job of accentuating the memorability factor for the listener. We’ll look at this in-depth within the vocal melody section of the report.
Lead Vocal
The nature of Turner’s vocal possesses essentially the same qualities as the preceding verse with the core difference residing in the nature of the melody. Notice that it’s more simplistic and straight-forward (i.e. not as loose), with the first 2 out of 3 lines being sung in a very repetitive nature which as you know accentuates the memorability factor. The last line within the section is more of a mouthful to sing, but it’s quite simplistic and infectious as well.
Background / Lead Vocal Interplay
What really makes the pre-chorus so infectious, engaging and memorable is the manner in which the background and lead vocal play off of one-another, providing the section with a “call and response” type nature.
Ultimately, the manner in which the vocal is structured perfectly jibes with and accentuates the introspective nature of the lyrics, providing the listener with the feeling as though the protagonist is having a conversation with himself inside his head.
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Transition Point – Pre-Chorus 1 into Chorus 1: The drums are pulled from the mix at the tail end of the pre-chorus coupled with a guitar/bass ring out. The first lyrics of the chorus follow (“crawlin’ back to“) coupled with the lead-in guitar riff which is then followed by the full chorus slamming in on the lyric “you.”
Chorus-1 (1:36 – 1:59)
Vocals & Primary Instrumentation Featured In The Mix
*Drums (Kick, snare, crash – the snare is the most prominent within the mix, followed by the kick and the crash, which are more mid-level) The kick & snare are primarily centered around 12:00, while the cymbals span 10:00 – 2:00
*Tambourine (Reverb – hits on 2 & 4 along with the snare – mid/up within the mix) Primary around 12:00
*Electric Guitars (12 string – vintage 60?s/early 70?s fuzz – significant tremolo – up front within the mix) Primary around 10:00 / 2:00 but bleeds throughout the entire mix.
Electric Bass (Overdriven and “dark” in nature – mid/up within the mix) Primary around 12:00
Effect (Guitar feedback drone – carries over from the pre-chorus and remains in effect throughout the section – low/mid level within the mix) Primary around 12:00 but spans out to around 11:00 / 1:00)
Lead Vocal (Male – reverb/delay – up front within the mix) Primary around 12:00
*Background/Harmony Vocal (Male – ample reverb – mid-level within the mix) Primary around 10:00 / 2:00 but spans the entire mix.
*Indicates a new or changed up instrument/vocal relative to the preceding section
FINALLY, at 1:36 / 35% of the way into the song the listener is finally hit with the chorus (payoff). I say FINALLY because this is a relatively long amount of time to make the listener wait compared to most other songs that you see topping the charts (e.g. the average amount of time that it took for the first chorus to hit within the 20 songs that landed in the Hot 100 top 10 during Q1-2014 was just 0:37 / 17% of the way in).
KEY CHARACTERISTICS & ATTRIBUTES
Intensity Climax
The first thing that you’ll notice about the chorus relative to the preceding pre-chorus, verse and intro is that it takes the intensity of the song to its first apex. All of the tension that had been building within the song up until this point is finally released.
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This is brought about via the following elements and characteristics:
The higher level of fuzzed electric guitar within the mix.
The addition of the mid-level crash cymbal which accentuates the driving intensity of the section.
The more up-front drums coupled with the “double kick” and tambourine hitting on 2 and 4.
The bass mimicking the general nature of the guitar riff which keeps the “heavy” vibe of the pre-chorus in effect.
The droning feedback which keeps the searing uneasiness of the pre-chorus in effect as well.
The addition of the background vocal harmony.
Combined, the elements and characteristics detailed above coupled with the high- level/compressed nature of the section as a whole creates a soaring, intense wall of sound that bombards the listener from start to finish.
Reintroduction Of The Primary Riff (Riff 1)
Following the riff shift that took place within the pre-chorus, here within the chorus the primary riff of the intro and first verse is reintroduced, getting it even further entrenched within the listener’s head.
Riff / Vocal Interplay
As you know, getting a melody, be it vocal or instrumental, stuck within the listener’s head is of paramount importance.
In Do I Wanna Know, this was instantly achieved within the intro and first verse via the repetition of the ultra-infectious and memorable primary guitar riff. Following the departure within the pre- chorus, the riff was reintroduced within the chorus as previously mentioned to further hammer it home.
What really takes the section, and the song for that matter, to the next level is that the writers went one step further by having the lead and background vocal melody emulate that primary riff.
As a result, it achieves the following:
It puts the final nail in the coffin with getting that overall infectious melody completely engrained within the listener’s head. There’s no chance that they’re going to be
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able to shake it after hearing this section!
It provides the section with a soaring “sing along” type nature, which provides infectious and engaging contrast against the preceding sections of the song.
Since the infectious riff melody was already established earlier within the song, it makes it EXCEPTIONALLY easier for the listener to sing along to considering that they already have that melody stuck within their head. It’s not like they need to learn and remember a whole new melody, which would have taken a lot more effort.
More on the nature of this melody within the vocal melody section of the report.
Vocal Merge
Another one of the key characteristics that puts the section over the top is the manner in which the lead and falsetto background vocal from the pre-chorus are merged into one engaging harmony within the chorus.
Not only does it provide the section with a very unique, infectious quality from an auditory standpoint, but it also technically fuses the “questioning conversation” that he was having with himself within the call and response nature of the pre-chorus into one unified front.
Notice how this perfectly jibes the nature of the lyrics considering that the “back and forth” within his head is over – he has made up his mind to “crawl back to her.”
Transition Point – Chorus 1 into Verse 2: Seamless transition. The guitar briefly rings out at the tail end of the chorus coupled with a reversion back to the drums that defined the first verse of the song.
Verse-2 (1:59 – 2:44)
Following the intense chorus, the second verse of the song enters at 1:59, possessing the following key characteristics qualities:
Abrupt/Stringent Contrast Via The Sparse “Breakdown”
As you’ve seen (and heard), during the first 2 minutes of the song DIWK had been constantly building its MTI levels within each subsequent section, until peaking within the full chorus with its full on bombastic nature.
Now, the listener needs a respite from all of that intensity. Without it, listening fatigue could very well set in and as a result he or she might very well tune out. In order to put this into effect, notice that the first half of the second verse goes into “breakdown” mode, consisting solely of lead vocal, overdriven bass and the kick/snare combo which defined the first verse of the song.
Not only does this provide effective musical and MTI level contrast against the preceding
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Reintroduction Of The Primary Riff & Another Familiar Element
Following the sparse nature that defined the first half of the section, notice that the primary guitar riff is reintroduced during the second half. This both acts to provide more engaging contrast/diversity for the listener to sink their teeth into as well as to get that riff even further engrained within their head.
Additionally, notice that the tambourine has been reintroduced to the mix at this point as well, hitting on the fourth beat of each measure EXCEPT when the WOW factor lyric “do” is sung (see below for details). Remember, the tambourine was present within the preceding pre- chorus and chorus, but was NOT utilized within the first verse of the song. As subtle as this new element is, it does manage to increase the engagement factor for the listener via the changed up nature of the section relative to the first time around.
Lead Vocal
The overall nature of Turner’s lead vocal remains pretty much on par with that which defined the first verse of the song (dark, matter of fact and cocky). Notice the increased impact that the vocal has during the first half of the section due to its “exposed nature,” without the primary guitar riff there to support it.
For example, when he kicks the section off by singing “Do you have the guts” with just the drums behind him, it provides the meaning of those lyrics with substantially more weight and impact than if the listener was partially distracted by other instrumentation within the mix.
Additionally, notice that the reverb and delay processing on the vocal coupled with the nature of his accent and delivery evokes John Lennon in certain areas (e.g. listen to the manner in which he sings “been wondrin’ if your hearts still open…”)
WOW Factors
Including infectious, unexpected “surprises” within certain sections of a song is a surefire way take the listener’s engagement and overall impact of the song to the next level.
Do I Wanna Know actually has 2 of these surprise WOW factors occurring within the second verse:
WOW Factor #1: “of Try-in’”
Serving to snap the listener out of “breakdown” mode, notice that the falsetto vocal harmony enters the mix on the lyric “of,” which is then followed by a crash cymbal hit and primary riff
22 / 112 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com reintroduction occurring on the syllable “try-” in “try-in’” that follows. Notice the infectious manner in which it’s sung, which will be explored in-depth within the vocal melody section of the report.
What’s really clever, however, is that following the prolonged “try-” harmonized vocal, a quarter rest is implemented which provides a brief pause which acts to immediately heighten the anticipation for the conclusion of the lyric (i.e. “-in’”) and the phrase “to kiss you,” which is sung solely by Turner (i.e. that burst of harmony was short, effective, and now gone).
WOW Factor #2: “do”
Another “artsy” element within the section that provides a brief burst of infectious coloring is the falsetto harmony that occurs on the lyric “do.” It’s completely unexpected, and as a result does a great job of heightening the listener’s engagement within the song.
Transition Point – Verse 2 into Pre-Chorus 2: In contrast to the transition from verse 1 into pre-chorus 1, notice that the drums are pulled from the mix after the lyric “to,” which is then followed by the guitar feedback, riff, and entry into the section. Notice that this prolonged duration without the drums further accentuates the tension and anticipation leading into the pre- chorus.
Pre-Chorus-2 (2:44 – 3:06)
At its core, pre-chorus 2 essentially possesses the same characteristics as pre-chorus 1. The 2 key differences are that the levels within pre-chorus 2 are running a bit hotter than they were the first time around (i.e. pre-chorus 2 possesses a bit more of a heavier, more intense vibe), and additional/higher level feedback enters the mix toward the tail end, transitioning into the chorus that follows.
Transition Point – Pre-Chorus 2 into Chorus 2: Essentially the same type of transition as pre- chorus 1 into chorus1 except for the higher level of ringing feedback within the mix.
Chorus-2 (3:06 – 3:29)
As was the case with pre-choruses 1 and 2, choruses 1 and 2 also possess the same general framework coupled with some change-ups as well. The similar nature accentuates the memorability factor for the listener, while the differentiation enhances the engagement factor via new/changed up elements within the mix, which prevents monotony from setting in.
The first, and most noticeable difference to take note of is that an additional lead vocal has been added into the mix within chorus 2:
Line 1: Crawlin’ back to you (crawlin’ back to you)
Line 2: Ever thought of calling when you’ve had a few? (you’ve had a few)
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Line 3: ‘Cause I always do (’cause I always do)
Line 4: Maybe I’m too (maybe I’m too busy) busy being yours to fall for somebody new
Line 5: Now I’ve thought it through
Line 6: Crawlin’ back to you
Essentially they’re just repeats of a specific phrase, but it does provide engaging, infectious differentiation.
Second, as was the case with pre-chorus 2 vs. pre-chorus 1, notice that the overall levels within chorus 2 are running a bit hotter than they were the first time around, providing it with a more intense nature in comparison.
Transition Point – Chorus 2 into Pre-Chorus 3: Seamless transition. The first lyrics of the pre-chorus (“do I wanna know”) overlap with the final lyrics of the chorus (“back to you”) while the general nature of the backing music remains relatively constant.
Pre-Chorus-3 (3:29 – 3:51)
The third pre-chorus of the song is the first of 2 consecutive sections which fuses elements of both the pre-chorus and chorus under one roof. Note the following:
The Section Is Rare & Unconventional
One thing that you typically don’t see happening all that much within the mainstream is the use of a third pre-chorus within a song. For example, during the first quarter of 2014 (January – March), only 4 out of the 20 songs which landed in Hot 100 top 10 featured a third pre-chorus within their framework (Wrecking Ball, Talk Dirty, Counting Stars and Pompeii).
What’s unconventional about its usage in Do I Wanna Know is that the third PRE-chorus (key word being “PRE“) actually FOLLOWS chorus #2! I guess you can technically consider it a “POST” pre-chorus in this case. Additionally, notice that it also doesn’t precede a straight- up chorus either, but instead sets up the pre-chorus/chorus “hybrid” section that directly follows.
As they say, you need to know the rules to break the rules, and breaking the rules certainly worked well in this case!
Fused Elements
The first thing that you’ll notice about pre-chorus 3 in relation to pre-choruses 1 and 2 is that it’s MUCH heavier in nature. This is because pre-chorus 3 utilizes the same general musical/instrumentation foundation as the preceding chorus, which keeps the intensity level at
24 / 112 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com an apex. Notice however that the lyrics, vocal melody (both lead and background) and primary riff are all in line with pre-choruses 1 & 2, which enhances the memorability factor for the listener.
New/Changed Up Instrumentation
In addition to possessing the general nature of the backing music of the preceding chorus, save for the riff, the following 2 new/changed up elements were added into the mix:
Additional Guitar
An additional low/mid level electric guitar with moderate distortion panned around 10:00 / 2:00 enters at the tail end of the chorus and continues right through the entire pre-chorus. Notice that the pattern below repeats throughout the entire section:
Not only does this counter melody add increased “coloring” to the sonic landscape of the section, but it also functions to add an increased level of intensity and uneasiness as well.
Shift In The Drum Pattern
Notice the shift below in the drum pattern (specifically in the nature of the kick) relative to the preceding chorus:
Green Font: Eighth Note Blue Font: Quarter Note
Kick – Snare – Kick – Kick – Snare – Kick – Snare – Kick – Kick
This pattern repeats in a consistent manner throughout the section, providing a subtly heightened level of heaviness, darkness (ala the Velvet Underground “Venus In Furs”) and rhythmic consistency within the section.
Where’s The Bridge?
Chances are, the first time that you heard this song you were expecting to hear a bridge following the second chorus (i.e. going on the premise that DIWK was going to follow an A-B- A-B-C-B form, which as you know is historically the most utilized form in popular music). Instead, it goes into another pre-chorus.
That being said, pre-chorus 3 DOES provide a departure from the other sections within the song considering that it’s utilizing elements of both the preceding chorus and pre-chorus under
25 / 112 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com one roof. It’s not as pronounced a departure as you would typically expect to find in a bridge, but it serves its purpose by ultimately making for a more engaging listening experience as opposed to if it just went into the same type of pre-chorus as the first and second occurrences within the song.
Transition Point – Pre-Chorus 3 into the Pre-Chorus/Chorus “Hybrid” section: Seamless transition.
Pre-Chorus/Chorus “Hybrid” (3:51 – 4:09)
Arguably the most “interesting” section within the entire song, the pre-chorus/chorus “hybrid” expounds on the direction that the preceding pre-chorus 3 section took by fusing additional elements of the pre-chorus and chorus under one roof. Note the following:
The “Surprise Super Payoff”
As was the case following the second chorus where you were probably expecting to find the bridge as opposed to pre-chorus 3, chances are that following pre-chorus 3 you were probably expecting to hear a “proper” chorus, which would have made complete sense and worked quite well.
Instead, you were hit with a “surprise” section, which fuses the most infectious elements of both the pre-chorus and chorus under one roof, creating a “hybrid” “super payoff” which takes both the sonic and emotional impact of the song to its zenith.
Fused Elements
Notice that the general nature of the backing music that defined pre-chorus 3 remains in effect, keeping the intensity level of the song at a grand apex. Where this section really shifts gears is in regard to the vocal melody/lyrics.
At first listen, you probably thought that this section was going to be another repeat of the pre- chorus considering that it kicks off with the pre-chorus falsetto vocal “do I wanna know.” That being said, you also probably also noticed that it WASN’T sung in the same exact manner as pre-choruses 1, 2 or 3, so just MAYBE there was something different in store for the balance of the section (reference the vocal melody section of the report for specifics).
If that’s what you were thinking, then you were most certainly correct. Instead of following with the line “if this feelin’ flows both ways,” it instead goes into the partial line from the chorus “too busy being yours to fall.” This pattern of pre-chorus / chorus interplay then continues throughout the entire section as follows:
Line 1 (Pre-Chorus Falsetto Vocal): Do I wanna know?
Line 2 (Chorus Partial Lead Vocal): Too busy bein’ yours to fall
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Line 3 (Pre-Chorus Falsetto Vocal): Sad to see you go
Line 4 (Chorus Changed-Up Partial Lead Vocal): Ever thought of callin’ darlin’?
Line 5 (Pre-Chorus Falsetto Vocal): Do I wanna know?
Line 6 (Chorus Changed-Up Lead Vocal): Do you want me crawlin’ back to you?
So essentially you’re getting the most infectious, engaging and memorable aspects of both sections combined into one, which creates the “super payoff”:
The “icy,” straight-forward nature of the falsetto pre-chorus vocal, with each line rhyming with one another to accentuate the memorability factor.
Two occurrences of the song’s title, on lines 1 and 5.
The “soaring,” repetitive vocal characteristics from the chorus on lines 2, 4 and 6 (reference the vocal melody section of the report for specifics).
A subtle, yet highly pertinent shift in the nature of the lyrics which sums up the premise of the entire song (reference the story flow & meaning section of the report for details).
Engaging Departure
Considering that Do I Wanna Know doesn’t contain a bridge, this pre-chorus/chorus “hybrid” section takes the departure that was initially instituted within pre-chorus 3 to the next level, providing the listener with an infectious twist that heightens the overall engagement factor of the song.
Song Climax
Ultimately what this section does is to take the song as a whole to an exciting, powerful and ultra-infectious climax, bombarding the listener on a sonic, lyrical, musical and vocal level that gets them on the edge of their seat until the outro enters to put them firmly back on the ground.
Transition Point –Pre-Chorus/Chorus “Hybrid” section into the Outro: Seamless transition.
Outro & Ending (4:09 – 4:31)
First Half
Following the intense climax that defined the preceding pre-chorus/chorus “hybrid” section, the outro initially carries on in pretty much the same manner during the first half of the section minus the vocals and change in the primary riff, keeping the intensity level at an intense,
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Riff 3
Notice that the key difference between the 2 sections resides in the nature of the guitar riff:
Extracted from part of the pre-chorus, this riff perfectly sums up the intense dark nature of the song.
Second Half
The second half of the section then begins to “wind things down” for the listener. Notice that the riff detailed above is still in effect, but the following changes are put into effect:
The nature of the drums reverts back to that of the intro as opposed to the chorus, essentially acting to help bring the song full-circle as well as decrease its overall intensity during the wind down.
The additional guitar and associated G – A – G – A…progression that was initially instituted within pre-chorus 3 carries right through to the end of the song, although its prominence diminishes at the tail end.
Ending
Instead of “gently” ending the song, which also would have worked considering the manner in which the song was winding down as mentioned above, Do I Wanna Know ends on a semi- powerful and abrupt note via the hard pluck of the distorted G note. This is then followed by a brief reverb trail that brings the song to its ultimate conclusion.
Vocal Melody Back to Top
In addition to strong, effective lyrics and evocative backing music, what really hooks the listener into a song is an infectious, engaging and memorable vocal melody delivered in a compelling manner.
Some of the key characteristics and attributes that you’ll find within Do I Wanna Know’s vocal melody include:
Clever Elements & WOW Factors
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As you’ll see, there a quite a few instances throughout the song where the vocal melody takes on an exceptionally infectious, powerful, clever and in some cases unexpected quality, which ultimately helps to put a section over the top. Keep an eye (and an ear) out for the following:
Leaping up to a higher register in order to jibe with the upward connotation of a lyric. (Verse 1)
Cleverly doing the opposite of the above, where an upward natured lyric is sung via a downward progression, and vice versa. They key here is that this unorthodox pairing actually serves the line perfectly! (Verse 2)
Cleverly employing a rest in the middle of a lyric coupled with an infectious progression and use of vocal harmony to create a WOW moment for the listener. (Verse 2)
An unexpected leap coupled with vocal harmony on a specific lyric in an otherwise solo male lead vocal line. (Verse 2)
The manner in which the song’s title is provided with increased emphasis in relation to the other lyrics within the section. (Pre-Chorus)
The manner in which key lyrics and phrases are provided with a “soaring” nature, taking the overall impact of specific sections to the next level. (Chorus & Pre-Chorus/Chorus “Hybrid”)
Guitar Riff/Vocal Interplay
Pay attention to how some vocal lines within the song are followed by a lengthy rest, which enables the ultra-infectious guitar riffs to shine front and center.
Repetition & Contrast
A key characteristic of the vocal melody throughout the song is the effective blend of repetition and contrast which traverses both individual lines and full sections. This enables the melody as a whole to get engrained within the listener’s head while at the same time keeping things fresh and engaging throughout.
Infectious Line & Phrase Combinations
On the same note as the importance of balancing repetition and contrast, another one of the key aspects of the vocal melody that you’ll find is the combination of lines that possess a limited vocal range with those that are much more “colorful” and “dynamic” in nature, which ultimately takes the infectious nature of certain sections to the next level (this is most pronounced within the pre-chorus and pre-chorus “hybrid” sections).
Short Phrases / Segmenting (i.e. the “phone number” method”)
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While many of the lines throughout DIWK are short in nature, others are quite lengthy, landing at over 20 syllables in length.
As you’ll see, some of these longer lines are segmented into shorter phrases via prolonged lyrics and rests which makes it much easier for the listener to digest and remember.
Long Lines That Are Still Infectious & Memorable
Even though some of the lengthier lines within the song aren’t segmented into shorter, easier to digest phrases, notice that the overall nature of the progressions keep the engagement and memorability factors at a heightened level. (e.g. Verse 1 – line 2, Verse 2 – line 2, Pre- Chorus – line 6)
Varying Vocal Styles
One of the most important characteristics that makes DIWK such an effective, and infectious song is the clever use of 3 different vocal styles throughout:
Falsetto Vocal: Background vocal in the pre-chorus and pre-chorus/chorus “hybrid” sections.
Harmony Vocal: The octave high/low harmony is present in conjunction with the lead vocal within the chorus as well as the non-falsetto lines within the pre-chorus/chorus “hybrid” section. Note that harmony is also utilized to provide certain lyrics within the second verse with a brief, infectious burst of coloring as well.
Solo Male Lead Vocal: Turner’s straight-up lead vocal defines the verse sections as well as the non-falsetto lines within the pre-chorus.
GRAPHICAL KEY
Orange & Blue Lines: Lead Vocal Melody Red Line: Falsetto Background Vocal Red Diamond: Rest Grey Diamond: Half & Dotted Half Blue Diamond: Quarter & Dotted Quarter Green Diamond: Eighth & Dotted Eighth Yellow Diamond: Sixteenth Note Purple Diamond: Thirty Second Note
VERSE
Verse-1
Line 1
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Line 2
Line 3
Line 4
Line 5
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Line 6
Line 7
Line 7 (Con’t), Line 8
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Verse 2
Lines 1 & 2
Lines 3 & 4
Line 5
Lines 6 & 7
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Verse 1: Notation
Verse 2: Notation
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Line Reference
Verse 1
Line 1: Have you got color in your cheeks Line 2: Do you ever get that fear that you can’t shift the type that sticks around like summat in your teeth Line 3: Are there some aces up your sleeve Line 4: Have you no idea that you’re in deep Line 5: I dreamt about you nearly ev’ry night this week Line 6: How many secrets can you keep Line 7: ‘Cause there’s this tune I found that makes me think of you somehow and I play it on repeat until I fall asleep
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Line 8: Spillin’ drinks on my settee
Lead Vocal Range
High: E-flat Low: C
Verse 2
Line 1: So have you got the guts? Line 2: Been wondrin’ if your heart’s still open and if so I wanna know what time it shuts Line 3: Simmer down and pucker up Line 4: I’m sorry to interrupt Line 5: It’s just I’m constantly on the cusp of tryin’ to kiss you Line 6: I don’t know if you feel the same as I do Line 7: But we could be together if you want-ed to
Lead Vocal Range
High: F Low: C
LINE BY LINE ANALYSIS
VERSE 1
Line 1: “Have you got col-or in your cheeks?”
Length
7 words / 8 syllables
At just 7 words / 8 syllables in length, the first line of Do I Wanna Know is relatively short in nature which makes it easy for the listener to process and digest.
Progression
The entire line consists of an “ascending/descending ” melodic progression, possessing a limited vocal range that resides primarily between G and B-flat, with the exception being the C note that kicks the line off. Notice that this “ascending/descending ” limited range progression creates a very infectious and engaging flow which makes it easy for the listener to sing along to and remember.
Rhythm
The entire line possesses a relatively rapid vocal delivery, consisting of a combination of dotted
36 / 112 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com eighth, eighth and sixteenth notes. Notice, however, that the last lyric on the line, “cheeks” is prolonged in relation to the others via a quarter note value, and is sung as “cheeekssss.” This does a great job of accentuating the “busted” vibe that Turner communicates within the lyrics.
Last Note
The last lyric on the line, “cheeks,” is a B-flat note, which is an upward progression from the G note that preceded it. Notice that this upward progression accentuates the “questioning” nature of the line.
Segmentation Method
Line 1 is segmented from line 2 via a dotted half + sixteenth rest. This both gives the listener ample time to allow for the preceding line to sink in and resonate, as well as to accentuate the anticipation and tension leading into the line that follows this powerful, yet cryptic line opener.
Line 2: “Do you ever get that fear that you can’t shift the type that sticks a-round like sum-mat in your teeth?”
Length
20 words / 22 syllables
Consisting of 20 words / 22 syllables, to say that line 2 is a mouthful would be an understatement. Despite its long length, however, notice that it does provide effective, engaging contrast against the 8 syllable line that preceded it.
Additionally, notice that there aren’t any pronounced segmentation methods (i.e. rests and notes of longer duration) being employed to break this long line up into shorter, easier to digest phrases. It runs straight through from start to finish.
First Note
Following the bump up to B-flat at the conclusion of line 1, line 2 drops down to G at the onset.
Progression
In order to ensure that this lengthy line remains engaging for the listener and is able to get engrained within their head despite its long length, notice that it is essentially split into 3 melodic segments as follows:
Segment 1: “Do you ev-er get”
Line 2 kicks off with a straight-up monotone G progression.
Segment 2: ” that fear that you can’t shift the type that sticks a-round”
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Following the monotone G segment, the progression leaps up to B-flat, where it engages in an engaging, infectious and memorable C – B-flat natured repetitive flow throughout the entire segment.
Segment 3: “like sum-mat in your teeth?”
The third and last segment of the line follows another infectious and memorable progression via the repetitive “down/up” natured B-flat – G flow.
***CLEVER ELEMENT***
Notice that the nature of this progression possesses the same type of flow (and notes for that matter) as the first line of the song. This does a fantastic job of accentuating the memorability factor for the listener by essentially tying both lines together.
Rhythm
Aside from the rapid fire lead in on segment 1 which consists of thirty second and sixteenth notes, the 2 segments that follow possess a combination sixteenth, eighth and dotted eighth notes as was the case within the first line of the section.
As was the case with the nature of the progression, notice that the nature of the rhythm also possesses an engaging repetitive flow which helps to get this long line further engrained within the listener’s head:
Segment 1: “Do you ev-er get”
The first 2 syllables are thirty second notes followed by a straight-up sixteenth note delivery.
Segment 2: “that fear that you / can’t shift the type / that sticks a-round”
Notice that this segment is essentially broken into 3 individual phrases, all of which possess the same dotted eighth – eighth – sixteenth – eighth rhythm. This, along with the repetitive nature of the progression, does a great job of creating an engaging flow that is easy to remember.
Segment 3: “like sum-mat in your teeth?”
The final segment of the line kicks off with an a dotted eighth note on the lyric “like,” which is then followed by an infectious rapid-fire sixteenth note delivery on the lyrics/syllables “sum-mat in.” The progression then slows down at the tail end, with the last 2 lyrics consisting of an eighth and dotted eighth value, respectively, bringing the line to a conclusion.
Last Note
The last lyric on the line, “teeth,” concludes on G following the decent from B-flat that preceded it. Notice how this brings the jist of the line to a firm conclusion as opposed to how the listener
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Segmentation Method
Line 2 is segmented from line 3 via a quarter rest + sixteenth rest. As was the case with lines 1 and 2, this gives the listener ample time to allow for the preceding line to sink in and resonate.
Line 3: “Are there some ac-es up your sleeve?”
Length
7 words / 8 syllables
Following the exceptionally lengthy nature of line 2, line 3 reverts back to the same exact syllable/word count that defined the first line within the section. This acts to both provide infectious contrast against the line that preceded it as well making it easy for the listener to remember due to its short nature.
First Note
Following the drop down to G at the conclusion of line 2, line 3 climbs up a step to A at the onset.
Progression
Despite its short length, notice that there are 3 specific segments that make up line 3, all of which play an integral role in its effectiveness:
Segment 1: “are there some”
The leadoff of the line consists of an A – A – G progression. It might not seem all that exciting or important, but it’s pertinent in the manner in which it sets up segment 2 that follows for maximum impact.
Segment 2: “ac-es up your”
Following the drop down to G at the end of the first segment, notice that the second segment instantly leaps up to D, and resides in a high register for the duration via E-flat - E-flat – D.
The nature of the leap coupled with the higher register delivery in relation to all of the preceding lines/segments within the section provides the vocal with a healthy dose of vibrancy and infectious coloring which ultimately heightens the engagement value for the listener.
***CLEVER ELEMENT***
Notice how by leaping up to the higher register and residing there for the duration jibes with
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Segment 3: “sl-e-e-ve”
The final segment of the section consists of a single lyric which is stretched in an ultra-infectious manner past its normal syllable count via C – D – C – B-flat. This does a great job of concluding the line in an “artsy,” colorful manner.
Rhythm
As was the case with the nature of the progression, the rhythm also possesses 3 distinct rhythmic flows as follows:
Segment 1: “are there some”
Each lyric within the first segment of the line possesses a straight-up sixteenth note delivery.
Segment 2: “ac-es up your”
The second segment of the line slows things down in relation to segment 1 via a dotted eighth – sixteenth – eighth – eighth delivery. Notice that the syllable “ac-” in “ac-es” possesses the longest duration of the segment, which along with the leap up to D provides the lyric as a whole with increased emphasis and impact.
Segment 3: “sle-e-e-eve”
Not only does this lyric possess an infectious melodic progression, but the nature of the rhythm is equally as so. Combined, both characteristics conclude the line on a very infectious, colorful note.
Notice that the beginning of the lyric (“sle-”) is prolonged via a dotted eighth value, and is then followed by 2 thirty second notes before concluding on a quarter note.
Last Note
The last “syllable” on the line, “-eve” in the extended “sleeve,” is a B-flat note, which is an downward progression from the C note that preceded it.
Segmentation Method
Line 3 is segmented from line 4 via an eighth rest. Although not as stringent a pause as we saw occurring between the 2 preceding lines, it still provides the listener with ample time to allow for line 3 to sink in and resonate.
Line 4: “Have you no i-dea that you’re in deep?”
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Length
8 words / 9 syllables
The fourth line of the section carries on with an almost identical word and syllable count in relation to line 3 that preceded it (just 1 lyric/syllable more). The consistency between the 2 acts to accentuate the memorability and flow factor for the listener.
First Note
Following the drop down to B-flat at the conclusion of line 3, line 4 follows by dropping down to G at the onset. Notice that this is the same end/start note play that defined lines 1 and 2 as well.
Progression
Notice that line 4 essentially consists of 3 engaging and straight-forward ascending/descending melodic “platforms,” each consisting of 2 to 3 lyrics/syllables:
Platform 1 (G): “Have you no”
Line 4 kicks off with a monotone natured G delivery, creating the base “platform” on the line.
Platform 2 (B-flat): “i-de- “
The first thing to take note of is that the lyric “idea” is stretched past its normal syllable count via B-flat – B-flat – C. So after commencing with a leap up to B-flat on the syllable “i-” from the G note that preceded it, a second B-flat follows on the syllable “-de” which comprises the B-flat platform.
Platform 3 (C): “-a that”
The third platform starts a step up from B-flat on a C which defines the last “syllable” in the stretched lyric, “i-de-a.” This is then followed by the lyric “that,” which also consists of a C note as well.
Following the peak C platform, notice that the progression then descends for a monotone B-flat run on the lyrics/syllables “you’re in de-.” This is then followed by a climb up to C on the “ep” in the stretched “de-ep” to conclude.
Rhythm
Line 4 consists of a combination of sixteenth and eighth notes which work in tandem with one another in creating an infectious, memorable flow for the listener.
Notice that the line kicks off with a sixteenth note run, which is the same as the beginning of line
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3 that preceded it. This is then followed by the stretched lyric, “i-de-a,” which possesses an eighth – sixteenth – eighth rhythm. Notice how this, along with the nature of the progression, provides the lyric with increased emphasis in relation to the lyrics that preceded it.
This is followed by a sixteenth note on the lyric “that,” which is then followed by a slower run on the lyrics “you’re in” via their eighth note values. The stretched lyric, “de-ep” that follows, possesses a prolonged nature as a whole as well, with each “syllable” consisting of a sixteenth note value, totaling an eighth.
Additionally, notice that the beginning of lines 3 and 4 possess a very similar rhythm, which accentuates the memorability factor for the listener despite the differences in the melodic progression:
Line 3: “Are there some ac-es up”
Sixteenth – Sixteenth – Sixteenth – Dotted Eighth – Sixteenth – Eighth
Line 4: “Have you no i-de-a”
Sixteenth – Sixteenth – Sixteenth – Eighth – Sixteenth – Eighth
Last Note
The last “syllable” on the line, “-ep” in the extended “deep,” is a C note, which is an upward progression from the B-flat note that preceded it.
Additionally, notice that this is the second time within the section that the vocal concluded by going UP in register, which was also indicative of line 1. Remember that lines 2 and 3 both concluded by going DOWN in register. This once again leaves the listener hanging in anticipation for the line that follows.
Segmentation Method
Line 4 is segmented from line 5 via an eighth rest, which is the same segmentation method that occurred at the end of line 3. It’s brief, but gives the listener just enough time to process and remember.
Line 5: “I dreamt a-bout you near-ly / ev-’ry night this week”
Length
9 words / 12 syllables
The fifth line of the section continues on with the syllable increase trend that defined the preceding 2 lines with the section (i.e. 7, 8 and now 12). That being said, it’s still obviously short enough where it’s easy to process and remember.
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First Note
Following the ascent up to C at the conclusion of line 4, line 5 follows by dropping almost an octave down to D the onset.
Progression
Following the D note kickoff on the lyric “I,” notice that the vocal melody instantly leaps up almost an octave to C (which happens to be where line 4 concluded), before embarking on a B- flat – C run that defines the entire line up until the tail end.
This limited, straight-forward vocal range acts to accentuate the “icy,” “matter of fact” nature of Turner’s vocal style.
Additionally, notice that the line is essentially split into 2 segments, both of which are separated by an eighth rest:
Segment 1: “I dreamt a-bout you near-ly”
Follows a D – C – B-flat – C – C – C – B-flat progression. Notice that the middle consists of a monotone C note run, and concludes by dropping down to B-flat, which acts to bring the segment to a conclusion.
Segment 2: “ev-’ry night this we-ek”
Segment 2 provides infectious, yet subtle contrast against the nature segment 1via it’s alternating C – B-flat delivery which remains in effect until the bump up to D to conclude.
Rhythm
Despite the subtle differences in the nature of the melodic progression, notice that both segments possess an almost identical rhythm, consisting of a sixteenth – eighth (or dotted eighth) flow.
As a result, the repetition of this engaging flow makes it easy for the listener to connect with and remember the line as a whole.
In regard to how these 2 segments are segmented from one another, notice that it’s achieved by implementing an eighth rest after the lyric “nearly.” This creates 2 individual segments which consist of 7 & 5 syllables, respectively.
Notice that this achieves the following:
It increases the absorbsion factor of the line as a whole for the listener due to the shorter nature of the segments.
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It provides tension and anticipation leading into segment 2.
It provides the listener with a much needed respite to the sixteenth – eighth (dotted eighth) flow that defines the entire line. Without that rest, the line as a whole would have been too monotonous.
Last Note
The last “syllable” on the line, “-ek” in the extended “week,” is a D note, which is an upward progression from the C note that preceded it.
Notice that this is also one step up from the C note which concluded line 4. As a result, it provides the vocal melody with an infectious upward trend in regard to how both lines end.
Segmentation Method
Line 5 is segmented from line 6 via a dotted eighth rest, which is just a sixteenth longer than the segmentation that occurred between lines 4 & 5.
Line 6: “How man-y se-crets can you keep?”
Length
6 words / 8 syllables
The sixth line of the section brings the upward syllable count trend to an end and back down to where it was within lines 1 and 3.
First Note
Following the ascent up to D at the conclusion of line 5, line 6 follows by dropping all the way down to G at the onset.
Progression
The nature of the melodic progression that defines line 6 is exceptionally straight-forward and simplistic.
After kicking off with a back to back G note run on the lyrics “how many,” the progression leaps up to B-flat and remains there for the duration until dropping back down at the conclusion of the line.
Notice that this monotone natured run perfectly jibes with and accentuates the negative connotation of the lyrics and provides the perfect platform for Turner’s “icy, dark” vocals to shine. (If there was a lot of movement and “coloring” within the melody, it would have detracted from the intended vibe of the line).
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Rhythm
Aside from the 2 sixteenth notes that kick the line off on the lyrics “how many,” the balance of the line follows a repetitive eighth (dotted eighth) note rhythm which jibes with the repetitive monotone natured B-flat melody. Combined, they take the dark vibe of the line to the next level.
Last Note
The last lyric on the line, “keep,” is an A note, which is a downward progression from the B-flat note that preceded it.
Notice that this breaks the 2 line cycle of ending on an upward natured progression. Additionally, notice that it HAD to end this way (i.e. by descending) in order to keep the dark vibe of the line in effect. If he went up in register, the entire line would have lost its effect.
Segmentation Method
Line 6 is segmented from line 7 via a lengthy dotted quarter + sixteenth rest. This enables the powerful, dark nature of line 6 to really sink in and resonate, as well as to give a flurry of the guitar riff a second to shine front and center.
Line 7: ‘Cause there’s this tune I found that makes me think of you some-how and I play it on re-peat / un-til I fall a-sleep
Length
23 words / 27 syllables
For the second time within the section we have a line that is immensely long in length. As you’ll see, segmentation (i.e. a rest) is implemented to break it up, but it’s a very lopsided break to say the least:
Segment 1: 19 words / 21 syllables
“‘Cause there’s this tune I found that makes me think of you some-how and I play it on re-peat”
Segment 2: 4 words / 6 syllables
“un-til I fall a-sleep”
First Note
Following the descent down to A at the conclusion of line 6, line 7 follows by further dropping down to D at the onset.
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Progression
Due to the immense length of the line as a whole, we’re going to take a look at 1 segment at a time.
Segment 1
As mentioned above, the first segment of the line is the longest of the two, clocking in at 21 syllables. Notice that that it’s essentially divided into 2 sections, both of which possess a distinct melodic nature:
Segment 1, Section 1
“‘Cause there’s this tune I found / that makes me think of you some-how”
The first section of the line possesses an ascending/descending flow that can be characterized as walking up and down a hill.
The first part of the segment kicks off with an infectious ascending D – G – B-flat – C – D-flat progression on the lyrics “’cause there’s this tune I” before dropping down to B-flat to conclude.
The second part of the segment once again progresses upward via B-flat – C – D on the lyrics “that makes me,” followed by leveling off on B-flat on the lyrics “think of” (remember, the second part is starting at a higher register than the first, so it either needed to level off or progress even higher via E-flat – F). It then concludes via a descending C – B-flat – G progression on the lyrics/syllables “you some-how.”
Notice the repetition of the general framework that both creates an infectious flow as well as aids to get the melody engrained within the listener’s head:
“this tune I found”: B-flat – C – D-flat – B-flat
“that makes me think”: B-flat – C – D – B-flat
“of you some-how”: B-flat – C – B-flat – G (starts off in the same manner and concludes in a similar manner as the 2 detailed above, albeit with different note values).
Additionally, notice that the last lyric within both of these “parts” rhymes as well (i.e. “found” and “some-HOW”), which accentuates the ability of the line to get embedded within the listener’s head (reference the Rhyming section of the report for details).
Segment 1, Section 2
“and I play it on re-peat”
In contrast to the vibrant “up & down hill” approach to the vocal melody within section 1, notice
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As subtle as this is, it provides a quick burst of infectious coloring which breaks up an otherwise overly monotonous G note run across 7 consecutive lyrics/syllables. It also provides the lyric “play” with increased emphasis in relation to the lyrics that both precede and follow it.
Additionally, notice that the section (and segment, for that matter) concludes via a leap from G all the way up to D on the lyric “re-peat.” As was the case with the bump up to A, this adds another infectious splash of coloring to the melody coupled with providing the other important lyric within the section with increased emphasis as well (i.e. the 2 most important lyrics here are “play” and repeat.”
Segment 2
“un-til I fall a-sleep”
The second segment of the line, which is much shorter in comparison, initially starts out in the same manner as segment 1 by dropping down an octave to follow a D – G – B-flat – C – D progression on the lyrics/syllables “un-til I fa-a-” (notice that the lyric “fall” is extended past its normal syllable count via “fa-a-ll”). Again, this repetition helps to get the melody engrained within the listener’s head.
The balance of the segment then follows a brief monotone C run before dropping down to B-flat to conclude on the second syllable of the extended lyric “sle-ep.”
Rhythm
Both of the segments that comprise line 7 utilize a combination of an eight, dotted eighth and sixteenth note delivery except for the last syllable within both segments as discussed in the segmentation section below. Notice that both section 1 within segment 1 as well segment 2 possess rhythmic similarities which accentuates the memorability and engagement factors for the listener, as is the case with the sixteenth – eighth – eighth / sixteenth – eight – eighth rhythm which occurs within section 2 / segment 1.
Last Note
The last syllable on segment 1, the “peat” in “re-peat,” is an D note, which is a upward progression from the G note that preceded it. In addition to the infectious coloring that it provides as previously mentioned, notice that the upward nature of the progression jibes with how lines 1, 4 and 5 all end.
Segment 2 on the other hand concludes via a downward C – B-flat progression on the extended lyric “sle-ep.”
Segmentation Method
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The first thing that we’re going to take a look at is the method in which segment 1 is segmented from segment 2. Notice that the last syllable in segment 1 (the “-peat” in “re-peat”) consists of a quarter/sixteenth note value, which is longer in duration than all of the other lyrics/syllables within the segment. It’s followed by a dotted quarter/sixteenth rest, which provides the listener with the indication that the FULL line has come to a conclusion. Instead, the line then continues within segment 2.
Notice that this was a very clever and engaging manner in which to structure the line as a whole. It’s unconventional, unexpected, and it works great.
Segment 2, and the line as a whole for that matter, is segmented from line 8 that follows via a quarter rest.
Line 8: “Spill-in’ drinks on my set-tee”
Length
5 words / 7 syllables
The eighth and final line of the section just about brings it back to where it all began, consisting of 7 syllables. Its short nature ensures that the listener will be able to process and remember it without any problem.
First Note
Following the drop down to B-flat at the conclusion of line 7, line 8 follows by ascending back up to C at the onset.
Progression
Following the C note kick off on the syllable “spill” in “spill-in’,” notice that the balance of the line follows a monotone B-flat delivery until dropping down further at the tail end to conclude.
As we have seen earlier within the section, the monotone/limited range of the vocal does a great job of accentuating the mood being conveyed via the nature of the lyrics and Turner’s vocal style.
Rhythm
With the exception of the sixteenth note lead off and quarter note last syllable on the line, notice that the vocal melody is conveyed primarily with an eighth note rhythm, which along with the monotone nature of the progression does a great job of accentuating the “exhausted” mood of the line.
The one break from the eighth note run occurs on the lyric “drinks,” which possesses a dotted eighth value. As subtle as it is, notice that it provides this key lyric with increased emphasis in
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Last Note
The first verse of the song is brought to a conclusion via a descent from B-flat to G on the lyric “set-tee.” Notice that by going down in register it ends the section on a dark, downbeat note which also jibes with the “passing out” nature of the lyrics.
VERSE 2
Line 1: “So have you got the guts?”
Length
6 words / 6 syllables
At just 6 words and 6 syllables, the first line of the second verse is so far the shortest line within the entire song. As a result, the section is kicked off in a very easy to digest and process manner.
First Note
As opposed to the C note that kicked off verse 1, verse 2 begins a step lower on B-flat.
Progression
The name of the game here at the onset of the second verse is infectious simplicity. After kicking off on B-flat, the line continues on via a repetitive A – G – A – G progression up until the last lyric of the section.
Notice that the limited range of the progression once again serves to accentuate the dark, matter of fact vibe that Turner has been eliciting throughout other sections within the song.
Additionally, notice that the nature of the progression is also very similar to its “sister” line within verse 1:
Line 1, Verse 1: C – A – G – B-flat – A-flat – B-flat – G – B-flat
Line 1, Verse 2: B-flat – A – G – A – G – B-flat
As a result, the similarity between the 2 helps to accentuate the familiarity and memorability factors for the listener.
Rhythm
As we’ve seen with the majority of lines within the first verse, the first line within the second
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Line 2 kicks with a rapid fire sixteenth note delivery on the lyrics “so have” (which is the same manner in which line1/verse 1 began), followed by an eighth – eighth – sixteenth note delivery before concluding on a quarter note on the last lyric of the line, which is also the same manner in which line 1 of the first verse ended.
And speaking of those final lyrics, notice that both are sung in a similar manner as follows:
Line 1, Verse 1: “cheeeeksssss”
Line 1, Verse 2: “guuuutsssss”
Last Note
Line 1 of the second verse concludes via an ascent from G to B-flat, which also happens to be the same manner in which line 1 of the first verse concluded as well.
Segmentation Method
Line 1 is segmented from line 2 via a lengthy dotted half + dotted eighth rest. This enables the powerful nature of line 1 to really sink in and resonate with the listener, while at the same time heightening the tension and anticipation leading into line 2 that follows.
Line 2: “Been won-drin’ if your heart’s still o-pen and if so I wan-na know what time it shuts”
Length
17 words / 20 syllables
As was the case with line 2 of the first verse, line 2 here in the second verse is also exceptionally lengthy in nature, consisting of 17 words and 20 syllables.
Also notice that aren’t any segmentation methods (i.e. rests) being employed on the line which would make it easier to digest and remember. It runs straight through from start to finish.
First Note
Following the ascent up to B-flat at the conclusion of line 1, line 2 follows by dropping down to G at the onset.
Progression
After a G – G note lead in, line 2 follows a very repetitive, straight-forward and simplistic progression throughout, consisting primarily of a monotone natured C delivery with
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G – G – B-flat: “Been won-d’ring”
C – C – C – B-flat: “if your hearts still”
C – C – C – B-flat: “o-pen and if”
C – C – C – B-flat: “so I wan-na”
C – C – B-flat: “know what time”
B-flat – D: “it shuts”
Additionally, notice that the G note lead in followed by C – B-flat flow is very similar to the nature of the progression that defines the majority of line 2 within the first verse.
Rhythm
With the exception of a few sixteenth notes and a quarter note at the end of the line, line 2 consists entirely of an eighth note delivery.
This, along with the nature of the progression, creates an exceptionally simplistic and infectious melody that the listener can easily get engaged with and remember despite the line’s exceptionally long length.
Last Note
The last lyric on the line, “shuts,” is an D note, which is a upward progression from the B-flat note that preceded it.
Segmentation Method
Line 2 is segmented from line 3 via a quarter + dotted eighth rest.
Line 3: ” Sim-mer down and puck-er up”
Length
5 words / 7 syllables
Following the immensely long nature of line 2, line 3 brings it all back down, providing the listener with a line that is exceptionally easy to digest and remember.
First Note
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Following the ascent up to D at the conclusion of line 2, line 3 follows by dropping down to G at the onset.
Progression
Notice that the line is split into 2 simplistic and infectious runs as follows:
“Sim-mer down”: G – B-flat – D
“and puck-er up”: B-flat – C – C – B-flat (notice that this progression ties into the flow that defined the majority of line 2).
***TAKE NOTE***
What’s really interesting is how both of these runs do the EXACT opposite of what’s being conveyed in the lyrics! Note the following:
“Sim-mer DOWN“: The entire phrase progresses UPWARD.
“Puck-er UP“: The phrase ends by progressing DOWNWARD.
Again, this all comes down to knowing the rules to break the rules. Normally you would go UP in register in order to jibe with an UPWARD natured lyric, and DOWN to jibe with a DOWNWARD natured lyric.
In this case the opposite was done, but it works perfectly when you look at the line as a whole. He’s basically telling this woman to stop fighting with him and just kiss. Going UP in register on the lyrics “simmer down” provides his declaration with increased authority as opposed to if he went down in register, and going DOWN in register on the lyrics “pucker up” provides those lyrics with a dark, sensual nature.
Rhythm
Line 3 kicks off with a rapid fire sixteenth note delivery on the lyric “sim-mer,” followed by slowing down via the eighth/dotted eighth delivery on the lyrics/syllables that follow except for the “-er” in “puck-er,” which consists of a sixteenth note.
Most importantly, notice that the lyric “down” possesses the longest note value on the line (i.e. dotted eighth), which as subtle as it is helps to split up the 2 flows as mentioned within the progression section above.
Last Note
The last lyric on the line, “up,” is an B-flat note, which is a downward progression from the C note that preceded it.
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Segmentation Method
Line 3 is segmented from line 4 via a dotted eighth rest. Notice that this is quite short in relation to the preceding lines within the section. As you’ll see on line 4, however, there’s a reason (i.e. lines 3 and 4 are “sister” lines, and together create 1 repetitive, engaging flow).
Line 4: “I’m sor-ry to in-ter-rupt”
Length
4 words / 7 syllables
Once again we have a very short line, which as you can see possesses the same syllable count as line 3 that preceded it.
First Note
Following the descent down to B-flat at the conclusion of line 3, line 4 follows by dropping down to G at the onset.
Notice that this is the same starting point as line 3 that preceded it.
Progression
The reason for the “sister” line mention within the section above is because lines 3 and 4 possess a VERY similar melody.
First, notice that both lines begin with an identical ascending G – B-flat – D progression.
Now, where line 3 initially drops down to B-flat before continuing on with the C – C run, line 4 bypasses the B-flat and goes straight into C – C. Line 3 then concludes by dropping down to a single B-flat, while line 4 does the same except for an additional B-flat on the syllables “-ter- rupt” in the lyric “interrupt.”
Despite the differences, the general framework of both lines is exceptionally similar, which both creates an engaging/infectious flow for the listener as well as gets it completely engrained within their head due to their repetitive nature.
Rhythm
In contrast to the melodic progression similarities between both lines, notice that they both differ in terms of their rhythmic flow.
The key difference is that where line 3 is essentially split into 2 distinct runs/phrases, line 4 runs straight through in a continuous manner.
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So for the listener, they get an equal dose of repetition and diversity, which ultimately makes for a very engaging listening experience.
Last Note
The last syllable on the line, “-rupt” in “interrupt,” is an B-flat note, which is a downward progression from the C note that preceded it.
Notice that this is the same manner in which line 3 concluded as well.
Segmentation Method
None – line 4 flows directly into line 5 without a pause.
Line 5: “It’s just I’m con-stantly on the cusp of try- / in’ to kiss you”
Length
12 words / 14 syllables
Clocking in at 14 syllables, line 5 is double the length of lines 3 & 4 that preceded it. Notice however that segmentation is employed which makes it easier to digest and remember:
Segment 1: “It’s just I’m con-stantly on the cusp of try-”
Segment 2: “-in’ to kiss you”
First Note
Following the descent down to B-flat at the conclusion of line 4, line 5 continues on with a B-flat at the onset of the line.
Progression
Here we’re going to take an individual look at both segments within the section.
Segment 1: “It’s just I’m con-stantly on the cusp of try-”
Aside from the B-flat – G progression on the lyrics “it’s just” at the onset of the section, notice that what follows is almost an identical repeat of the nature of lines 3 and 4 that preceded it, most specifically line 3:
Line 5: “I’m con-stant-ly on the cusp” (G – B-flat – D – B-flat – C – C – C)
Line 3: “sim-mer down and puck-er up” (G – B-flat – D – B-flat – C – C – B-flat)
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As you can see, the ONLY difference occurs at the end, where line 3 drops down to B-flat and line 5 remains constant on C. As a result, lines 3, 4 and part of 5 work together in creating a very engaging and memorable flow for the listener.
Now, notice what happens on the lyric “of” that follows. If takes a pronounced leap up to F, which acts as the catalyst for the descending D – C – B-flat – G progression that defines the FIRST SYLLABLE (“try-y-y-y”) of the lyric “tryin.”
Notice that the combination of the leap and descent concludes the segment on a very infectious, engaging and colorful note, providing instant and effective contrast against the similarities between lines 3, 4 and the first part of 5.
***CLEVER ELEMENT/WOW FACTOR***
What really makes this line so special and engaging is WHERE the segmentation (i.e. rest) was implemented. Notice that a quarter rest is placed right smack in the middle of the lyric “try-in’,” which is where you wouldn’t expect to find it.
This puts an off-kilter effect on the line as a whole, creating a tension and anticipation filled moment that really captures the listener’s attention and as a result takes the engagement factor to the next level.
Additionally, and equally as important, is that this is the first time within the verse where the high/low octave (but most audibly high) vocal harmony is put into effect, specifically on the lyric/syllables “of try-y-y-y”).
This, in conjunction with the nature of the progression, adds an unexpected, ultra-infectious burst of coloring to the section, ultimately creating a WOW moment for the listener!
Notice that the vocal harmony occurs only on the lyric/syllables as detailed above. The second half of “try-in’” DOES NOT feature the harmony, which enables “of try-y-y-y” to shine and resonate at a much greater level.
Segment 2: “-in’ to kiss you”
Following the quarter rest, the syllable “-in’” in “try-in” enters on a C note and is followed by a reversion back to the “been there done that” B-flat – C – C – B-flat progression on the lyrics “to kiss yo-u” (notice that the lyric “you” is extended past its normal syllable count and drops in register at the tail end).
Rhythm
Segment 1: “It’s just I’m con-stantly on the cusp / of try-”
Despite the almost identical nature of the progression between lines 3 and 5 (and most of 4) as detailed above, notice that the general nature of the rhythm differs except at the following
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Line 3: “puck-er up” (eighth – sixteenth – eighth)
Line 4: “in-ter-rupt” (eighth – sixteenth – eighth)
Line 5: “on the cusp” (eighth – sixteenth – *sixteenth)
Now – notice that an eighth rest is implemented following the lyric “cusp,” which achieves the following:
It accentuates the repetitive nature between line 3 and 4 that preceded it (i.e. providing that brief moment for the listener to absorb and differentiate this portion of the line from the balance, which is similar to lines 3 and 4 as previously mentioned).
It enables the WOW factor that follows (i.e. “of tryin’”) to hit with greater perceived impact.
Next, notice that the lyric “of” (which is the lyric that jumped from C to F) possesses a quarter note value, which along with the nature of the progression provides it with increased emphasis in relation to the other lyrics on the line.
Notice that it also perfectly sets up the eighth – eighth – sixteenth – dotted eighth rhythm that transpires on the extended lyric “try-y-y-y” that follows. Ultimately it provides the melody with an infectious twist along the lines of throwing a ball up in air, having it hang for a second, and then accelerate on the descent.
Segment 2: “-in’ to kiss you”
Following the quarter rest segmentation as detailed earlier, the balance of the line continues on with an eighth – sixteenth – dotted eighth – sixteenth – dotted eighth flow, which is very similar to the manner in which lines 3, 4 and the first part of 5 concluded as well.
Last Note
The last syllable on the line, “-u” in the extended “you,” is an B-flat note, which is a downward progression from the C note that preceded it.
Again, notice that this is the same manner in which lines 3 and 4 both ended.
Segmentation Method
Line 5 is segmented from line 6 via a dotted quarter rest.
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Line 6: “I don’t know if you / feel the same as I do”
Length
11 words / 11 syllables
Landing at 11 words and 11 syllables, line 6 is moderately long in length. That being said, notice that it’s broken into 2 distinct segments, consisting of an easy to digest 5 and 6 syllables, respectively:
Segment 1: “I don’t know if you”
Segment 2: “feel the same as I do”
First Note
Following the descent down to B-flat at the conclusion of line 5, line 6 ascends to C at the onset.
Progression
The first segment on the line, “I don’t know if you,” follows a simplistic yet infectious “ascending/descending ” progression via C – D-flat – B-flat – C – D-flat.
The second segment, “feel the same as I do,” drops down to A at the onset and then carries on with another “ascending/descending ” progression via “A – B-flat – C – B-flat – G – D-flat.
***CLEVER ELEMENT/WOW FACTOR***
Notice how the descent via C – B-flat – G acts to set up the WOW factor lyric on the line, “do,” via its pronounced leap up to D.
Additionally, notice that the lyric “do” also possesses the same type of vocal harmony that we found on the lyric/syllables “of try-y-y-y” on the preceding line. As was the case there, here along with the leap and prolonged nature of the lyric provides an ultra-infectious, artsy splash of coloring to the section which takes the engagement factor to the next level for the listener.
Rhythm
Segment 1 kicks off with a rapid fire sixteenth note delivery on the lyrics “I don’t know,” which then slows down via an eighth and dotted quarter on the lyrics “if you” that follow.
Notice that a quarter rest is then implemented after the lyric “you,” which puts the segmentation as detailed above into effect. Ultimately what this does is to create increased tension and anticipation within the line as a whole, which works perfect tandem with the meaning of the lyrics:
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“I don’t know if you……..feel the same as I do.”
Now, with the exception of the 2 sixteenth notes in the mix, notice that the second segment on the line possesses a much more “drawn out” nature in relation to segment 1 via the use of quarter and dotted quarter notes on the lyrics “same,” “I,” and “do.”
Also notice that the prolonged nature of the lyric “do” helps to accentuate the WOW factor that was elicited via the nature of the progression and vocal harmony as mentioned earlier.
Last Note
The last lyric on the line, “do,” is a D note, which as previously mentioned is a stringent upward progression from the G note that preceded it.
Segmentation Method
Line 6 is segmented from line 7 via a lengthy half + sixteenth rest.
Line 7: “But we could be to-geth-er / if you want-ed to”
Length
9 words / 12 syllables
Just 1 syllable longer than the preceding line, line 7 is also split into 2 distinct segments as follows:
Segment 1: “But we could be to-geth-er”
Segment 2: “if you want-ed to”
First Note
Following the ascent up to D at the conclusion of line 6, line 7 drops a bit over an octave to commence on a C note.
Progression
Following the stringent leap from C to B-flat on the first 2 lyrics of the line (“but we”), segment 1 proceeds to follow an alternating straight forward and infectious B-flat – G progression up until the last syllable of the segment, “-er” in “together,” which concludes on an G note.
Segment 2 then picks up where segment 1 left off (on an A note), and then proceeds to follow a G – B-flat – G – B-flat – A progression as we saw on segment 1.
Rhythm
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Notice that both segments essentially possess the same repetitive rhythm, with each note alternating between a sixteenth and an eighth (and in a couple of cases a dotted eighth), and concluding in a prolonged fashion (quarter + eighth in segment 1, dotted quarter on the full stretched lyric “too” in segment 2).
Additionally, notice that the lyric “to-geth-er” in segment 1 is REALLY stretched out and prolonged in relation to the other lyrics on the line via a sixteenth – eighth – sixteenth/quarter rhythm.
As for the segmentation that divides both phrases on the line, notice that it’s instituted via a very lengthy whole + sixteenth rest. This provides the same type of effect that we saw on line 6 via the tension and anticipation elicited between the “I don’t know if you…….feel the same as I do” phrases. Here on line 7 the phrases are just as strong an important – “but we could be together…….if you wanted to.”
Last Note
The last syllable on the line, “-o” in the extended “too,” is an A note, which is a downward progression from the B-flat note that preceded it.
PRE-CHORUS
Lines 1 & 2
Lines 3 & 4
Lines 5 & 6
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Line Reference
Line 1 – Background: Do I wanna know Line 2 – Lead: If this feeling flows both ways Line 3- Background: Sad to see you go Line 4- Lead: Was sort of hopin’ that you’d stay Line 5- Background: Baby we both know Line 6- Lead: That the nights were mainly made for sayin’ things that you can’t say tomorrow day
Lead Vocal Range
High: D-flat Low: C (octave below in 1 instance)
*Note that aside from the above that the range is very limited – between B-flat and C.
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Background Vocal Range
High: A Low: D
Here we’re going to take an look at the lead vocal (lines 2, 4 and 6) and background vocal (lines 1, 3 and 5) independently of one another.
BACKGROUND VOCAL
Line 1 – Background Vocal: “Do I wan-na know?”
Length
4 words / 5 syllables
In contrast to the majority of lines that we saw within the preceding verse sections, the first background vocal line within the pre-chorus is quite short in comparison, consisting of just 4 lyrics and 5 syllables.
First Note
The first line within the pre-chorus kicks off on a D note. This is an ascent from the A and G notes which concluded verse 1 and 2, respectively, as well as G that concluded chorus 2.
Progression
As was the case with most of the lines within both verse sections, the nature of the background vocal melody on line 1 of the pre-chorus is quite straightforward and infectious.
Notice that the falsetto nature of the vocal initially climbs via D – F – A on the lyrics/syllables “Do I wan-,” before heading back down via F – F – D to conclude on “-na kno-w.”
Notice that the drop down to D at the end of the extended lyric, “kno-w,” does a fantastic job of accentuating the uneasiness and darkness that the meaning of the line conveys in relation to the entire story.
Rhythm
Also as was the case within the verse sections, the first line of the pre-chorus features a combination of sixteenth and eighth notes, following a sixteenth – eighth – dotted eighth – sixteenth – sixteenth – quarter rhythm throughout.
2 important points to note are as follows:
Notice that the syllable “wan-” in “wan-na” possesses the second longest duration in
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relation to the other lyrics on the line (a dotted eighth). This, along with the bump up to A provides the lyric as a whole with increased emphasis in relation to the others. This is exceptionally important, considering that it’s both the focal point of the title and the crux of the entire storyline.
Notice that the extended lyric “kno-w” possesses the longest duration on the entire line, consisting of a sixteenth and a quarter note. This does a great job of subtly accentuating the dark, uneasy, questioning nature of the line.
Last Note
The last syllable on the line, “-w” in the extended “know,” is an D note, which is a downward progression from the F note that preceded it.
Segmentation Method
Line 1 (background Vocal) is segmented from line 2 (lead vocal) via a quarter rest.
Line 3 – Background Vocal: “Sad to see you go”
Length
5 words / 5 syllables
Line 3, which is the second background vocal occurrence within the section, possesses the same exact syllable count as the first occurrence.
First Note
Following the descent down to B-flat at the conclusion of line 2 (lead vocal line), line 3 ascends to F at the onset.
Progression
In contrast to line 1 which kicked off with a 3 note ascent, line 3 begins with a F – D descent, which is then followed by a F – G – D – C progression to conclude.
Notice how the nature of the progression really does a fantastic job of accentuating the meaning of the line. Since the line revolves around the key lyric, “sad,” descending at the onset accentuated the emotion conveyed through the vocal.
Additionally, the climb back up to G also did a great job in setting up the D – C descent that followed on the stretched lyric “g-o,” which further accentuated the line’s dark, morose nature.
Rhythm
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Once again we find a combination of eighth and sixteenth notes being utilized on a line, this time possessing an eighth – sixteenth – dotted eighth – sixteenth – dotted eighth – quarter rhythm.
Similar to the background vocal in line 1, notice that the third lyric/syllable in is stressed via a dotted eighth duration, and the final stretched lyric is prolonged in relation to the others via eighth – quarter rhythm.
Last Note
The last syllable on the line, “-o” in the extended “g-o,” is a C note, which is a downward progression from the D note that preceded it.
Segmentation Method
Line 3 (background Vocal) is segmented from line 4 (lead vocal) via a dotted eighth rest.
Line 5 – Background Vocal: “Ba-by we both know”
Following the departure that took place on line 3, the nature of the background vocal that defines line 5 reverts back to same flow that defined line 1.
The only subtle difference aside from the lyrics resides in the nature of the rhythm, specifically the eighth as opposed to dotted eighth on the third lyric/syllable in, and the eighth note that follows it as opposed to a sixteenth.
LEAD VOCAL
Line 2 – Lead Vocal: “If this feel-ing flows both ways?”
Length
6 words / 7 syllables
Slightly longer than the background vocal that preceded it, the first lead vocal line within the section resides on the shorter end of the spectrum, which as you know makes it easy for the listener to digest and remember.
First Note
Following the descent down to D at the conclusion of line 1 (background vocal line), line 2 descends further down to B-flat at the onset.
Progression
In contrast to the more vibrant natured progression that defined the background vocal line that
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Again, as we’ve seen at times within the verse sections of the song, the nature of this vocal melody does a great job of accentuating the uncertain, dark vibe of the song.
Rhythm
Aside from the sixteenth note that kicks the line off, notice that the balance of the line consists entirely of an eighth note delivery, save for the last lyric, “ways.”
Notice that as was the case with many other lyrics that we’ve seen, “ways” is extended past its normal syllable count via “way-s,” encompassing a prolonged dotted eighth – dotted eighth rhythm.
As a whole, the uniform nature of the rhythm works in perfect tandem with the melodic progression in accentuating the intended vibe of the song as previously mentioned.
Last Note
The last syllable on the line, “-s” in the extended “way-s,” is a B-flat note, which is a downward progression from the C note that preceded it.
Segmentation Method
Line 2 (lead vocal) runs directly into line 3 (background vocal) without a pause.
Line 4 – Lead Vocal: “Was sort of hop-in’ that you’d stay”
Length
7 words / 8 syllables
The second lead vocal occurrence within the section is just 1 syllable longer than the first.
First Note
Following the descent down to B-flat at the conclusion of line 3 (background vocal line), line 2 drops almost an octave down to C at the onset.
Progression
With the exception of the drop down to C followed by a leap back up to B-flat, notice that this line also possesses a mostly monotone natured delivery that resides in C all the way through until dropping down to B-flat to conclude, which was also the case on line 2.
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Rhythm
As with the progression, the nature of the rhythm remains almost identical to that of line 2, consisting primarily of an eighth note delivery up until the tail end, where the stretched lyric “sta- y” is prolonged via a sixteenth – quarter note rhythm.
Last Note
The last syllable on the line, “-y” in the extended “sta-y,” is a B-flat note, which is a downward progression from the C note that preceded it.
Segmentation Method
Line 4 (lead vocal) runs directly into line 5 (background vocal) without a pause.
Line 6 – Lead Vocal: “That the nights were main-ly made for say-in’ things that you can’t say to-mor-row day”
Length
15 words / 19 syllables
For those of you who were wondering if the pre-chorus would provide at least 1 line that was a mouthful to sing as we saw within both verse sections, wonder no more…here it is!
Clocking in at 15 words and 19 syllables, line 6 is significantly longer than all of the other lines within the section. Also note that this line doesn’t contain any segmentation – it runs straight through – start to finish.
First Note
Following the descent down to D at the conclusion of line 5 (background vocal line), line 6 drops down to B-flat at the onset.
Progression
In addition to the word/syllable count contrast that line 6 provides, notice that the nature of the progression has been changed up as well.
Instead of following a mostly monotone natured C delivery as we saw on lines 2 and 4, here we find the melody following an infectious B-flat – C alternation throughout the majority of the line.
The key (yet subtle) change up occurs toward the end, where the progression bumps up to D- flat on the lyric “say.” It might not seem like much, but this climb is imperative in preventing the line as a whole from becoming overly monotonous. It also provides this key lyric with increased emphasis as well, enabling it to stand out amongst the others.
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Rhythm
Despite utilizing a combination of sixteenth, eighth and dotted eighth notes throughout (except on the lyric “say” – more on that in a bit), notice that the nature of the rhythm isn’t as regimented as the B-flat – C alternation of the melodic progression.
Instead, the nature of the rhythm fluctuates in a subtle manner throughout the line, which ultimately heightens the engagement factor for the listener. If the rhythm was just simply eighth – sixteenth – eighth – sixteenth, etc… the line as a whole would have lost its impact, and ultimately bored the listener due to its overly monotonous nature.
As for the lyric “say,” notice that it was also accentuated via its prolonged nature in relation to the other lyrics on the line (i.e. a quarter note) in addition to the bump up to D as previously mentioned.
Last Note
The last lyric on the line, “day,” is a B-flat note, which is a downward progression from the C note that preceded it.
Notice that this is the same manner in which all of the preceding lead vocal lines ended.
CHORUS
Lines 1 & 2
Lines 3 & 4
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Lines 5 & 6
Line Reference
Line 1: Crawlin’ back to you Line 2: Ever thought of callin’ when you’ve had a few Line 3: ‘Cause I always do Line 4: Maybe I’m too busy bein’ yours to fall for somebody new Line 5: Now I’ve thought it through Line 6: Crawlin’ back to you
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Vocal Range
High: F Low: D
Vocal Harmony
Note that the entire section possesses a background vocal harmony that spans an octave above and below the lead, providing the section with a unique, infectious and engaging quality.
Line 1: “Crawl-in’ back to you”
Length
4 words / 5 syllables
Following the lengthy 15 word / 19 syllable line at the conclusion of the pre-chorus, the chorus kicks off in a substantially easier to digest manner, with the first line of the section consisting of just 4 words and 5 syllables.
First Note
Following the descent down to B-flat at the conclusion of the pre-chorus, the chorus drops down further to G at the onset of the section.
Progression
The chorus kicks off in a straight forward, simplistic manner via an ascending G – A – B-flat – C progression on the first 4 lyrics of the line (“craw-lin back to”), which is then followed by a descent down to G at the conclusion on the lyric “you.”
Notice that this ascent provides infectious contrast against the B-flat – C – B-flat – C… progression that defined the majority of the last line of the pre-chorus.
Rhythm
As was the case with the progression, the nature of the rhythm is also very straight forward, consisting entirely of an eighth note delivery up until the final lyric, “you,” which is prolonged in relation to the others via a dotted quarter value.
Again, this provides solid contrast against the last line within the pre-chorus, which consists of a combination of sixteenth, eighth, dotted eighth and quarter notes.
Additionally, notice how the all eighth note delivery elicits a “crawling” type of vibe, which jibes with the nature of the “crawlin’ back to you” lyrics. If sixteenth or quarter notes were utilized as
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Last Note
The last lyric on the line, “you,” is a G note, which is a downward progression from the C note that preceded it.
Segmentation Method
Line 1 is segmented from line 2 via a quarter rest. This provides ample time for line 1 to sink in and resonate with the listener.
Line 2: “Ev-er thought of call-in’ when you’ve had a few?”
Length
9 words / 11 syllables
In contrast to the very short nature of line 1, line 2 clocks in at a bit more than double the length, making it quite wordy in comparison.
As you’ll see, however, the nature of the melody coupled with the segmentation detailed below makes this line arguably the most infectious and memorable within the entire song.
Segment 1: “Ev-er thought of call-in’ when”
Segment 2: “you’ve had a few”
First Note
Following the descent down to G at the conclusion of line 1, line 2 drops a step further down to F at the onset.
Progression
Here we’re going to take an individual look at both segments within the line:
Segment 1: “Ev-er thought of call-in’ when”
***WOW FACTOR #1***
If there was only 1 word that could be used to describe this segment, it would have to be SOARING. Notice how the first lyrics/syllables of the line, “ev-er thought,” which follow an F – G – B-flat progression, act in the manner of a “launching pad” for the lyric “of” that follows, which is an F note.
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Maybe some imagery will help to convey the effect. Take a look at the melody graph above and picture a snowboarder on the edge of a half pipe on the C note within line 1. He (or she) then shoots down the pipe across G and F, begins an ascent on G and B-flat on line 2, and then soars up into the air on the F that follows, with the hang time and minimal descent being portrayed in the E-flat – D – C – B-flat progression at the conclusion.
All in all, the nature of the progression coupled within its rhythmic qualities not only takes the infectious, powerful nature of the section to the next level, but the song as well.
Segment 2: “you’ve had a few”
In contrast to the more gradual ascent, peak, descent nature of segment 1, notice that segment 2 initially drops down to D following the B-flat at the conclusion of segment 1, which is then followed by quick C – D – C progression to conclude the section.
Rhythm
Segment 1: “Ev-er thought of call-in’ when”
Notice how the nature of the rhythm works hand in hand with the melodic progression in putting the soaring quality of segment 1 into full effect.
The line kicks off with a rapid fire sixteenth note delivery on the lyrics “ev-er thought,” followed by 2 eighth notes on the lyrics “thought of.” Now, the lyrics that follow, “call-in’ whe-n,” are the lyrics that really provide the line its soaring quality.
Notice that “call-in’” consists of a dotted quarter – eighth note combo which possesses a substantially prolonged nature in relation to the lyrics / syllables that preceded it, while the stretched lyric “whe-n” is longer in comparison as well, consisting of 2 eighth notes. The fact that these 2 prolonged lyrics occur back to back is what puts the soaring vibe into effect.
***SEGEMENTATON***
Notice that a dotted eighth rest is put into effect following the lyric “when.” This achieves the following:
It effectively breaks this 11 syllable line into 2 shorter, easier to digest segments, consisting of 7 and 4 syllables, respectively.
It provides just enough time for the powerful, soaring nature of the first segment to sink in and resonate with the listener.
The pause creates engaging tension and anticipation leading into the segment that follows.
It allows for the infectious contrasting quality of segment 2 to shine independently of
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the section/song defining nature of segment 1 that preceded it (i.e. the time in between precludes it from being overshadowed by segment 1).
Segment 2: “you’ve had a few”
Working in perfect tandem with the nature of the melodic progression, the rhythmic nature of segment 2 provides infectious contrast against the soaring, prolonged nature of segment 1. This is achieved via a rapid fire sixteenth note delivery on the first 3 lyrics, “you’ve had a,” followed by concluding the line with a quarter note on the lyric “few.”
Last Note
The last lyric on the line, “few,” is a C note, which is a downward progression from the D note that preceded it.
Segmentation Method
Line 2 is segmented from line 3 via a quarter rest.
Line 3: “‘Cause I al-ways do”
Length
4 words / 5 syllables
Providing contrast against the lengthy line that preceded it, line 3 reverts back to the short nature of line 1, consisting of the same exact word and syllable count.
First Note
Following the descent down to C at the conclusion of line 2, line 3 drops a step further down to B-flat at the onset.
Progression
Although not identical, notice that line 3 possesses a similar type of melodic flow that defined the first line within the section, which ultimately acts to accentuate the memorability factor of the section as a whole for the listener:
Both begin with an ascending progression. Line 1 kicks off via G – A – B-flat – C, while line 3 kicks off via B-flat – C – D.
Both conclude with a pronounced descent via D – G.
Rhythm
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The key rhythmic difference between lines 1 & 3 resides in the fact line 3 kicks off with a rapid fire sixteenth note delivery on the first 2 lyrics, “’cause I,” while line 2 begins with 2 eighth notes. The rhythm that defines the balance of both lines is almost identical, each possessing an eighth – eighth – quarter rhythm (dotted quarter on line 1).
Last Note
The last lyric on the line, “do,” is a G note, which is a downward progression from the D note that preceded it.
Segmentation Method
Line 3 is segmented from line 4 via a lengthy half rest. Notice that this extra time was necessary in order to prevent the similar nature of line 3 and the first segment of 4 from detracting from one another’s impact.
Line 4: “May-be I’m too bus-y be-in’ yours to fall for some-bod-y new”
Length
11 words / 16 syllables
Are you starting to see a pattern here? Following the short nature of line 3, line 4 is substantially longer, clocking in at 11 words and 16 syllables, which makes it the longest line within the entire section.
As you know, this was also the case with lines 1 and 2 as well, each consisting of 5 and 11 syllables, respectively.
And as we saw on line 2, segmentation was put into effect in order to make the line as a whole easier to digest:
Segment 1: “May-be I’m too”
Segment 2: “bus-y be-in’ yours to fall for some-bod-y new”
Notice that the segmentation occurs much earlier on line 4 in comparison to line 2. Where line 2 has a long segment followed by a short segment, here on line 4 we have a short segment followed by a longer one.
First Note
Following the descent down to G at the conclusion of line 3, line 4 drops a step further down to F at the onset.
Progression
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Segment 1: “May-be I’m too”
As was the case with lines 1 and 3 as previously mentioned, the first segment on line 4 also possesses similar qualities which accentuates the memorability factor for the listener while at the same time incorporating some differences which heightens the engagement factor (i.e. preventing things from becoming overly monotonous).
Notice that the segment kicks off with an ascending progression as was the case with lines 1 and 3, and is then followed by a pronounced descent. In this case, though, it follows an F – G – B-flat – G progression as opposed to G – A – B-flat – C – G or B-flat – C – D – D – G.
Segment 2: “bus-y be-in’ yours to fall for some-bod-y new”
***WOW FACTOR #2***
Notice that the second segment on the line is almost a carbon copy from a melodic progression standpoint of segment 1 within line 2. The only difference is that the final run of the line (i.e. the G – C – D – C progression which defines “some-bod-y new”) isn’t segmented via a rest from the soaring run that preceded it.
As a result, the listener is provided with another dose of this ultra-infectious melody, ultimately getting it further engrained within their head.
Rhythm
Segment 1: “May-be I’m too”
Notice that the nature of the rhythm that defines segment 1 is almost identical to line 3 that preceded it (sixteenth – sixteenth – eighth – eighth – quarter vs. sixteenth – sixteenth – eighth – quarter). This does a great job of accentuating the memorability factor for the listener along with the rhyme & general melodic flow despite the note differences.
***SEGEMENTATON***
Notice that a dotted quarter rest is put into effect following the lyric “too.” This achieves the following:
The pause enables segment 1 to come across as a standalone line, which enables it to resonate independently in relation to segment 2, providing the listener with an infectious, memorable flow between line 3 and segment 1 of line 4.
It also enables the ultra-infectious nature of segment 2 to stand out and shine independently of segment 1.
It heightens the tension and anticipation leading into segment 2 (i.e. “maybe I’m too…”...”busy bein’ yours to fall for somebody new”).
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Segment 2: “bus-y be-in’ yours to fall for some-bod-y new”
Notice that along with the nature of the progression that the rhythm which defines the second segment of line 4 is almost identical to line 2, which helps to get it engrained within the listener’s head. The only difference is that there isn’t a rest which segments the “soaring” part of the progression from the G – C – D – C run that concludes the line as we saw on line 2.
Instead, the quarter note – dotted eighth note combo of “fall for” provides subtle prolongment which enables the rapid fire conclusion of the line to resonate independently.
Last Note
The last lyric on the line, “new,” is a C note, which is a downward progression from the D note that preceded it.
Segmentation Method
Line 4 is segmented from line 5 via a quarter rest.
Line 5: “Now I’ve thought it through”
Length
5 words / 5 syllables
Keeping in line with the general flow that we’ve seen so far within the section, line 5 is considerably shorter than the 16 syllable line that preceded it.
First Note
Following the descent down to C at the conclusion of line 4, line 5 drops a step further down to B-flat at the onset.
Progression & Rhythm
Notice that line 5 possesses the same exact melodic progression and rhythm as line 3. This as you know acts to heighten the memorability factor of the section for the listener as well as help to wind the section down following the soaring nature of line 4.
Last Note
The last lyric on the line, “through,” is a G note, which is a downward progression from the D note that preceded it.
Segmentation Method
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Line 5 is segmented from line 6 via a quarter rest.
Line 6: “Crawl-in’ back to you”
The last line within the chorus circles back to where it all began, repeating the “crawlin’ back to you” line in the same exact manner as it appeared on line 1.
Notice that this manages to both provide infectious contrast against the line that preceded it (i.e. the notes used and rhythmic characteristics) as well as similarities which concludes the section on a memorable note (i.e. the upward nature of the progression followed by the pronounced descent at the tail end).
PRE-CHORUS / CHORUS “HYBRID”
Lines 1 & 2
Lines 3 & 4
Lines 5 & 6
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Line Reference
Line 1 (Background Vocal): Do I wanna know Line 2 (Lead Vocal): Too busy bein’ yours to fall Line 3 (Background Vocal): Sad to see you go Line 4 (Lead Vocal): Ever thought of callin’ darlin’ Line 5 (Background Vocal): Do I wanna know Line 6 (Lead Vocal): Do you want me crawlin’ back to you
Lead Vocal Range
High: F
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Low: F
Background Vocal Range
High: A Low: C
Vocal Type
The pre-chorus lines feature the falsetto background vocal, while the chorus lines feature the lead plus octave up/down vocal harmony.
As you know, the pre-chorus/chorus “hybrid” section takes the most infectious vocal elements from both the pre-chorus and chorus and combines them into one “super payoff” for the listener.
Notice that the overall flow of the section (i.e. the alternating falsetto background vocal followed by the lead) remains the same as the pre-chorus. The key difference resides in the specific lines utilized within the section as well as their order compared to their original occurrences within the song.
Pre-Chorus
3 lines were taken from the pre-chorus:
“Do I wanna know” (Line 1)
“Sad to see you go” (Line 3)
“Do I wanna know” (Line 5)
Notice that lines 3 and 5 are melodic and rhythmic carbon copies of how they appear within the pre-chorus. Line 1, however, is slightly changed up:
As opposed to starting on D and continuing on via an F – A – F – F – D progression as it did in the pre-chorus, notice that here in the pre-chorus/chorus “hybrid” section it starts on F, drops to D, and then continues on via F – G – A – G – F. This achieves 2 key things:
It provides engaging contrast against the “normal” way that it appears within the pre- chorus and line 5 within the pre-chorus/chorus “hybrid” section.
It takes the emotional nature of the line to the next level, specifically via the step up to the prolonged A on the lyric “kn-o-w.” Notice that this lyric is stretched out further than it was elsewhere within the song (“kno-w” via F – D).
Differences aside, notice that both occurrences of the line initially follow the same rhythm on the
77 / 112 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com lyrics “do I wan-na” via a sixteenth – eighth – dotted eighth – sixteenth flow. This does a great job of keeping the memorability factor intact for the listener, which is very important considering that it’s also the title of the song.
Chorus
What REALLY makes this section so powerful is the inclusion of the soaring WOW factor segments that were taken from the chorus.
Notice that the general nature of the flow remains essentially the same as it was within chorus (which accentuates the memorability factor), with the primary difference stemming from the lyrical content present on lines 4 and 6:
Line 2
“Hybrid”: “Too busy be-in’ yours to fall”
Chorus: “Too bus-y be-in’ yours to fall”
Note that the positioning of this line within the “hybrid” section has been changed up from where it appears within the chorus. In the chorus, it appears as part of line 4. Here, it occurs as line 2.
Line 4
“Hybrid”: “Ever thought of call-in’ dar-lin‘”
Chorus: “Ev-er thought of call-in’ when“
Note that this line appeared as line 2 within the chorus as opposed to line 4.
Line 6
“Hybrid”: “Do you want me crawl-in’ back to you”
Chorus: None
Note that this line didn’t appear within the chorus.
Short Lines
Notice that each line within the section is relatively short in nature, ranging from just 5 to 9 syllables. As a result, the section as a whole is exceptionally easy to digest and remember.
The Magic
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The real magic of the section occurs when these 2 diverse segments are sung back to back. Not only does it conclude the vocal portion of the song in a highly infectious manner, but the repetition of melodic and rhythmic flow both within the section and relative to their “sister” sections elsewhere in the song takes the memorability factor to the next level as well.
Lyrics Back to Top
LYRIC TYPES This section highlights the types of lyrics and phrases that appear within each section of the song. Notice that some of the lyrics and phrases appear in more than one category.
Examples:
Detail/Imagery Lyrics & Phrases (These lyrics “paint a picture” in your mind and provide detail as to what’s happening within the story, literally, metaphorically, or both)
Verse 1
Have you got colour in your cheeks?
Are there some aces up your sleeve? (metaphorically)
… and I play it on repeat until I fall asleep
Spilling drinks on my settee
Verse 2
Simmer down and pucker up
I’m sorry to interrupt. It’s just I’m constantly on the cusp of tryin’ to kiss you
Pre-Chorus
Sad to see you go
Chorus
Crawlin’ back to you (metaphorically)
Ever thought of callin’ when you’ve had a few?
Place & Time Lyrics & Phrases (These lyrics reflect places and the timeline within the story)
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Verse 1
Do you ever get that fear… (time)
I dreamt a-bout you nearly ev’ry night this week (time)
Are there some aces up your sleeve? (place)
Spillin’ drinks on my settee (place)
Verse 2
…and if so I wanna know what time it shuts (time)
Pre-Chorus
Sad to see you go (leaving a place – specific or metaphorical)
Was sort of hopin’ that you’d stay (staying at a place – specific or metaphorical)
Chorus
Ever thought of callin’ when you’ve had a few? (references time)
Emotional/State Of Mind Based Lyrics and Phrases (These lyrics and phrases shed light on the character’s state of mind and 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
Do you ever get that fear that you…
Have you no idea that you’re in deep?
‘Cause there’s this tune I found that makes me think of you somehow (alludes to how the song makes him feel which makes him think of her)
Verse 2
So have you got the guts?
Been wondrin’ if your heart’s still open…
I don’t know if you feel the same as I do
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Pre-Chorus
Do I wanna know (background vocal that ties in with the lead vocal below)
If this feeling flows both ways?
Sad to see you go
Was sort of hopin’ that you’d stay
Baby we both know
Chorus *The entire section deals with emotion and the protagonist’s frame of mind
Crawlin’ back to you (alludes to his state of mind in relation to the fact that he really cares for this woman)
Ever thought of callin’ when you’ve had a few?
‘Cause I always do
Maybe I’m too busy bein’ yours to fall for somebody new
Now I’ve thought it through
Action Based Lyrics & Phrases (These lyrics get you into what the characters within the story have done, are doing or will do)
Verse 1
I dreamt about you nearly ev’ry night this week
‘Cause there’s this tune I found that makes me think of you somehow and I play it on repeat until I fall asleep
Spillin’ drinks on my settee
Verse 2
Simmer down and pucker up
I’m sorry to interrupt
It’s just I’m constantly on the cusp of tryin’ to kiss you
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Pre-Chorus
Sad to see you go
That the nights were mainly made for sayin’ things that you can’t say tomorrow day
Chorus
Crawlin’ back to you
Ever thought of callin’ when you’ve had a few?
Now I’ve thought it through
Character Lyrics & Phrases (These lyrics show how all of the characters within the story are defined)
Red Font: 1st Person Blue Font: 2nd Person Green Font: 3rd Person Bold Black: Specific
Verse 1
Line 1: Have you got color in your cheeks? Line 2: Do you ever get that fear that you can’t shift the type that sticks around like summat in your teeth? Line 3: Are there some aces up your sleeve? Line 4: Have you no idea that you’re in deep? Line 5: I dreamt about you nearly ev’ry night this week Line 6: How many secrets can you keep? Line 7: ‘Cause there’s this tune I found that makes me think of you somehow and I play it on repeat until I fall asleep Line 8: Spillin’ drinks on my settee
Pre-Chorus
Line 1: (Do I wanna know) Line 2: If this feeling flows both ways? Line 3: (Sad to see you go) Line 4: Was sort of hopin’ that you’d stay Line 5: (Baby we both know) Line 6: That the nights were mainly made for sayin’ things that you can’t say tomorrow day
Chorus
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Line 1: Crawlin’ back to you Line 2: Ever thought of callin’ when you’ve had a few Line 3: ‘Cause I always do Line 4: Maybe I’m too busy bein’ yours to fall for somebody new Line 5: Now I’ve thought it through Line 6: Crawlin’ back to you
Verse 2
Line 1: So have you got the guts? Line 2: Been wondrin’ if your heart’s still open and if so I wanna know what time it shuts Line 3: Simmer down and pucker up Line 4: I’m sorry to interrupt. Line 5: It’s just I’m constantly on the cusp of tryin’ to kiss you Line 6: I don’t know if you feel the same as I do Line 7: But we could be together if you wanted to
Pre-Chorus/Chorus “Hybrid”
Line 1: (Do I wanna know?) Line 2: Too busy bein’ yours to fall Line 3: (Sad to see you go) Line 4: Ever thought of callin’ darlin’? Line 5: (Do I wanna know?) Line 6: Do you want me crawlin’ back to you?
RHYMING & REPETITIVE LYRICS The highlighted lyric indicates the “rhymer.” In some cases it’s a full lyric, and in other cases it may be just one letter or syllable or the manner in which a lyric is sung.
Verse 1
Line 1: Have you got col-or in your cheeks? Line 2: Do you ever get that fear that you can’t shift the type that sticks a-round like sum-mat in your teeth? Line 3: Are there some ac-es up your sleeve? Line 4: Have you no i-dea that you’re in deep? Line 5: I dreamt a-bout you nearly ev-’ry night this week Line 6: How man-y se-crets can you keep? Line 7: ‘Cause there’s this tune I found that makes me think of you some-how and I play it on re-peat / un-til I fall a-sleep Line 8: Spill-in’ drinks on my set-tee
Cross-Line Rhymers
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As you can see within the highlighted lyrics above, the primary rhyming scheme within the first verse revolves around “ee / ea” which defines the last lyric on each consecutive line within the entire section:
Line 1: “cheeks” Line 2: “teeth” Line 3: “sleeve” Line 4: “deep” Line 5: “week” Line 6: “keep” Line 7: “re-peat” / “a-sleep” Line 8: “set-tee“
Notice that the last lyric (the “rhymer”) on lines 1 – 6 are all single syllable words. On lines 7 and 8, however, they switch over to 2 syllable words (i.e. “re-peat,” “a-sleep,” and “set-tee”). The uniformity helps to accentuate the memorability factor for the listener.
In-Line Rhymers
Notice that there are a few instances where an additional rhyme is included within a particular line:
Line 6
“se-crets”: Occurs in the middle of the line.
Line 7
Line 7 is an interesting one. As a whole it’s quite long in nature, consisting of 23 words and 27 syllables. A half-rest is implemented after the lyric “re-peat,” which essentially splits the full line into 2 distinct segments, each of which ends with an “ea / ee” rhymer (“re-peat” and “a- sleep”).
Additionally, notice that line 7 is also the only line where a NON “ea / ee” rhyme is put into effect. This occurs on the lyric “found” and the syllable “how” in “some-how.” Considering the immense length of the line, this does a great job of providing the listener with another element that helps to get the line as a whole engrained within their head.
Without the additional “ea / ee” and “ou / ow” rhymes, line 7 would be much harder to digest and remember.
Verse 2
Line 1: So have you got the guts? Line 2: Been won-drin’ if your heart’s still o-pen and if so I wan-na know what time it shuts Line 3: Sim-mer down and puck-er up
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Line 4: I’m sor-ry to in-ter-rupt.
Line 5: It’s just I’m con-stantly on the cusp of try- / in’ to kiss you
Line 6: I don’t know if you / feel the same as I do Line 7: But we could be to-geth-er if you want-ed to
Here in the second verse the primary rhyme occurs on the last lyric of each line coupled with some instances where it occurs within the line as well, as was indicative of the first verse of the song.
Notice however that in contrast to the “ea / ee” and “ou / ow” rhymes that defined the first verse, here in the second verse we find the nature of the rhyme shifting over to “u / o” (as in “guts” and “wonderin”), and “ou / o” (as in “you” and “do”).
Cross-Line & In-Line Rhymers
What’s really interesting here is the manner in which the 2 different rhymes are structured within the section as a whole.
Lines 1 – 4
The first 4 lines of the section feature the “u” rhyme occurring on the last lyric as follows:
Line 1: “guts” Line 2: “shuts” Line 3: “up” Line 4: “in-ter-rupt
Additionally, notice that line 2 also features the lyric/rhyme “won-drin’,” which helps to get this long line engrained within the listener’s head in a similar manner as line 7 within the first verse.
Line 3 contains an additional rhyme as well, occurring on the lyric “puck-er” which precedes “up.”
Line 5
The fifth line of the section is exceptionally clever in nature. Notice that it essentially serves as a “bridge” between the 2 different types of rhymes within the section, tying both together via the segmentation as follows:
Segment 1: Ties in with the “u” natured rhyme that defines lines 1 – 4
“It’s just I’m con-stantly on the cusp of try-”
The segment “splitter”
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Notice that the split between the 2 syllables in the lyric “try-in’” is accentuated via a quarter rest. What this does is to act as a transition point between the “u” of lines 1 – 4 and “ou” that defines lines 6 – 7. Reference the Vocal Melody section of the report for details.
Segment 2: Puts into effect the “ou / o” rhyme
“-in’ to kiss you“
Lines 6 & 7
Line 6: “you” / “do“
Line 7: “to“
The first thing to take note of is that line 6 contains the “you” / “do” in-line rhyme, which is similar in structure to the “re-peat” / “a-sleep” in-line rhyme which occurred on line 7 within the first verse. Both lines are essentially split into 2 segments, separated by a rest.
Line 7 then concludes with the lyric “do.”
Pre-Chorus
Line 1: (Do I wan-na know) Line 2: If this feel-ing flows both ways? Line 3: (Sad to see you go) Line 4: Was sort of hop-in’ that you’d stay Line 5: (Baby we both know) Line 6: That the nights were main-ly made for say-in’ things that you can’t say to-mor-row day
The first thing that you need to take note of is how the vocals are structured within the section. Notice that the pre-chorus possesses a “call and “response” type of flow, with the falsetto background vocal kicking the section off followed by alternating with the lead vocal for the duration.
As you’ll see, all of the background vocal lines (lines 1, 3 and 5) and lead vocal lines (lines 2, 4 and 6) rhyme independently of one another, in a NON-COSECUTIVE fashion via differing “rhymers” (i.e. “ow” vs. “ay“). Note that this is in contrast to the consecutive rhyming scheme that defined the verse sections within the song.
The one thing that the verse and pre-chorus sections have in common, however, is that they both feature the primary rhyme occurring on the last lyric of each line coupled with some in-line rhyming as well.
Cross-Line Rhymers
Background Vocal Lines: “ow” / “o” (Lines 1, 3 & 5)
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Notice that the rhyme occurs on the last lyric within each line:
Line 1: “know“ Line 3: “go“ Line 5: “know“
Lead Vocal Lines: “ay” / “ai” / “a” (Lines 2, 4 & 6)
The following rhymes occur on the last lyric within each line:
Line 2: “ways” Line 4: “stay“ Line 6: “day“
In-Line Rhymers
Notice that line 6, which is a mouthful to sing at 15 words / 19 syllables along the lines of line 7 within the first verse, contains an ample amount of in-line rhyming as well which helps to get it engrained within the listener’s head:
“main-ly”
“made”
“sayin’”
“say“
“day“
Additionally, notice that the lyric “tomorrow,” which is conveyed via the lead vocal, ties in with the “ow” that defined the background vocal. This is the only point within the entire section where this occurs.
Chorus
Line 1: Crawl-in’ back to you Line 2: Ev-er thought of call-in’ when you’ve had a few? Line 3: ‘Cause I al-ways do Line 4: May-be I’m too / bus-y be-in’ yours to fall for some-bod-y new Line 5: Now I’ve thought it through Line 6: Crawl-in’ back to you
Here within the chorus we find the rhyming scheme reverting back to the general nature that defined the first verse of the song via the use of consecutive cross-line rhymes as well as some in-line rhyming as well.
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Cross-Line Rhymers
Notice that once again the primary rhyme is occurring on the last lyric within each line, all of which happen to be single syllable words:
Line 1: “you“ Line 2: “few“ Line 3: “do“ Line 4: “too” / “new“ Line 5: “through“ Line 6: “you“
Additionally, notice on lines 1 & 2 that there’s an additional rhyming scheme which doesn’t occur anywhere else within the section:
Line 1: “crawl-in’” Line 2: “call-in’”
In-Line Rhymers
Here we have a similar story to what we saw happening within the first and second verses of the song via the “segmentation” of certain lines. To refresh your memory:
Verse 1, Line 7: “… play it on re-peat / / un-til I fall a-sleep”
Verse 2, Line 6: “I don’t know if you / / feel the same as I do“
Here within the chorus, we find the following on line 4:
“May-be I’m too / / bus-y be-in’ yours to fall for some-bod-y new“
Pre-Chorus/Chorus “Hybrid”
Line 1: (Do I wan-na know?) Line 2: Too busy be-in’ yours to fall Line 3: (Sad to see you go) Line 4: Ever thought of call-in‘ dar-lin‘? Line 5: (Do I wan-na know?) Line 6: Do you want me crawl-in’ back to you?
As you know, this “hybrid” section features alternating lines from both the pre-chorus and chorus, both of which follow a similar rhyming scheme as we saw within the pre-chorus between the background and lead vocal lines.
Background Vocal Lines: “ow” / “o” (Lines 1, 3 & 5)
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Once again the primary rhyme occurs within the last lyric within each line:
Line 1: “know“ Line 3: “go“ Line 5: “know“
Lead Vocal Lines: “all” / “awl” (Lines 2, 4 & 6)
Line 2: “fall“ Line 4: “call-in’” Line 6: “crawl-in”
Additionally, notice that the lyric “call-in’” on line 4 rhymes with “crawl-in’” on line 6. This is also the case with “-lin” which occurs as an in-line rhymer on line 4 and on line 6 as well:
Line 4: “call-in’” / dar-lin’ Line 6: “crawl-in”
SONG TITLE
When gauging the effectiveness of a song’s title, there are a number of factors that you need to consider:
Is it unique/clever/powerful or “run-of-the-mill?”
Does it pique your interest enough to take a listen to the song?
Is it memorable?
How does it work within the lyrical framework of the song?
Is it unique/clever/powerful or “run-of-the-mill?”
During the first quarter of the year, chart-topping song titles fell into 1 of 2 categories – those that are unique, clever and/or powerful (e.g. Dark Horse, Drunk In Love, Timber, Wrecking Ball), and those that are more universal/generic in nature (e.g. All Of Me, Let Her Go, Say Something, Talk Dirty).
“Do I Wanna Know” falls in the middle of these 2 categories. While it’s not overtly clever or original (you’ve heard the phrase a million times before), it is powerful in regard to the mystery that it implies (i.e. “do I wanna know” WHAT???)
Does it pique your interest to take a listen?
This is where the title “Do I Wanna Know” really succeeds. When the prospective listener sees or hears this title for the first time, their curiosity is immediately piqued because they have
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Is it memorable?
Yes and no:
Yes in the sense that it’s a phrase that you’ve heard many times before coupled with its prominent placement within the pre-chorus (i.e. it’s the first line within the section). It’s further reinforced within the pre-chorus/chorus “hybrid” section where it appears as the first and fifth line within the section.
On the other hand, the answer would be a resounding no if you heard this song on the radio for the first time without the title being announced. You would probably be more apt to remember “crawlin’ back to you” and thought THAT was the title considering its usage and placement within the song. More on this below…
How does it work within the lyrical framework of the song?
The entire story revolves around the protagonist’s question, “does this woman love me as much as I love her, and if so will she take me back???” Reference the Story Flow & Meaning section of the report for details.
Title Occurrences
Do I Wanna Know occurs 5 times within the song via the background vocals within the pre- chorus and pre-chorus/chorus “hybrid” sections of the song. Note that it occurs 1 additional time in a partial manner within the second verse as well:
1 time within each pre-chorus as the leadoff line of the section.
2 times within the pre-chorus/chorus “hybrid” section as the first and second to last lines within the section.
1 partial time (i.e. “I wanna know”) within the second verse, occurring near the middle of the second line.
Pre-Chorus
Line 1: Do I wanna know Line 2: If this feeling flows both ways Line 3: Sad to see you go Line 4: Was sort of hopin’ that you’d stay Line 5: Baby we both know Line 6: That the nights were mainly made for sayin’ things that you can’t say tomorrow day
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Pre-Chorus/Chorus “Hybrid”
Line 1: Do I wanna know Line 2: Too busy bein’ yours to fall Line 3: Sad to see you go Line 4: Ever thought of callin’ darlin’ Line 5: Do I wanna know Line 6: Do you want me crawlin’ back to you
Verse 2
Line 1: So have you got the guts Line 2: Been wondrin’ if your heart’s still open and if so I wanna know what time it shuts Line 3: Simmer down and pucker up Line 4: I’m sorry to interrupt Line 5: It’s just I’m constantly on the cusp of tryin’ to kiss you Line 6: I don’t know if you feel the same as I do Line 7: But we could be together if you wanted to
Additional points to note regarding the title
How It’s Conveyed
As you’ve by now noticed, the title is ALWAYS conveyed via the falsetto natured background vocal and in standalone form within each section it appears in (except for the partial occurrence in verse 2). This enables it to further stand out and resonate with the listener, as opposed to if it was just sandwiched in between other lyrics and conveyed via Turner’s lead vocal.
It’s Not Where You Would Expect To Find It
Typically you would expect to find a song’s title appearing within the chorus, as is the case with the vast majority of chart-topping hits. In Do I Wanna Know, however, it occurs in just about every section EXCEPT for the chorus!
Would You have Guessed The Song’s Name Correctly?
As mentioned earlier, if you just heard this song on the radio without the title being announced, really liked it, and wanted to search for it online, would you have searched for “Do I Wanna Know” or “Crawlin’ Back To You?”
I think chances are that it would have been the latter, considering its placement and usage within the song – specifically the fact that it occurs within the CHORUS, which is where you would typically expect to find a song’s title:
Chorus
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Line 1: Crawlin’ back to you Line 2: Ever thought of callin’ when you’ve had a few? Line 3: ‘Cause I always do Line 4: Maybe I’m too busy bein’ yours to fall for somebody new Line 5: Now I’ve thought it through Line 6: Crawlin’ back to you
Notice that as is the case with “do I wanna know” within the pre-chorus, “crawlin’ back to you” also appears as a standalone line within the section, but even more importantly it both begins and CONCLUDES the section as well. That DOESN’T happen with “do I wanna know.”
Additionally, note that it occurs 6 times within the song (5 primary occurrences and once as a direct background vocal repeat) and it’s also the LAST line that the listener hears in the ENTIRE SONG!
So – the writers could have just as easily entitled the song, “Crawlin’ Back To You,” but they didn’t. Why didn’t they? After all, it ties in with the overall premise of the storyline and is more recognizable as the song’s title than “Do I Wanna Know.”
The bottom line is that it wouldn’t have had nearly as much impact or piqued the prospective listener’s interest to check out the song. “Crawlin’ Back To You” is predictable as a “relationship gone bad” themed song.
“Do I Wanna Know,” on the other hand, is completely UNPREDICTABLE as to what the storyline will be about. As a result, it adds an air of mystery which heightens its overall impact, albeit at the expense of confusing the listener as to what the title of the song really is.
Should YOU Do This With YOUR Songs?
As clever as this title scenario is, it’s definitely NOT something that I would suggest doing if you don’t have the clout or exposure of an artist or band such as the Arctic Monkeys. Even if the listener searches for the wrong title, they’re eventually going to stumble upon it because of the massive popularity of the band behind it.
But if this was YOUR SONG, and you don’t have the same widespread visibility of a mainstream artist, and no one announced your name or the name of the song after it played, I GUARANTEE that the listener would have searched for “Crawlin’ Back To You” as opposed to “Do I Wanna Know,” and as a result would probably never have found the song.
Bottom line – if it’s not EASY for someone to find your music, chances are they’re NOT going to put in the effort.
When you eventually have the clout of an artist or band such as the Arctic Monkeys, THEN do what you want. In the mean time, make it easy for the listener to find your music!
WORD CLOUD
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STORY FLOW & MEANING
At its core, Do I Wanna Know revolves around a love lost/wanting to get that love back theme, coupled with a hefty dose of introspection (i.e “do I wanna know if this feeling flows both ways”).
As you’ll see, the overall story is laid out in a very engaging manner, making great use of imagery, detail, action, emotion and analogy in order to hook the listener on a profound level.
But as is the case with all lyrics, Do I Wanna Know is subject to interpretation by the listener.
While it’s pretty much undeniable that this is a love/relationship/introspection themed story, the argument can also be made for a hooking up theme as well, where the protagonist is looking to hook up with this person after he’s had a few to drink, and wonders if the person feels the same way.
Additionally, the overall story is kept vague enough where the listener can invent the circumstances surrounding their breakup as well as what the nature of their relationship might have been. This ultimately makes for a much more engaging, personal listening experience.
Verse 1
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Line 1: Have you got color in your cheeks? Line 2: Do you ever get that fear that you can’t shift the type that sticks around like summat in your teeth? Line 3: Are there some aces up your sleeve? Line 4: Have you no idea that you’re in deep? Line 5: I dreamt about you nearly ev’ry night this week Line 6: How many secrets can you keep? Line 7: ‘Cause there’s this tune I found that makes me think of you somehow and I play it on repeat until I fall asleep Line 8: Spillin’ drinks on my settee
In the first verse of the song we learn the following:
She’s Caught
The protagonist found out about something that this woman did which had a detrimental effect on their relationship – probably the fact that she cheated on him (note that the reason is never outright stated). This is communicated on line 1, where he poses the question “have you got color in your cheeks?” He’s not referring to her nice makeup or a tan. She’s blushing because she’s been BUSTED.
There’s No Denying It
No matter how she tries to spin it, it’s not going to change the fact that HE KNOWS what she did. There must be undeniable proof that can’t be refuted, and as a result she’s not getting out of this one. This is depicted on line 2 via the use of clever analogy where he asks, “Do you ever get that fear that you can’t shift the type that sticks around like summat in your teeth?”
Otherwise stated, you can try to get that “summat,” which is slang for “something,” out of your teeth, but it’s fully embedded and will still be there for all to see no matter how you try to wash it away. That’s where the fear sets in.
She’s In Denial, Doesn’t Appreciate The Gravity Of The Situation, & Is Possibly Looking For A Way To Spin It In Her Favor
On line 3, the protagonist poses yet another question – “are there some aces up your sleeve?”, meaning, “are you going to try to conjure something up to help get you out of this mess that you’ve gotten yourself into?”
Line 4 that follows, “have you no idea that you’re in deep?” communicates the fact that she doesn’t grasp (or refuses to acknowledge) the severity of what she’s done and the impact that it’s had on their relationship.
He Can’t Get Her Out Of His Head
Line 5 is the first time where the story shifts from him questioning her over to him stating
94 / 112 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com something that has to deal directly with himself. This is the fact that he “dreamt about her nearly ev’ry night this week.”
Interestingly, it’s never made clear what the dream was about. It could have been about his love for her, his disdain for what she did, or more likely, a combination of the 2. Regardless, the fact of the matter is that she is at the forefront of his thoughts, both in his conscious and sub- conscious mind.
He Thinks That She’s Hiding More From Him
The fact that he asks her, “how many secrets can you keep” as depicted on line 6 leads us to believe that this isn’t the first time that she has tried to hide something from him. The key words to note are “how many” – which alludes to the fact that there was more than one. Bottom line – he’s having a very hard time trusting her.
He’s Hurting, He Needs To Keep Thinking About Her, But He Needs To Be Drunk To Do It
The last 2 lines of the section, which are lyrically tied together, paints the picture of him sitting around on his “settee” (sofa), listening to a song over and over and over again which remind him of her, all the while getting drunk in the process. The process continues until he eventually passes out, spilling the drinks all over his “settee.”
“‘Cause there’s this tune I found that makes me think of you somehow and I play it on repeat until I fall asleep.” “Spillin’ drinks on my settee.”
Ultimately what this conveys via stringent detail and imagery is that this guy was REALLY hurt by the woman that he loves. As hurt as he is, he still needs to constantly remind himself of her via the playing of the record, but in order to deal with the hurt that she caused he needs to get drunk in the process.
Bottom Line – Verse 1
She really hurt him, he doesn’t trust her, but he still refuses to let her go. Even though he doesn’t outright say it, we know that he cares for her deeply.
Key Characteristics
Lead In Line
Notice the power of the first line of the song, “have you got color in your cheeks.” By leading off with this, it not only piques the listener’s curiosity regarding the lines that follow, but it instantly paints a picture within their head due to the imagery and detail utilized which ultimately engrosses them at a deeper level.
Subject To Interpretation
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Notice that the nature of the lyrics aren’t black and white. They’re detailed enough so that they lead the listener in a cohesive direction throughout the story, but at the same possess a cryptic nature where the listener can “invent” certain aspects of the surrounding plot, providing them with a deeper, more engaging and personal listening experience.
Pre-Chorus
Line 1: (Do I wanna know) Line 2: If this feeling flows both ways? Line 3: (Sad to see you go) Line 4: Was sort of hopin’ that you’d stay Line 5: (Baby we both know) Line 6: That the nights were mainly made for sayin’ things that you can’t say tomorrow day
Here in the pre-chorus notice that the lyrics take on an introspective nature. What’s really clever is the manner in which the lyrics are structured – specifically via the background and lead vocals. This gives the impression of the protagonist having a conversation with himself.
Background Vocal Lines
Line 1: Do I wanna know Line 3: Sad to see you go Line 5: Baby we both know
Lead Vocal Lines
Line 2: If this feeling flows both ways? Line 4: Was sort of hopin’ that you’d stay Line 6: That the nights were mainly made for sayin’ things that you can’t say tomorrow day
We learn the following in the pre-chorus:
He’s Scared To Find Out If She Loves Him As Much As He Loves Her
As we found out within the first verse, despite all the anguish that she caused him the protagonist still can’t get this woman out of his head. This leads us to believe that he cared, and STILL cares about her greatly.
So – he poses the question to himself that traverses lines 1 & 2, “do I wanna know if this feeling flows both ways.” Bottom line – he’s scared to find out the truth, and he obviously has doubts if she does. Was this a one night stand that she had that meant nothing, or is she IN LOVE WITH ANOTHER GUY?
***SONG TITLE APPEARANCE***
Notice that here within the PRE-CHORUS is where the song title first appears. NOT in the
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CHORUS as you would typically expect!
They Broke Up, But He Wishes That They Hadn’t (“Sort of”)
On lines 3 and 4 we learn that they broke up. What we don’t know is who broke up with who, or if it was mutual. What we can assume, however, is that either he broke up with her or she left him because of something that he SAID (reference lines 5 & 6 below).
Regardless, we find out that he was “sad to see her go,” which reinforces the fact that he really cared/cares for this person.
The lyrics that follow, “was sort of hopin’ that you’d stay” are interesting. First, notice that they jibe with the “sad to see you go” line that preceded it. Second, the fact that he includes the lyrics “sort of” within the line speaks volumes. He wants her to stay, but he’s not overwhelmingly committed to it. He’s hurt, he’s pissed, but he doesn’t want to lose her.
He Realizes That He May Have Said The Wrong Things & Regrets Breaking Up With Her Or Causing Her To Leave
The last 2 lines of the section give us the impression that they’ve had these blow up fights before, at night, and probably while drunk.
They both know this (as depicted by “baby we both know” on line 5) because they’ve been through it before with, and he probably went overboard in his reaction, hence the “the nights were mainly made for sayin’ things that you can’t say tomorrow day” line.
This means that things that you would say at night, while drunk and in the heat of an argument you would never say during the day in a sober state.
As a result, whatever grief that she caused him elicited a response in him that was probably equally as hurtful. This means that now HE has to crawl back to HER – when it should have been the other way around!
Chorus
Line 1: Crawlin’ back to you Line 2: Ever thought of callin’ when you’ve had a few? Line 3: ‘Cause I always do Line 4: Maybe I’m too busy bein’ yours to fall for somebody new Line 5: Now I’ve thought it through Line 6: Crawlin’ back to you
The entire chorus revolves around one core premise – the fact that he wants her back.
He’s “Crawlin’” Back To Her
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As we learned within the pre-chorus, despite whatever she did to him, his reaction could have been equally as hurtful, which played a factor in the demise of the relationship. As a result, now HE needs to try to get HER back, when it should have been the other way around!
The key word within the section, which occurs at both the beginning and end, is “crawlin’.” This can be interpreted in a couple ways:
He wants her back after breaking up with her, but the hurt that she caused him precludes him from “running” back to her. “Crawling” means that he’s hesitant, but still moving in that direction.
He regrets whatever he said to her that came across in such a hurtful way that would cause her to possibly never want to get back together with him. As a result, “crawling” back to her is synonymous with “begging” her to take him back.
Drinking Makes “The Call” Easier
Whatever happened between these 2 people was obviously very painful. As a result, he asks and answers on lines 2 & 3, “Ever thought of callin’ when you’ve had a few? ‘Cause I always do.” He misses her, but just needs a little “assistance” in order to speak to her after all that’s transpired.
She’s Got His Heart
The fourth line of the section, ” Maybe I’m too busy bein’ yours to fall for somebody new,” conveys what we’ve assumed all along – the fact that she’s still “the one” for him, and as a result precludes him from wanting to be within anyone else.
He’s Decided To Get Her Back
Despite all of the hurt that she’s caused him, he’s “thought it through” (as depicted on line 5) and decided to start “crawling back to her” as we originally found out on line 1, which is reiterated here at the conclusion of the chorus.
Verse 2
Line 1: So have you got the guts? Line 2: Been wondrin’ if your heart’s still open and if so I wanna know what time it shuts Line 3: Simmer down and pucker up Line 4: I’m sorry to interrupt Line 5: It’s just I’m constantly on the cusp of tryin’ to kiss you Line 6: I don’t know if you feel the same as I do Line 7: But we could be together if you wanted to
Here in the second verse we learn the following:
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He “Dares/Goads” her To Get Back Together With Him
Following the chorus where he decides that he wants her back, the first line within the second verse puts the ball back in her court where he communicates the clever/powerful line, “so have you got the guts?”
He’s effectively “daring/goading” her to get back together with him! This is a clever way of getting her ego involved to help increase the chances of her coming back to him. If she doesn’t “have the guts,” it will make her seem like a coward and weak.
He’s Pondering His “Window Of Opportunity”
The second line of the section finds the protagonist once again wondering if she’s still in love with him (i.e. “been wonderin’ if your heart’s still open”) and what his window of opportunity is for winning her back before it’s too late (i.e. “and if so I wanna know what time it shuts”).
Make Love, Not War
Lines 3, 4 & 5 all relate to the same premise – he wants to kiss and make up – NOT FIGHT! This is cleverly conveyed on line 3, where he states “simmer DOWN & pucker UP,” meaning “calm down – let’s kiss!” Notice the clever use of contrasting lyrics, “down” and “up” to hammer the point home.
Line 4 follows with the sarcastic statement, “I’m sorry to interrupt” (i.e. interrupt the fighting) which then leads into the line “it’s just I’m constantly on the cusp of tryin’ to kiss you.” Notice that by him saying “I’m just constantly ON THE CUSP” infers that he’s she still wants to go at it, but he just wants to kiss and make up.
Curiosity, Hope & “The Option”
The second to last line within the section hearkens back to the to the question posed within the pre-chorus, “do I wanna know if this feeling flows both ways” via “I don’t know if you feel the same way as I do.” This then leads into the final line of the section where he states, “but we can be together if you wanted to.” He’s ready, willing and able. BUT IS SHE? Now the ball is really in HER court.
Pre-Chorus/Chorus “Hybrid”
Line 1: (Do I wanna know?) Line 2: Too busy bein’ yours to fall Line 3: (Sad to see you go) Line 4: Ever thought of callin’ darlin’? Line 5: (Do I wanna know?) Line 6: Do you want me crawlin’ back to you?
The final section of the song cleverly combines lyrical content from the pre-chorus and
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As was the case with the pre-chorus, notice that this section is structured by alternating background and lead vocal lines as follows:
Background Vocal Lines
Line 1(PRE-CHORUS): Do I wanna know?
Line 3 (PRE-CHORUS): Sad to see you go
*Line 5 (PRE-CHORUS): Do I wanna know?
Lead Vocal Lines
*Line 2 (CHORUS): Too busy bein’ yours to fall
*Line 4 (CHORUS): Ever thought of callin’ darlin’?
*Line 6 (CHORUS): Do you want me crawlin’ back to you?
Note: An (*) denotes a line that has been lyrically changed up from the preceding pre-chorus or chorus within the song.
The Story Line Summed Up
What’s really interesting and clever about this final section of the song is the manner in which it basically sums up all of the key details that were found within the preceding sections as follows:
Line 1(PRE-CHORUS): “Do I wanna know?”
This reiterates his insecurity in regard to finding out the truth if she feels the same way about him as he does her.
Line 2 (CHORUS): “Too busy bein’ yours to fall”
Reiterates the fact that she owns heart. As a result, he has no desire to be with anyone else.
Line 3 (PRE-CHORUS): “Sad to see you go”
Reiterates the fact that he was sad that the relationship came to an end.
Line 4 (CHORUS): “Ever thought of callin’ darlin’?”
Notice that the lyric “darlin’” has been utilized in place of the “…when you’ve had a few?” lyrics
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Line 5 (PRE-CHORUS): “Do I wanna know?”
Note that line 5 within the pre-chorus was “baby we both know.” In this section the title, “do I wanna know” is substituted for a second time. This both reiterates his insecurity for a SECOND TIME within the section as well as functioning to get the title further engrained within the listener’s head.
Line 6 (CHORUS): “Do you want me crawlin’ back to you?”
The last line of the section, and the song for that matter, was also changed up from how it appeared earlier within the song. Instead of stating “crawlin’ back to you” as was the case within the chorus, the lyrics “do you want me” were included at the beginning, which has significant impact on the section.
Notice that by doing this it ties into the title premise of the song, “Do I Wanna Know?” by concluding on a question.
Additionally, notice that this is the ONLY TIME within the entire song where he finally “gets the guts” to come right out and ask her if she wants him back. He now WANTS TO KNOW.
This concludes the song on an exceptionally clever and memorable note.
Benchmarking Back to Top
TOP 10 COMPARISON
This section explores how Do I Wanna Know compositionally compares to the 20 songs that landed in the Billboard Hot 100 top 10 during Q1-2014, even though to-date it has only peaked only at #70 (though it did hit #1 on the U.S. Alt Songs Chart).
The aim is to spotlight the similarities which makes it easy for people to connect with (familiarity), as well as its core differences which enables it to stand out from the pack (differentiation).
Section Length
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Do I Wanna Know being in-line or close to in-line with Hot 100 top 10 averages
Its chorus length is 0:05 (18%) shorter than the Hot 100 average. This was as close as it got in regard to section length.
Do I Wanna Know NOT being in-line or close to in-line with Hot 100 top 10 averages
Its intro is 0:17 (142%) longer than the average.
Its verse is 0:19 (73%) longer than the average.
Its pre-chorus is 0:07 (47%) longer than the average.
Its outro is 0:08 (57%) longer than the average.
SECTION COUNT
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The 2 sections where Do I Wanna Know differs from the majority of Hot 100 top 10 hits in regard to its section count is the pre-chorus and chorus.
Pre-Chorus
DIWK has each of its first 2 pre-choruses sandwiched between a verse and chorus, which is in- line with the vast majority of hits. It features a third pre-chorus, however, which occurs between chorus 2 and the pre-chorus/chorus “hybrid” section.
Note that only 4 other top 10 songs featured 3 pre-choruses within their framework during the first quarter of the year - Counting Stars, Pompeii, Talk Dirty and Wrecking Ball.
Chorus
DIWK contains only 2 full chorus sections within its framework, where the vast majority of top
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10 hits contain 3. Note that NONE of the songs within the Hot 100 top 10 during Q1-2014 contained less than 3 choruses within their framework.
Additionally, note that DIWK does not contain a bridge within its framework, in contrast to the vast majority of top 10 hits (75%) that did during Q1-2014. On the other hand, DIWK was the ONLY SONG to feature a pre-chorus/chorus “hybrid” section.
TOTAL SECTION BREAKDOWN
Do I Wanna Know being in-line or close to in-line with Hot 100 top 10 averages
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Just 2% less time was allocated to the outro compared to the average.
Do I Wanna Know NOT being in-line or close to in-line with Hot 100 top 10 averages
6% more time was allocated to the intro compared to the average.
7% more time was allocated to the pre-chorus compared to the average.
A staggering 25% less time was allocated to the chorus compared to the average.
ADDITIONAL COMPOSITIONAL CHARACTERISTICS
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Do I Wanna Know being in-line or close to in-line with Hot 100 top 10 averages
DIWK features the same number of songwriters at the top 10 average.
DIWK features a solo male lead vocal.
DIWK features a love/relationship natured lyrical theme.
DIWK features 5 “proper” title appearances, 6 if you include the partial within verse 2. The most popular title appearance range for top 10 hits is the 6 – 10 range.
DIWK features electric based instrumentation.
DIWK’s 4:31 length falls into the 4:00+ range, which is the most popular within top 10 hits.
DIWK’s first section is an intro.
DIWK features a pre-chorus within its framework.
DIWK doesn‘t contain a prominent instrumental and/or vocal break.
Do I Wanna Know NOT being in-line or close to in-line with Hot 100 top 10 averages
DIWK is a Rock song, where the majority of songs within the Hot 100 top 10 are Pop songs.
The #3 sub-genre influence within the Hot 100 top 10 during Q1-2014 was Rock, which is obviously in line with DIWK. That being said, the top 2 were Hip Hop/Rap and R&B/Soul.
DIWK features 4 words within its title, where the majority of top 10 hits feature just 1.
DIWK features prominent electric guitar, prominent bass and drums within the mix, where the majority of top 10 hits featured the synth as the top instrument within the mix.
DIWK features an A-B-A-B-PC/B primary form, where the majority of top 10 hits feature the A-B-A-B-C-B form.
DIWK is 0:43 longer than the top 10 average.
DIWK’s last section is an outro, where the majority of top 10 hits conclude on the chorus.
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DIWK’s first chorus occurs 0:59 / 18% farther into the song than the top 10 average.
DIWK doesn’t contain a bridge within its framework.
A&R Hit Factor Assessment Back to Top
Originality Factor Does the song possess a unique nature or have you heard it all before?
As a whole, Do I Wanna Know comes across as both being unique as well as “been there, done that.”
The originality primarily stems from what Alex Turner brings to the table in terms of his vocal style, delivery and lyrics. Otherwise stated, Turner IS the “Arctic Monkeys sound.”
On the flip side, there is really nothing overtly original about background music. The riffs, vintage fuzz, tremolo, etc…are all steeped in “been there done that” mid to late 60?s / early 70?s heavy psych. They wear their influences on their sleeve, and to anyone who is a fan of that particular genre of music (of which I most certainly am), it’s just one of the bunch (although a REALLY GOOD one of the bunch!)
Social & External Factors Were there any external or social factors surrounding the release of the song that could help increase its visibility, reach and success potential?
Aside from touring, TV appearances and standard promotional initiatives, Do I Wanna Know hasn’t really benefited too much from any high profile external factors.
It was licensed for use in a Bacardi and Taco Bell commercial, however, which increased its overall reach to a targeted audience (use your imagination as to why…)
The Demographic Reach / Fan Factor Is this a song that’s pigeonholed in one specific gender/age/genre bracket or does it have mass reach?
Gender
The heavy, raw, retro Psych nature of the DIWK is certainly more primed to connect with a male demographic in the same way that a “typical” Katy Perry song would be more apt to connect with a female audience. That’s not to say that the song isn’t appealing to women, however. I know of many who really like it. But traditionally harder edged music is more apt to connect on a wider scale with a male audience.
Age
This is where DIWK has its greatest reach. As a band, Arctic Monkeys covers mid teen and up,
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DIWK, however, takes the song and band’s appeal to cross-generational levels. For anyone who was a fan of this type of music DURING the 60?s, 70?s or even during its revival in the early 80?s thanks to bands like the Fleshtones, Lyres and Headless Horsemen, DIWK won’t have any trouble connecting and making them a fan due to its authentic retro nature.
Genre
As you would expect due to its heavy, raw, retro Psych nature, DIWK is primarily relegated to connect with Rock fans as opposed to Pop, Country, Hip Hop/Rap or other genres. It possesses very little cross-genre appeal in the way that Rock songs like Locked Out Of Heaven or Radioactive were able to do via their mainstream Pop leanings.
The “Holly Sh*t – You Gotta Hear This NOW” Factor 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!!!”
No. Do I Wanna Know is a very solid, infectious song, but there’s nothing so overtly earth shattering about it that would cause someone to drop what they’re doing, call up a friend and say, “holy sh!t!!! You gotta check this out NOW!!!”
The “Multiple Listen” Factor Is this song engaging enough to warrant repeat listens?
As you know, after hearing a song over and over and over again, the law of diminishing returns eventually sets in and you just plain get sick and tired of hearing it!
This will no doubt happen with Do I Wanna Know, but its appeal should last a bit longer than other songs that you find topping today’s charts.
This is due to a potent combination of its evocative vibe, killer riffs, and an infectious vocal melody that does a fantastic job of keeping the listener engaged throughout via the combination of its straight forward and “left of center” nature.
And once you do become sick of hearing it, after a break this is a song that you’ll have no problem reconnecting with all over again due to the qualities mentioned above.
The “Hard To Beat” Factor Is this song so good that the single that follows will have trouble living up to its standards?
No. Again, Do I Wanna Know is a very strong song, but it’s not so over the top or had such incredible success (such as “Happy,” for example), which would cause the next single to have a hard time living up to its standards.
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The “Pushing The Envelope” Factor Does this song chart new ground, push genre boundaries and act as a trendsetter within the genre?
The answer to this question is both yes and no.
Yes in the sense that Do I Wanna Know is at the forefront of the retro Psych wave that is permeating the airwaves. It’s paving the way for other songs and bands with a similar vibe to find a heightened degree of success potential.
On the flip side, DIWK is overtly retro in nature and wears its influences on its sleeve. It hearkens back to a bygone era as opposed to taking the Rock genre in a new, untapped direction.
The “Human Emotion” Factor Does this song exude a vibe that enables the listener to connect on a deep, emotional, HUMAN level?
Absolutely. This is another area where DIWK really shines. Every aspect of the song, including the nature of the instrumentation, the riffs, Turner’s vocal delivery and the love/relationship/introspection themed lyrics are all highly evocative in nature, and as a result enable the song to connect with the listener on a deep, HUMAN level.
Longevity Factor – Artist Will this song become a staple of the artist’s repertoire and catalog?
There is no doubt that Do I Wanna Know will be considered a core highlight within Arctic Monkeys body of work as well as a featured staple within their live performances for the duration of their career.
This is based both on the strength of the song, the uniqueness that it has within their current and future catalog of hits (I doubt that they’re going to be doing 60?s/70?s retro Psych for the duration of their career), and the overall success of the song relative to others within their overall body of work (it was their first to hit #1 in the U.S. on the Billboard Alternative Songs chart, as well as their first to land in the Hot 100 as well).
Longevity Factor – Genre Does this song have what it takes to stand the test of time and rank amongst the all-time greats?
This is a tough question. The answer is both yes and no.
Yes in the sense that DIWK has a timeless quality about it, specifically due to its authentic retro nature. Couple that with the song’s strength and it becomes a solid “period piece,” holding its own amongst similar songs from the time period that it emulates, as well as other current artists who are going retro in the same manner as well. Remember, this was one of the core attributes
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On the other hand, the answer would be no considering that while Do I Wanna Know is a very strong song, there is nothing so overtly special or amazing about it that would justify it being held in the same regard as the “best” (which is of course, subjective) Rock songs that have stood the test of time.
Highlights & Takeaways Back to Top
DIWK possesses a primarily Retro Psych nature, which is elicited via the instrumentation and their associated qualities (minus the drums) coupled with the nature of the guitar riffs. Additionally, the nature of Turner’s vocal provides the song with a current Alt/Indie spin (plus giving it the “Arctic Monkeys sound”), and the processing on the drums provides the song with a subtle modern twist as well.
DIWK is a very “riff-centric” song. Remember, however, that the nature of the riff is changed up within certain sections in order to both jibe with the mood of the section as well as to prevent the song from becoming overly monotonous.
DIWK possesses a non-typical form in relation to many of today’s chart topping Rock and Pop hits. This is specifically due to the inclusion of the third pre-chorus (which actually FOLLOWS a chorus), and the unconventional pre-chorus/chorus “hybrid” section.
The longest section within the song, which also happens to be where the most time was allocated, was the VERSE, not the chorus as you would typically expect!
DIWK’s intro is VERY long by mainstream standards, clocking in at 0:29. Despite its long length, it’s still quite effective and engaging due to its multifaceted nature, introduction of the primary riff, tempo, vibe and genre establishment as well as acting as a “unique identifier” for the song.
DIWK makes good use of engaging MTI level fluctuations throughout the song up until the last 3 sections (chorus 2, pre-chorus 3, and the pre-chorus/chorus “hybrid” section), which sonically bombard the listener at a heightened level up until the second half of the outro.
An MTI level dip is instituted right before the onset of choruses 1 and 2, enabling these sections to hit with much greater perceived impact.
The manner in which the background and lead vocals play off of one another within the pre- chorus and pre-chorus/chorus “hybrid” sections takes the infectious nature of those sections, and the song for that matter, to the next level.
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The nature of the vocal harmony utilized within the chorus as well as on the lead vocal in the pre-chorus/chorus “hybrid” section provides those sections with a unique quality which enables those sections, and again, the song as a whole, to further stand out and resonate.
Turner does a fantastic job of perfectly tying together the nature of his delivery, vocal melody and lyrics in order to take the evocative impact of each section to the next level.
The nature of the vocal melody throughout the song possesses quite a few clever elements and WOW factors that help to put the song over the top (reference the vocal melody section of the report for details).
The love/relationship/introspection themed storyline possesses an engaging flow throughout, utilizing copious amounts of imagery, detail, action, emotion and analogy to hook the listener in on a deep level.
DIWK makes great use of rhyming schemes throughout the song, which further accentuates its ability to get stuck within the listener’s head. This was imperative to counter the “left of center” nature of the vocal melody within certain sections of the song.
Do I Wanna Know worked out great as a song title for the Arctic Monkeys considering their widespread popularity. If it was a band of lesser popularity, however, it would made it difficult for the prospective listener/purchaser to find the song considering that they probably would have done a search for “Crawlin’ Back To You!”
Most importantly, DIWK proves that you really have to know the rules to break the rules. As “unconventional” and “left of center” as the song gets at times, it remains incredibly infectious, engaging and memorable, which is the mark of stellar songwriting!
alegar
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