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One More Night Deconstructed
Skip to: Audio/Video At a Glance Song Overview Structural Analysis Music, Instrumentation & MTI Song Title, Lyrics & Harmonic Progression The Vocal Melody Top 10 Assessment A&R Hit Factors Conclusion Songwriter/Producer Take Aways
Audio/Video Back to Top
At a Glance Back to Top
Artist/Group: Maroon 5 Song/Album: One More Night / Overexposed Songwriters: Adam Levine, Johan Karl Schuster (Shellback), Martin Sandberg (Max Martin), Savan Kotecha Genre: Pop Sub Genre: Reggae, Straight-Up Pop Length: 3:39 Structure: A-B-A-B-C-B Tempo: 93 bpm First Chorus: 0:51 (23% into the song) Intro Length: 0:10 Outro Length: n/a Electric vs. Acoustic: Electric (plus some acoustic guitar) Primary Instrumentation: Electric Guitar, Synth Lyrical Theme: Love/Relationships & Hooking Up Title Occurrences: One More Night occurs 12 times within the song Primary Lyrical P.O.V: 1st & 2nd
Song Overview Back to Top
Released as the second single from their fourth studio album, Overexposed, One More Night saw Adam Levine and company teaming up with three of today’s hottest hitmakers – Max Martin, Shellback and Savan Kotecha to compose a song that they hope will keep their momentum going after the stellar performance of their previous hit single, Payphone.
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To date, One More Night has hit #1 on six charts in four countries and spent the last seven weeks atop the Billboard Hot 100 (much to the chagrin of PSY).
So – just what is it about the song that’s been preventing Gangnam Style from hitting #1 in the U.S.? Read on and find out!
Structural Analysis Back to Top
At-a-Glance
Section Length (Length of each individual section within the song)
I=Intro, V=Verse, Chr=Chorus, Turn=Turnaround, Brg=Bridge, IB=Instrumental Break
One More Night contains 12 individual sections within its framework, and as you can see in the graph above is quite linear in regard to section length. Aside from the intro and brief vocal segment at the tail end, each section lands at 0:20/0:21.
With a new section occurring every 0:20/0:21, the frequent turnover does a great job of helping to keep the listener engaged throughout the song.
Now – let’s see how One More Night‘s section length compares to the 21 songs that landed in the Billboard Pop Songs Chart top 10 during Q3-2012:
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One More Night / Top 10 Hit Pop Song Averages
Intro: 0:10 / 0:09
Verse: 0:21 / 0:20
Pre-Chorus: 0:20 / 0:14
Chorus: 0:21 / 0:27
Bridge: 0:21 / 0:23
As you can see, for the most part One More Night is right on par with hit Pop song averages. The intro, verse and bridge lengths are almost identical, while the pre-chorus and chorus vary only by 0:06.
Timeline (Shows when each section hits within the timeline of the song)
Total Section Analysis (Total time consumed by each section and its percentage of the total song)
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One More Night is comprised of 5 full sections within its framework (i.e. all choruses, verses, pre-choruses plus the intro and bridge), accounting for 38% of the song’s total composition all the way down to just 5%. As you would expect, the majority of time within the song was allocated to the chorus, with all 4 occurrences accounting for 38% of the total song.
What was interesting, though, is the fact that the verse sections didn’t account for the second most amount of time within the song as is usually the case. Here it was the pre-chorus, specifically due to the fact that there are 3 pre-chorus occurrences within the song as opposed to 2 verse occurrences (and the fact that both are virtually identical in length).
Let’s now see how the sectional breakdown of One More Night stacked up against the 21 songs that landed in the Billboard Pop Songs Chart top 10 during Q3-2012:
Intro
One More Night: Comprises 5% of the total song.
Q3-2012 Average: Comprises 4% of the total song.
Comparison: One More Night’s intro is right in-line with the Q3-2012 average.
Verse
One More Night: Comprises 19% of the total song.
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Q3-2012 Average: Comprises 20% of the total song.
Comparison: One More Night’s verse sections are right in-line with the Q3-2012 average.
Pre-Chorus
One More Night: Comprises 27% of the total song.
Q3-2012 Average: Comprises 14% of the total song.
Comparison: One More Night allocated 13% more time to its pre-choruses than the Q3-2012 average. This was due to 3 pre-chorus occurrences as opposed to 2 verses as mentioned earlier.
Chorus
One More Night: Comprises 38% of the total song.
Q3-2012 Average: Comprises 45% of the total song.
Comparison: One More Night allocated 7% less time to choruses than the Q3-2012 average.
Bridge
One More Night: Comprises 10% of the total song.
Q3-2012 Average: Comprises 10% of the total song.
Comparison: One More Night allocated exactly the same amount of time to its bridge as the Q3-2012 average.
Summary:
In-Line with Top 10 Pop Song Averages: The intro, verse and bridge.
Deviates from Top 10 Pop Song Averages: One More Night allocated less time to the chorus while devoting more time to the pre-chorus.
As you can see, the amount of time that One More Night devoted to all of its sections was pretty close to Q3-2012 Pop Song averages, with the key exception being the pre-chorus as mentioned earlier.
In regard to the chorus, yes, 7% less time was devoted to it than the average, but keep this in mind – EVERY section of the song is exceptionally infectious, memorable and stands on its
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Music, Instrumentation & 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)
When we talk about a song’s MTI level, we’re referring to how fluctuations in momentum, tension and intensity levels are utilized in each section of the song.
MTI Level Key Points:
Linear In Nature For the most part, One More Night doesn’t possess any tremendous shifts in MTI levels from section to section (like the transition into the explosive chorus in Kelly Clarkson’s Stronger, for example). It’s more linear in nature, which jibes with and accentuates the traditional Reggae vibe and groove.
Sectional Fluctuations Even though there aren’t any tremendous MTI level shifts, notice that with the exception of choruses 3 and 4 (which are basically on par with each other from an intensity standpoint) that each section does fluctuate somewhat in order to enable the song to “breathe.” This is primarily achieved through changes in the nature of Adam’s vocal delivery (i.e. the verse vs. the pre-chorus) or by adding or detracting instrumentation from the mix (i.e. breakdown chorus 1 & 2 and pre-chorus 3).
Intensity Peak Notice that the intensity levels within the song reach a peak during pre-choruses 1 and 2 (subtly building the tension coming out of the verse which results in a greater release when the breakdown chorus that follows hits), as well as during choruses 3 and 4, which takes the energy of the song to its climax before concluding.
The Breakdown / Full Chorus Combo Notice that the first half of choruses 1 and 2 start out as “breakdown” choruses – meaning
6 / 47 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com that they have a lower MTI level than the preceding section specifically due to certain instrumentation being pulled from the mix (specifically the drums & bass). What we’re left with are the reverb drenched “reggae” guitars coupled with the vocals (plus the synth pad during the second chorus). Notice that the overall feel of the section is quite “light” compared to the preceding and following sections.
The second half of choruses 1 & 2 then brings the power back up via the reintroduction of the drums and bass back into the mix. Overall, the breakdown / full chorus combo greatly enhances the dynamic variation within a song that has a pretty linear MTI level nature as mentioned earlier.
The Pre-Chorus / Chorus Roll Reversal As previously mentioned, during pre-choruses 1 and 2 we saw a slight MTI level build from what was defining the preceding verse sections which was then directly followed by a breakdown chorus, which took the MTI level back down.
Now – in the third pre-chorus and chorus occurrences within the song we see a reversal of roles from an MTI level standpoint. The third pre-chorus is now a breakdown, while the third chorus that follows kicks off full in nature (i.e. not a breakdown – the drums and bass have NOT been pulled from the mix as was the case during the first two occurrences in the song). We’ll look at the rational for this role reversal later in the report.
MTI Level Fluctuation Recap
Intro into Verse 1: MTI Increase
Verse 1 into Pre-Chorus 1: MTI Increase
Pre-Chorus 1 into first half of Chorus 1: MTI Decrease
First half of Chorus 1 into second half of Chorus 1: MTI Increase
Chorus 1 into Vocal Transition: MTI Decrease
Vocal Transition into Verse 2: MTI Increase
Verse 2 into Pre-Chorus 2: MTI Increase
Pre-Chorus 2 into Chorus 2: MTI Decrease
Chorus 2 into Bridge: MTI Increase
Bridge into Pre-Chorus 3: MTI Decrease
Pre-Chorus 3 into Chorus 3: MTI Increase
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Chorus 3 into Chorus 4: MTI Constant
Chorus 4 into Vocal Segment: MTI Decrease
Waveform
Looking at the waveform graphic above, you can easily see how sonic levels and the use of compression vary throughout the song.
Sonic levels are at their lowest points during the intro, pre-chorus 3 (breakdown) as well as in the brief lull that occurs in between vocal lines in the breakdown chorus sections.
Sonic levels reach their peak during the second half of chorus 1 and 2, the bridge and especially during choruses 3 and 4. You can see how there’s basically no breathing room – levels are pushed to the max.
Notice that sonic levels vary just slightly between the verse, pre-chorus and full (non- breakdown) chorus sections. Overall the levels are pushed out quite far.
All in all, with the exception of the intro and breakdown pre-chorus 3 (which is still pretty loud), you can see that One More Night was engineered for maximum sonic impact – specifically to succeed in a Radio/Digital environment. Remember – there’s a loudness war going on – those that are the loudest have the best chance of capturing the listener’s attention amongst the others. Unfortunately, though, dynamics suffer in the process.
MUSIC / INSTRUMENTATION / VOCALS – 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 (0:01 – 0:10)
Vocals & Primary Instrumentation Featured In The Mix:
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Electric Guitars (Rhythm – vintage Reggae style – drenched in reverb/wha – mid/up in the mix) 9:00 / 3:00
Effect (Vinyl “Crackle” – low in the mix)
Lead Vocal (Adam Levine – Up-front in the mix – processed in nature – slight reverb & delay) 12:00
Key Points:
The two primary sub-genre influences that define the nature of the entire song are instantly established as soon as the intro starts. On one hand, we have Adam’s “oo,oo,oo…” vocal that provides the modern Pop element, and on the other hand we have the reverb drenched guitars with subtle wha-wha effect that provides the Reggae vibe. This is all packaged in a subtle retro manner via the “vinyl crackle” that’s low level in the mix.
Notice that the intro is a “breakdown” intro – specifically due to the fact that there aren’t any drums or prominent bass in the mix. This enables the nature of Adam’s vocal and the “Reggae” guitars to take center stage.
As with their previous hit Moves Like Jagger, the intro section in One More Night is exceptionally effective on numerous levels:
As mentioned above, it instantly establishes the Pop/Reggae nature of the song.
Adam’s “oo,oo,oo…” vocal melody is exceptionally infectious and memorable. It instantly engages and hooks the listener in and is really tough to shake once it’s in your head (not to mention the fact that it reoccurs throughout the song in various manifestations – more on that later…).
It serves as a “unique identifier” for the song. The second you hear it, you know exactly what song it is. There’s no mistaking it for something else. The result is that it cuts through all of the clutter that you hear on the airwaves.
Considering that the “Reggae” guitar progression is also utilized in the verse that follows, it provides for a seamless transition between sections.
Its breakdown nature enables the verse that follows to have much greater impact when it hits (i.e. the drums entering the mix on the lyric “hard” – notice how that specific lyric and the drums slamming in at the same time perfectly jibe with one another).
Transition Point– Intro into Verse 1: Adam’s “you and I go” vocal enters at the tail end of the intro before hitting with verse on the lyric “hard.”
Verse-1 (0:10 – 0:31)
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Vocals & Primary Instrumentation Featured In The Mix:
Electric Guitars (Rhythm – Vintage Reggae Style – low/mid level in the mix) 9:00 / 3:00
Electronic Drums (Kick, Snare, Hats, Toms- modern programmed electronic drums with a reggae vibe – up front in the mix) 12:00
Bass (Low in the mix – way under the drums supporting and accentuating the kick) 12:00
Lead Vocal (Adam Levine – up-front in the mix) 12:00
Harmony Vocal (Low/mid level, right under the lead vocal) 12:00
Here we continue on with the fusion of modern Pop and Reggae that was established during the preceding intro section. The key difference between this section and the preceding intro is the addition of the drums and low-level bass into the mix (plus the vocals).
Key Points
As soon as we hit the first verse, the first thing that you’ll notice is that the MTI level is kicked way up via the addition of the drums in the mix. This provides good contrast to the breakdown nature of the intro. The intro hooked you into the song, and the verse carries you onward.
Speaking of the drums, pay close attention to how they also fuse modern Pop and Reggae elements as was the case with the vocal melody and guitar in the intro. The electronic drums encompass a modern Pop sound, while the nature of the beat is steeped in traditional Reggae, but supped up to provide a more modernistic vibe.
As you would expect, Adam’s lead vocals are up front and center in the mix. Notice how he brings some unique character into the section with the manner in which his voice trills off on the last lyric of certain phrases (hard, war, doors, so, more).
Notice the background harmony vocal that’s placed right under the lead, helping to accentuate the first phrase on each line: “You and I go rough,” “You and I get sick,” “You and I get so,” “You and I get sick.”
Notice that the bass is not yet as prevalent in the mix as it will be in other sections. Since it plays such an important role later in the song, holding it back during the first part enables it to possess increased significance later on considering that it ties directly into the MTI build as well as playing a significant melodic role (more on that later).
Notice how the straight up the middle, primarily dry electronic drums interact with the reverb – drenched electric guitars that are panned l/r in the mix. Working together, they
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make for a very engaging sonic landscape – modern, retro, spacious with a lot of vibe.
Transition Point – Verse 1 into Pre-Chorus 1: Quick bass riff.
Pre-Chorus-1 (0:31 – 0:51)
Vocals & Primary Instrumentation Featured In The Mix:
Electric Guitars (Rhythm – Vintage Reggae Style – low/mid level in the mix) 9:00 / 3:00
Drums (Kick, Snare, Hats – modern programmed electronic drums with a reggae vibe – up front in the mix) 12:00
Bass (Low & mid level in the mix – slides and quick runs plus deep foundation) 12:00
Synth (Sporadic “blips” that occur throughout the section – low/mid level in the mix) 9:00 – 3:00
Lead Vocal (Adam Levine – up-front in the mix) 12:00
Harmony Vocal (Low/mid level, right under the lead vocal – occurs on the last two lines of the section) 12:00
Here the backing music remains pretty much the same as it was in the preceding verse, with the main differential factor stemming from the nature of Adam’s vocal delivery coupled with the addition of the more up-front bass and synth “blips” into the mix.
Key Points:
Notice that the drum pattern as well as the “reggae guitar” rhythm remained virtually identical to that which defined the preceding verse. The result is that the transition between sections was seamless and the groove and vibe in general remained constant.
Notice that the bass has become much more prominent in the mix than it was in the preceding verse and possesses a “traditional” reggae nature. First, we have the deep bass slide that occurs at the onset of each line in the section (basically mimicking the nature of the first “oo” vocal in the intro – how it “slides up” – more on that later), coupled with the quick 4 note riff that occurs at the end of the second and forth lines of the section.
Next we have the addition of the synth “blips” into the mix, which both adds color to the section as well as providing it with a more modernistic feel.
Notice that Adam’s lead vocal delivery is more “driving” in nature than it was in the preceding verse (this was achieved by utilizing more sixteenth notes than eighth notes –
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reference the vocal melody section for specifics). The result is that the overall MTI level has increased a notch above that of the preceding verse, providing for a build that will enhance the impact of the breakdown chorus that directly follows.
Notice the background harmony vocal that enters the mix during the last two lines of the section (similar in nature to the first phrases in the preceding verse), resulting in increased color and diversity.
Transition Point – Pre-Chorus 1 into Chorus 1: Quick synth swell followed by an “airy dispersal” into the chorus section that follows, lasting about eight seconds before it completely fizzles out.
Chorus-1 (0:51 – 1:12)
Vocals & Primary Instrumentation Featured In The Mix:
First Half
Electric Guitars (Rhythm – Vintage Reggae Style – mid level in the mix) 9:00 / 3:00
Lead Vocal (Adam Levine – reverb and slight delay – up-front in the mix) 12:00
Second Half
Electric Guitars (Vintage Reggae Style – mid level in the mix) 9:00 / 3:00
Drums (Kick, Snare, Hats – modern programmed electronic drums with a reggae vibe – up front in the mix) 12:00
Bass (Low & mid level in the mix – slides and quick runs plus deep foundation) 12:00
Synth (Sporadic “blips” that occur throughout the section – low/mid level in the mix) 9:00 – 3:00
Lead Vocal (Adam Levine – reverb and slight delay – up-front in the mix) 12:00
Here is where we reach the first “payoff” within the song – releasing all of the tension that had been building up until this point.
Key Points:
The entire chorus is broken into two halves as previously mentioned– the “breakdown” chorus followed by the “full” chorus.
The first half (breakdown) provides release from the tension that had been building through the verse and pre-chorus sections of the song. As mentioned earlier, it’s the
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opposite of what songs like Kelly Clarkson’s Stronger do, where you have a build and then explode into a powerful, soaring chorus. It’s more in line with some recent Britney and Rihanna hits that start with a breakdown followed by a full, higher MTI level chorus.
The MTI level is kicked back up during the second half of the section via the drums being brought back into the mix coupled with low-level bass (except at the beginning where you have the quick bass riff and slide that’s at a higher level). Notice that the bass slide goes down this time around as opposed to how it was going up in the pre- chorus. Additionally, we have the synth “blips” from the pre-chorus making another appearance which add additional color to the section.
Notice that for the most part the nature of the backing music is right on par with that which defined the preceding verse and pre-chorus sections – there’s really not much new going on. The main differential factor of the section stems from the nature of Adam’s vocal delivery. Reference the vocal melody section for details.
Notice the synth build that enters toward the tail end of the section – how it helps to bring the section to a crescendo before being abruptly cutting off before the solo harmony vocal that transitions into the verse that follows (reference the “transition point” below for details).
Transition Point – Chorus 1 into Verse 2: Solo harmony vocal – “try to tell you” followed by the full verse slamming in on the lyric “no.” Notice that the music comes to an abrupt halt (warps out- like someone pulling the plug).
Verse-2 (1:12 – 1:33)
Vocals & Primary Instrumentation Featured In The Mix:
Electric Guitars (Rhythm – Vintage Reggae Style – low/mid level in the mix) 9:00 / 3:00
Drums (Kick, Snare, Hats – modern programmed electronic drums with a reggae vibe – mid/up in the mix) 12:00
Bass (Mid/up on the mix – deep in nature) 12:00
Synth (The nature of the “blips” from the preceding sections now mimic the intro vocal progression throughout the section – mid/up in the mix ) 11:00 – 12:00
Lead Vocal (Adam Levine – up-front in the mix) 12:00
Harmony Vocal (Low/mid level, right under the lead vocal) 12:00
Key Points
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The primary difference between the first and second verse is the fact that the bass and synth are now mid/up in the mix and utilized throughout much of the section.
Notice that the “oo,oo,oo…” vocal melody that defined the intro makes a return in the second verse, brought about via the bass, synth and background vocals which all mimic its nature.
The nature of Adam’s lead vocal is pretty much on par with that of the first verse. The harmony vocal, however, combines characteristics that defined both the first verse as well as the first pre-chorus of the song (harmony on the first phrase on each line plus full line harmony on the third and fourth lines of the section).
Transition Point – Verse 2 into Pre-Chorus 2: Quick bass riff – same style as the transition from verse 1 to pre-chorus 1.
Pre-Chorus-2 (1:33 – 1:53)
Vocals & Primary Instrumentation Featured In The Mix:
Electric Guitars (Rhythm – Vintage Reggae Style – low/mid level in the mix) 9:00 / 3:00
Drums (Kick, Snare, Hats – modern programmed electronic drums with a reggae vibe – mid/up in the mix) 12:00
Bass (Mid/up on the mix – deep in nature) 12:00
Synth (The “blips” are still in the mix, but changed up from the progression that defined the preceding verse section - mid level in the mix ) 9:00 – 3:00
Lead Vocal (Adam Levine – up-front in the mix) 12:00
Harmony Vocal (Mid level, right under the lead vocal) 12:00
Secondary Lead Vocal (Adam Levine – mid/up-front in the mix – this is the “repeat” vocal as described below) 12:00
Key Points:
From a progression standpoint, the nature of Adam’s lead vocal is pretty much identical to that of the first pre-chorus occurrence within the song. The primary difference stems from the addition of the more prominent vocal harmony that occurs on each line of the section (as opposed to just the last two lines during pre-chorus 1) plus additional vocal phrases that occur in between the first three lines of the section. These phrases are repeats of the last phrase on each line, and are sung in a different manner from the lead which provides the section with increased color and diversity over
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the previous pre-chorus (i.e. “making me love you,” “let it all go,” “like a tattoo, yeah”). Also notice that there isn’t any vocal harmony on the repeated lead vocals, which enables it to further standout from harmony laden lead vocal in the section.
Notice that the synth “blip” has now reverted back to the nature that defined the first pre-chorus as opposed to the way that it was mimicking the intro vocal melody in the second verse.
Notice how the nature of the bass has been changed up compared to the first pre- chorus occurrence. Remember, in the first pre-chorus there was an initial slide and then it became very low in the mix, supporting and accentuating the kick. In the second pre- chorus, we have the slide which is then followed by an additional progression which mimics the vocal melody for part of each line in the section (e.g. “yeah I stopped using my head, using my head” has the bass line mimicking it. The bass then drops out for the rest of the line “let it all go”). The manner in which the bass pops in and out of the mix coupled with the nature of its progression really accentuates the “Reggae factor,” along with the nature of the drums and reverb drenched rhythm guitars.
Overall, the MTI level of the second pre-chorus is a notch above that of the first pre- chorus specifically due to the nature of the bass as well as the harmony vocal which provides a subtly increased intensity to the section.
Transition Point – Pre-Chorus 2 into Chorus 2: Quick synth swell followed by an “airy dispersal” into the chorus section that follows, lasting about eight seconds before it completely fizzles out.
Chorus-2 (1:53 – 2:14)
Vocals & Primary Instrumentation & Vocals Featured In The Mix:
Same as Chorus 1 plus one key addition:
Synth Pad: (Bright and “airy” in nature – low level in the mix except for the increase at the tail end of the section) 10:00 – 2:00
There are a few key differences between chorus 1 and chorus 2:
Notice that Adam is adding some additional vocals that occur in between lines, specifically “yeah-h-h-h” after line 1, “ohhh-ohhh” after line 2, and “yeahhh-ehhh” after line 3. This gives increased color and differentiation to the section. Additionally, notice the higher-register harmony that comes at the tail end of the section on the lyric “night.” This helps to take the section to a crescendo before heading into the bridge.
Notice the addition of the bright/airy synth pad into the mix, providing the section with increased color and texture as well as differentiating it from the first chorus occurrence within the song.
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Transition Point – Chorus 2 into the Bridge: Drum fill coupled with a swell of the bright, airy synth that acted as the pad in the preceding chorus.
Bridge (2:14 – 2:35)
Vocals & Primary Instrumentation Featured In The Mix:
Electric Guitars (Rhythm – Vintage Reggae Style –reverb and wha-wha – low/mid level in the mix) 9:00 – 3:00
Electric Guitar (Vintage Reggae Wha-Wha– individual note runs – starts low level in the mix, becoming more prominent toward the tail end of the section) 10:00 – 11:00
Drums (Kick, Snare, Hats – modern programmed electronic drums with a reggae vibe – mid/up in the mix) 12:00
Bass (Mid/up in the mix – deep in nature) 12:00
Synth (The “blips” mimic the oo-oo-oo…vocal throughout the section – low level in the mix under the vocal) 9:00 – 3:00
Lead Vocal (Adam Levine – up-front in the mix) 12:00
Harmony Vocal (Low/mid level, right under the lead vocal) 12:00
First, we have to figure out just exactly how to DEFINE this section. Is it a “traditional” bridge? Is it a “break?” Is it a “chorus extension with a reversion back to the intro?” In the end, I think it’s a little bit of all of the above.
The fact of the matter is this – it DOES provide a departure from everything that had been occurring in the song up until this point (i.e. the exact nature of the section never occurred before or after), so for all intents and purposes we’ll define it as a bridge.
Now that we cleared that up – here are the key attributes present in the bridge:
It reverts back to the intro “oo,oo,oo” vocal theme (which also occurs in the second verse via the bass, vox and synth as previously mentioned), bringing us full circle and reinforcing that ultra-infectious melody in our head. Notice that there is an additional vocal harmony on the “oo,oo,oo…” that occurs on the last two “oo,oo,oo’s” of the section.
In each of the three lines of the section, Adam’s vocal “yeah baby give me one more night” reinforces the title in your head.
The nature of the drums and “Reggae” guitars are continuing basically in the same manner as they did during most of the other sections within the song.
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Notice that the prominent bass is once again mimicking the “oo,oo,oo…” nature of the vocal (just as it did in the second verse).
Notice the additional “wha” guitar that occurs throughout the section – starting off very low in the mix and becoming more prominent at the tail end, continuing right through the pre-chorus that follows. It’s this “wha” guitar that helps to further accentuate the Reggae vibe of the song.
Transition Point – Bridge into Pre-Chorus: Quick drum fill followed by a downward bass slide.
Pre-Chorus-3 (2:35 – 2:55)
Vocals & Primary Instrumentation & Vocals Featured In The Mix:
First Half
Electric Guitar (Vintage Reggae Wha-Wha– individual note runs – mid level in the mix) 10:00 – 11:00
Acoustic Guitar (Clean bright strums with reverb– low to mid level in the mix) 10:00 with the reverb trail panning over to around 2:00
Drums (Ride cymbal taps – low level in the mix) 11:00
Lead Vocal (Adam Levine – up-front in the mix) 12:00
Second Half (Add)
Electric Guitars (Rhythm – Vintage Reggae Style – the rhythm that defined the preceding sections of the song – low/mid level in the mix) 9:00 / 3:00
Drums (Ride cymbal taps – low/mid level in the mix) 11:00
Bass (Mid/up on the mix – deep in nature – only one note at the onset of the second half of the section) 12:00
Synth Pad (Bright and “airy” in nature – low level in the mix except for the increase at the tail end of the section) 10:00 – 2:00
Lead Vocal (Adam Levine – up-front in the mix) 12:00
Just as we had a “departure” from the rest of the song in the preceding bridge, the third occurrence of the pre-chorus provides an additional change-up from the way things had been going up until this point. Considering that we just had two sections in a row where the MTI level was up there (second half of chorus-2 followed by the bridge), we now need to have a section
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Now – normally if you have a higher MTI level chorus, it would be the job of the bridge to bring things back down, or if that wasn’t the case it would DEFINITELY be the job of the following chorus to start off as a breakdown before slamming in full. If you don’t give the listener a “breather,” the song becomes to linear and fatigue might set in. Since we don’t have a breakdown bridge OR a breakdown chorus that follows, there’s only one thing left to do – put in a breakdown pre-chorus.
Not only does this pre-chorus differ from all of the other pre-chorus occurrences considering it’s a breakdown (i.e. drums have been pulled and it’s sparse in nature), but it also differs on a few other levels as well:
In the first half of the section, gone are the reverb soaked guitars that defined pre- chorus 1 and 2 (and all of the other sections as well). In its place we have strumming acoustic guitars coupled with the bright “wha” guitar notes that came into prominence during the tail end of the bridge.
Adams vocals are more subdued in nature than they were in the preceding chorus sections. Additionally, gone are the two “oo, oo’s” at the end of every line, replaced with just one (reference the vocal melody section for additional details).
The second half of the section starts to increase the MTI level over the first half first via the addition of the slide bass into the mix, followed by more prominent ride cymbal taps, the addition of the reverb drenched “reggae” guitars plus a synth swell at the end of the section that leads into the chorus that follows. Also notice Adam’s hold on the lyric “yeah” which along with the synth brings the section to a crescendo.
Transition Point – Pre-Chorus 3 into Chorus: Synth swell + Adam’s held “yeahhhhhh” + drum fill.
Chorus-3 & 4 (2:55 – 3:37)
Vocals & Primary Instrumentation & Vocals Featured In The Mix:
Electric Guitars (Rhythm – Vintage Reggae Style – low/mid level in the mix) 9:00 / 3:00
Electric Guitar (Vintage Reggae Wha-Wha– individual note runs – mid level in the mix) 10:00 – 11:00
Drums (Kick, Snare, Hats – modern programmed electronic drums with a reggae vibe – up front in the mix) 12:00
Bass (Mid/Up-front in the mix – deep in nature) 12:00
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Synth (The “blips” enter the mix during chorus-4, once again mimicking the “oo-oo- oo…” vocal – mid level in the mix ) 12:00
Synth Pad (Bright and “airy” in nature – low level in the mix except for the increase at the tail end of the section) 10:00 – 2:00
Lead Vocal (Adam Levine – up-front in the mix) 12:00
Harmony Vocal (Low/mid level, right under the lead vocal) 12:00
Here in the third and forth choruses the “excitement level” of the song is taken to a peak. Basically all the bells and whistles from all of the other sections within the song are combined under one roof in the chorus:
For the first time in any of the chorus sections, the bass is mimicking the “oo,oo,oo…” vocal melody. Up until this point, this has only occurred in the second verse and bridge sections. The result – more power and intensity (plus reinforcement of that infectious melody in the listener’s head).
The lead harmony vocals are utilized throughout the entire section, providing increased color and texture as does the synth pad.
The additional “wha” guitar from the bridge and third pre-chorus is still in effect, utilized in pretty much the same manner as it was in those sections.
After a brief drum fill, the forth chorus hits and continues on in the same manner as the third with the primary difference being that the synth and vocal “oo, oo,oo’s…” are brought back in on top of the bass progression that started in chorus 3.
Notice that Adam also has some additional vocals going on within choruses 3 and 4. In chorus 3, he follows the first line with an “oh, oh, oh…,” the second line with additional “oh, oh, oh’s…,” the third line he then repeats the phrase “I said it a million times,” and after the fourth line he states the title phrase “yeah baby give me one more night.”
In chorus 4, he switches to a “yeah eh, yeah eh” after each line. This helps to further accentuate the intensity of the section.
End
Talk about an abrupt false ending – the music is abruptly pulled at the tail end except for a quick downward bass slide. This is then followed by what sounds to be an unprocessed open mic in the studio recording Adam saying “I don’t know, whatever” to end the song.
If there was ever a song that was primed for a fadeout, this would be it. Just imagine the lead vocal being modified after the chorus to repeat the title and continuing on with the backing
19 / 47 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com music and “oo,oo,oo” vocal melody as the song faded out. It would have worked great. The problem is, it’s definitely not the norm. The overwhelming vast majority of hit Pop songs have button endings or a quick reverb/delay trail off. Why? Fadeouts are an editing nightmare (think about it being used in a film/tv or commercial format) and also don’t work well in radio.
You have to wonder, though, if the songwriters were being pressed to come up with ways on how to end the song with a “proper” ending, and in the end they basically just said “f**k it – it’s over – this is how we’re ending it!”
Song Title / Lyrics / Harmonic Progression Back to Top
SONG TITLE When gauging the effectiveness of a song’s title, there are a number of factors that you need to consider:
1. Is it unique? 2. Does it stand out? 3. Is it memorable? 4. Does it pique your interest enough to take a listen to the song? 5. How does it work within the lyrical framework of the song?
Is it unique? I think you would have to agree that there is nothing unique about a title called “One More Night.” It’s generic and universal in nature.
Does it stand out? Considering its generic/universal nature, there’s really nothing about it that enables it to stand out amongst other songs in the genre.
Is it memorable? Yes and no. Even though there’s nothing unique about it that would help to get it stuck in your head, it is simplistic enough where it doesn’t take too much effort to remember plus the fact that the title occurs 12 times within the song in 5 individual sections.
Does it pique your interest to take a listen? I think it comes down to the artist that’s tied to the song that will help to determine the effectiveness of the title. If you’re a Maroon 5 fan, then you’re accustomed to hearing songs with clever lyrics. Now – this title is not as clever or will pique your interest as much as say “Payphone” or “Moves Like Jagger,” but considering the artist at hand, a Maroon 5 fan will probably think “One More Night – Hmmm, I wonder where they’re going with that !?!?” So in that sense, it will pique some interest.
Bottom line – does the actual title make you curious? No. Does the fact that it’s a Maroon 5 song pique your interest to see what it’s all about? Yes.
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Does it work within the lyrical framework of the song? Absolutely. The entire storyline revolves around the title. It’s the “punch line.”
Title Occurrences: One More Night occurs 12 times within the song in 5 sections:
Twice in the first chorus as the last phrase on the second and fourth (last) lines of the section.
Twice in the second chorus – same manner as that of the first chorus.
Three times in the bridge – “Yeah baby give me one more night.”
Twice in the third chorus – same manner as the other chorus sections
Once transitioning the third chorus into the fourth (“yeah baby give me one more night”).
Twice in the fourth chorus – same as all of the other choruses.
STORY FLOW / MEANING / TIMELINE: One More Night is a Love/Relationship themed song with a Hooking Up premise.
Verse-1 (THE PAST & PRESENT) The entire first verse gets us right into the nature of the relationship between these two people – specifically that they’re NOT in a good place (to say the least).
Lines 1 and 2 immediately establish the fact that they’re fighting, and let us know exactly what the level of volatility is via the highlighted lyrics below:
You and I go hard at each other like we going to war
You and I go rough we keep throwing things and slamming the doors
So – not only are they fighting, they’re BATTLING.
Line 3 gets us into the psyche of both parties involved – the fact that they’re both so “dysfunctional” that they “start keeping score.” It reinforces the severity of the situation.
Line 4 sums up the consequence stemming from what was depicted on lines one, two and three – the fact that all of this intense fighting is making them “sick.” He knows that this is an extremely unhealthy relationship and needs to be brought to an end, for both their sake.
Pre-Chorus: (THE PRESENT) The pre-chorus takes the nature of the story in a completely different direction. Despite all the animosity that these two people have for each other and the fact that they’re basically ready to
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Line 1 immediately establishes the fact that there is something about her that keeps him coming back for more, making him “love” her (when you read the lyrics in the rest of the section, you’ll notice that him “loving” her most likely has nothing to do with emotion – it’s all about the sex).
Also notice that the phrase “baby there you go again” indicates that this is a reoccurring event (i.e. it has happened before).
But baby there you again there you again making me love you-oo
Line 2 lets us know that his thought process isn’t having anything to do with his decision to pursue her, and the fact that he let all of his thoughts relating to the REAL nature of the relationship go.
Yeah I stopped using my head using my head let it all go-oo-oo
Line 3 puts to rest any doubt as to why he keeps going back to her time and time again. It’s the physical nature of the relationship – pure and simple. Notice how it’s implied (i.e. stuck on my body like a tattoo) – and that he never comes right out and says it’s about the sex.
Got you stuck on my body on my body like a tattoo-oo-oo
Line 4 lets us know that after “having her stuck on his body like tattoo,” and the physical bliss associated with it, he snaps back into reality and “feels stupid” for crawling back to her (remember – line 3 in the first verse let us know that they started keeping score, so in that sense every time he goes back to her she’s another point up. She’s not crawling back to HIM).
And now I’m feeling stupid feeling stupid crawling back to you-oo
Chorus set-up: Now that we know about the sick nature of the relationship (verse) and the fact that he can’t resist her and goes crawling back only for the sex (pre-chorus), we’re now prepared for the lyrical “payoff” in the chorus that follows.
Chorus (THE PRESENT & FUTURE) The lyrics in the chorus are quite clever when you take a close look at them.
First, let’s take a look at lines 1 and 2:
So I cross my heart and I hope to die
That I only stay with you one more night
Here he lets us know that he’s “extremely serious” (conveyed via “cross my heart/hope to
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Now, let’s look at lines 3 and 4:
And I know I said it a million times
But I’ll only stay with you one more night
The first line lets us know for sure what had been alluded to in the first line of the pre-chorus (“but baby there you go again…”) – the fact that this hasn’t happened just once or twice in the past- it happens time after time after time. The second line reinforces the fact once again that “one more time and THAT’S IT.”
Now, what’s REALLY CLEVER about the section is this:
If he was really serious about not being with her anymore, the lyrics would have read something like “So I cross my heart and I hope to die, that tonight with you was the very last time.”
He doesn’t say that. He said “I’ll only stay with you ONE MORE NIGHT,” letting us know that there WILL be ONE MORE NIGHT. It’s forward looking, and the cycle will repeat. So the entire section is one big contradiction. He wants it to end, but he’s always tacking on one more night.
Verse-2 (THE PRESENT & FUTURE) In contrast to the first verse (which was all about the fighting), the second verse further develops the story in regard to how he can’t resist her and how it leads to him feeling satisfied coupled with regret.
Lines 1 & 2 relate directly to the physical attraction that he has for her, and the fact that even though he tries to ward her off, it’s too no avail – he just can’t resist:
Try to tell you no, but my body keeps on telling you yes
Try to tell you stop but your lipstick got me so out of breath
Lines 3 & 4 deal with the aftermath of him not being able to resist her on lines one and two (post hook up). He’s not going to like himself at all (i.e. hating myself, feeling guilty as hell), but he WILL be feeling satisfied – which is the primary reason why he keeps going back to her time and time again.
I’ll be waking up in the morning probably hating myself
And I’ll be waking up feeling satisfied but guilty as hell
Bridge (THE PRESENT & FUTURE) The bridge solidifies for us exactly what we’ve known throughout the entire song – that despite
23 / 47 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com how much he knows it’s wrong, how it makes him feel guilty and hating himself, and how many times he says it’s going to end, the fact of the matter is that he’s going to keep crawling on back to her proclaiming “baby give me one more night!” The cycle is going to keep going on and on and on.
Oo-oo-oo-oo-oo-oo-oo-oo Yeah baby give me one more night
Summed Up
They’re in a very dysfunctional relationship that’s making them both sick, and they fight on an extreme level. (Verse 1)
Despite all of the fighting, he’s still very attracted to her, doesn’t think about the repercussions, hooks up with her and then feels stupid about doing it (Pre-Chorus)
He swears that even though he’s said it a “million times,” the next time will be the last. (Chorus)
We find out how she drives him crazy on a physical level, and the fact that he tries to say no to her but again he just can’t resist. Despite him waking up the next morning hating himself and feeling guilty for hooking up with her, he’ll be feeling satisfied, which seems to supersede all of the hate and guilt that he may feel. (Verse 2)
He wants to go back for more – the chorus was a lie (Bridge)
Lyrics / Harmonic Progression / Word & Syllable Count:
Key (*): Indicates a chord that occurs before the beginning of the line Blue Font On Lyric: Indicates where the chord change takes place (Parethesis): Indicates a chord that carries over from the previous line
VERSE-1
Fm / E-flat / B-flat m (13 words / 15 syllables) You and I go hard at each other like we going to war
Fm / E-flat / B-flat m (13 words / 15 syllables) You and I go rough we keep throwing things and slamming the doors
Fm / E-flat / B-flat m (11 words / 15 syllables) You and I get so damn dysfunctional we start keeping score
Fm / E-flat / B-flat m (15 words / 15 syllables) You and I get sick yeah I know that we can’t do this no more
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PRE-CHORUS
Fm / E-flat / B-flat m (12 words / 19 syllables) But baby there you again there you again making me love you-oo
Fm / E-flat / B-flat m (13 words / 17 syllables) Yeah I stopped using my head using my head let it all go-oo-oo
Fm / E-flat / B-flat m (12 words / 17 syllables) Got you stuck on my body on my body like a tattoo-oo-oo
Fm / E-flat / B-flat m (11 words / 17 syllables) And now I’m feeling stupid feeling stupid crawling back to you-oo
CHORUS
Fm / E-flat / (B-flat m) (10 words / 10 syllables) So I cross my heart and I hope to die
Fm / E-flat / (B-flat m) (9 words / 10 syllables) That I’ll only stay with you one more night
Fm / E-flat / (B-flat m) (9 words / 10 syllables) And I know I said it a million times
Fm / E-flat (9 words / 10 syllables) But I’ll only stay with you one more night
VERSE-2
Fm / E-flat / B-flat m (13 words / 15 syllables) Try to tell you no, but my body keeps on telling you yes
Fm / E-flat / B-flat m (14 words / 15 syllables) Try to tell you stop but your lipstick got me so out of breath
Fm / E-flat / B-flat m (9 words / 15 syllables) I’ll be waking up in the morning probably hating myself
Fm / E-flat / B-flat m (11 words / 15 syllables) And I’ll be waking up feeling satisfied but guilty as hell
BRIDGE
Fm / E-flat / B-flat m (7 words / 8 syllables) Oo-oo-oo-oo-oo-oo-oo-oo Yeah baby give me one more night
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Fm / E-flat / B-flat m (7 words / 9 syllables) Oo-oo-oo-oo-oo-oo-oo-oo Yeah baby give me one more night
Fm / E-flat / B-flat m (7 words / 9 syllables) Oo-oo-oo-oo-oo-oo-oo-oo Yeah baby give me one more night
RHYMING LYRICS The following lyrics “tie” lines together in certain sections of the song. The highlighted letters are the “rhymers.”
Verse 1 The last lyric on each line:
War
Doors
Score
More
Verse 2 The last lyric ties lines 1 and 2 together as well as 3 and 4.
Lines 1&2: yes/breath
Lines 3 & 4: myself/hell
Pre-Chorus The “oo,oo” that ends each line ties all of them together.
Chorus The last lyric on each line:
Die
Night
Times
Bridge Each line is exactly the same.
LYRIC TYPES This section highlights the types of lyrics and phrases used throughout each section of the song. Notice that some of the lyrics and phrases appear in more than one category.
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Imagery, Place & Time Based Lyrics & Phrases: (These lyrics “paint a picture” in your head and establish the place and time within the story)
Verse 1
You and I go rough we keep throwing things and slammin’ the doors (Imagery)
Verse 2
Try to tell you no but my body keeps on telling you yes (Imagery)
Try to tell you stop but your lipstick got me so out of breath (Imagery)
I’ll be waking up in the morning probably hating myself (Time)
Pre-Chorus
Got you stuck on my body on my body like a tattoo (Imagery)
Chorus
So I cross my heart and I hope to die (Imagery)
That I’ll only stay with you one more night (Time)
Bridge
Yeah baby give me one more night (Time)
Emotional Based Lyrics and Phrases: (These lyrics and phrases convey emotion –either directly or indirectly- enabling you to connect with what the characters are feeling or going through on an emotional level within the story)
For the most part, the majority of lines within the song are emotional in nature, accentuated by imagery and action. Here are some key examples:
Verse 1
You and I go hard at each other like we going to war
Verse 2
And I’ll be waking up feeling satisfied but guilty as hell
Pre-Chorus
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And now I’m feeling stupid feeling stupid crawling back to you
Action Based Lyrics & Phrases: (These lyrics get you into what the characters within the story have done, are doing or will do)
Verse 1
You and I go hard at each other like we going to war
You and I go rough we keep throwing things and slammin’ the doors
Verse 2
Try to tell you no but my body keeps on telling you yes
Try to tell you stop but your lipstick got me so out of breath
I’ll be waking up in the morning probably hating myself
And I’ll be waking up feeling satisfied but guilty as hell
Pre-Chorus
And now I’m feeling stupid, feeling stupid crawling back to you
Chorus
So I cross my heart and I hope to die
And I know I said it a million times
Bridge
None
Character/Person Based Lyrics & Phrases (Including Pronouns): (These lyrics show how all of the characters within the story are defined)
Verse 1
You and I go hard at each other like we’re going to war
You and I go rough we keep throwing things and slammin’ the doors
You and I get so damn dysfunctional we start keeping score
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You and I get sick yeah I know that we can’t do this no more
Verse 2
Try to tell you no but my body keeps on telling you yes
Try to tell you stop but your lipstick got me so out of breath
I’ll be waking up in the morning probably hating myself
And I’ll be waking up feeling satisfied but guilty as hell
Pre-Chorus
But baby there you go again there you go again making me love you
Yeah I stopped using my head using my head let it all go
Got you stuck on my body on my body like a tattoo
And now I’m feeling stupid feeling stupid crawling back to you
Chorus
So I cross my heart and I hope to die
That I’ll only stay with you one more night
And I know I’ve said it a million times
But I’ll only stay with you one more night
Bridge
Yeah baby give me one more night
Yeah baby give me one more night
Yeah baby give me one more night
The Vocal Melody Back to Top
If there’s any one area that Maroon 5 truly excels at, it’s providing the listener with an ultra- infectious, memorable vocal melody that they can’t shake from their heads. One More Night is a perfect case-in-point, combining three key factors to ensure that the melody does its job:
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Repetition
Cross-sectional repetition: The general melodic nature of the verses, pre-choruses (except for part of the third pre-chorus) and choruses remain virtually the same in each section of the song.
Sectional line repetition: For the most part, each line in each section of the song is almost identical in nature from a vocal melody standpoint with just some minor differences that prevent the sections from becoming overly monotonous.
The “oo,oo,oo…” vocal melody: The ultra-infectious “oo,oo,oo…” melody appears in 4 sections throughout the song (intro, verse 2, bridge and chorus 4), brought about via the vocals, synth and bass.
Simplicity
As you’ll see below, for the most part there aren’t any “vocal acrobatics” going on within the song. On the contrary, the vocal melody in each section of the song is exceptionally simplistic in nature (yet effective), that not only helps to foster memorability, but also enables their audience to sing along in a relatively easy manner.
Phrasing & Segmenting
The manner in which Adam sings certain phrases and repeats them from line to line not only adds “color” to the melody but also heightens the memorability factor as well (i.e. notice how each line in the pre-chorus ends with an “oo,oo” B-flat/A-flat progression. Also notice the similar manner in which the first three lyrics on each line of the verse are phrased).
Notice how specific lines are “grouped” together, making it much easier for the listener to remember (i.e. lines 1 and 2 in the first verse are one group, as are lines 3 and 4).
Notice how certain lines are “segmented,” again making it much easier for the listener to remember (i.e. “you and I go hard / at each other like we’re going to war”).
GRAPHICAL KEY Blue Line: Lead Vocal Melody Red Diamond: Rest Black Diamond: Half & Dotted Half Blue Diamond: Quarter & Dotted Quarter Green Diamond: Eighth & Dotted Eighth Yellow Diamond: Sixteenth Note
Flats: B, E, A, D
Intro:
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One of, if not THE most memorable aspect of One More Night is the nature of the intro melody, which reoccurs throughout the song via the vocals, synth and bass in 4 different sections (intro, verse 2, bridge and chorus 4).
The first thing to take notice of is the F to C progression at the onset of the line. It’s one note that’s being stretched out, going up in register. This is done vocally in the intro and bridge, but is also done with a bass slide throughout the entire song.
After that, it’s a downward progression, starting with two rapid fire (sixteenth) C notes, followed by a C eighth note. Then it’s down to a couple of A-flats’s, followed by G and concluding on F (which is an eighth note followed by a whole rest).
Overall, it’s the sheer simplicity of the melody coupled with its repetitive nature throughout the song that makes it so infectious and memorable. Remember the whistle in “Moves Like Jagger?” Same premise.
Verse:
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Line Reference:
Verse 1 Line 1: You and I go hard at each other like we going to war Line 2: You and I go rough we keep throwing things and slamming the doors Line 3: You and I get so damn dysfunctional we start keeping score Line 4: You and I get sick yeah I know that we can’t do this no more
Verse 2 Line 1: Try to tell you no, but my body keeps on telling you yes Line 2: Try to tell you stop but your lipstick got me so out of breath Line 3: I’ll be waking up in the morning probably hating myself Line 4: And I’ll be waking up feeling satisfied but guilty as hell
Vocal Range High: C Low: B-flat
Key Ingredients:
Line Grouping / Segmenting In verses 1 and 2, lines 1 and 2 make up one complete “group,” as do lines 3 and 4 (i.e. line 1 ends on F, line 2 ends on E-flat, bringing the full “group” to a conclusion. This is then repeated on lines 3 and 4).
Notice that each line is broken into two segments, making it easier for the listener to digest (i.e. the chunking/phone # method). The bolded lyric (5th syllable in) is where the differentiation takes place, separating the two segments.
VERSE 1
Line 1: You and I go hard at each other like we going to war
Line 2: You and I go roughwe keep throwing things and slamming the doors
Line 3: You and I get so damn dysfunctional we start keeping score
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Line 4: You and I get sick yeah I know that we can’t do this no more
VERSE 2
Line 1: Try to tell you no but my body keeps on telling you yes
Line 2: Try to tell you stop but your lipstick got me so out of breath
Line 3: I’ll be waking up in the morning probably hating myself
Line 4: And I’ll be waking up feeling satisfied but guilty as hell
Timing Notice the timing/phrasing similarities on certain lyrics and phrases in verse 1 above (note that verse two follows in basically the same manner)
“You and” on each line encompasses a 16th note value.
“I go” and “I get” on each line encompasses an 8th note value.
The last lyric on each line (hard, rough, so, and sick) possesses a quarter note value. It’s this quarter note that breaks up the two segments on each line.
By possessing similar timing/phrasing attributes, it helps to make the entire section VERY easy to remember.
Repetition (FIRST VERSE)
Lines 1 and 3 follow the same exact progression and timing.
Lines 2 and 4 follow the same exact progression and timing.
Each of the 4 lines kicks off with the same lyrics (you and I). In the second verse, the first two lines kick off in the same manner (try to tell you) as do the last two lines (I’ll be waking up).
Simplistic, Effective Delivery
The third lyric in through the end of lines 1 and 3 are completely sung in a monotone F delivery
The third lyric in through the end of lines 2 and 4 start off in the key of F as was the case on the preceding line, but then drops down to E-flat to conclude the line. It’s this drop down to E-flat that brings the “group” (as mentioned earlier) to a conclusion and also keeps the section from becoming overly monotonous.
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Notice that it’s that one jump up to C on the second lyric on each of the four lines that provides the section with character and color. The fact that it’s preceded and followed by a monotone delivery enables it to really stand out. Without that one “jump” the section would wind up being dull and disengaging.
Notice that the entire second segment of each line is sung with an eighth note delivery. Again, the first segment mixes things up by starting out with the two sixteenth notes.
Pre-Chorus:
Line Reference
Line 1: But baby there you again there you again making me love you-oo Line 2: Yeah I stopped using my head using my head let it all go-oo-oo Line 3: Got you stuck on my body on my body like a tattoo-oo-oo Line 4: And now I’m feeling stupid feeling stupid crawling back to you-oo
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Vocal Range High: B-flat Low: C
Key Ingredients:
Repetition Notice that each line repeats in the same exact manner (progression and timing) except for the lyrics. Normally that would make for a very redundant section, but in this case it works due to the reasons stated below.
Cleverness Notice how two phrases repeat in the same spot on each of the four lines.
Line 1: But baby there you again there you again making me love you-oo
Line 2: Yeah I stopped using my head using my head let it all go-oo-oo
Line 3: Got you stuck on my body on my body like a tattoo-oo-oo
Line 4: And now I’m feeling stupid feeling stupid crawling back to you-oo
Each line ends in the same unique, clever manner via an E-flat / B-flat / A-flat progression that’s infectious and gives the section it’s character (compare to how it’s done in the third pre- chorus where it’s only one “oo“) .
Line 1: “…go- oo-oo”
Line 2: “tattoo-oo-oo“
Line 3: “…to-you-oo”
Line 4: “…love-you-oo”
Notice how each line keeps it simple by fluctuating between just three notes - F, C and E-flat. As with the verse, the basically monotone delivery works well because it accentuates the unique nature of how each line ends, giving it its character.
Change-up: Pre-Chorus 3
As you know by now, One More Night contains 3 pre-chorus sections within its framework. Pre- choruses 1 and 2 function in the exact same manner, but pre-chorus 3 is different – both from a backing music standpoint (as discussed earlier within the report) and in the vocal melody.
Differences
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Notice that Adam is singing in a more somber, exhausted tone.
The first two lines in the section forgo the B-flat / A-flat progression at the end of the line which gave the pre-chorus it’s distinct character the first two times around (i.e. you-oo and oo-oo). Instead, they go from E-flat to F to end the line (which jibes with Adam’s more “exhausted” vocals as mentioned above)
On the third line, Adam mixes things up at the end on the lyrics “like a tattoo.” Here it follows a descending B-flat / B-flat / A-flat / G-flat / E-flat progression as opposed to the ascending E-flat / E-flat / E-flat / E-flat / B -flat/ A-flat progression the first two times around. This change up provides the section with increased diversity – further accentuating the engagement factor.
Notice that the entire fourth line is done away with in the third pre-chorus. Instead, Adam ops for yeah-eh-eh, yeah-eh-eh, yeah, yeah which helps to bring the entire section to a climax before launching into the full chorus that follows.
Chorus:
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Line Reference Line 1: So I cross my heart and I hope to die Line 2: That I’ll only stay with you one more night Line 3: And I know I said it a million times Line 4: But I’ll only stay with you one more night
Vocal Range High: F Low: F
What makes the vocal melody so effective?
The Anchor Notice how C acts as the monotone anchor for each line, providing the jump up to F and E-flat with more emphasis when it occurs (making for an engaging, memorable melody). The lyrics/syllables that are highlighted in red shows where these jumps occur:
So I cross my heart and I hope to die
That I’ll on-ly stay with you one more night
And I know I said it a mil-lion times
But I’ll on-ly stay with you one more night
Trail-Off The vocal “trail-off” on lines 2 and 4 provides diversity from lines 1 and 3. If the trail-off wasn’t there, each line would wind up being sung in the exact same manner and lose its effect.
Repetition
Notice that lines 1 &3 and 2 & 4 repeat in the exact same manner.
Also notice that except for the trail-offs as mentioned earlier, all four lines are identical from a melodic progression standpoint.
Bridge:
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Line Reference Line 1: Oo-oo-oo-oo-oo-oo-oo-oo Yeah baby give me one more night Line 2: Oo-oo-oo-oo-oo-oo-oo-oo Yeah baby give me one more night Line 3: Oo-oo-oo-oo-oo-oo-oo-oo Yeah baby give me one more night
Vocal Range High: C Low: F
Key Ingredients:
Once again it’s all about repetition:
The “oo-oo-oo” melody that occurred in the intro and 2nd verse makes a return in the bridge, sung in the exact same manner as the intro.
Lines 1 and 3 are exactly the same. Line 2 is virtually identical as well, except for the fact that the last lyric on the line (“night“) goes up to an A-flat as opposed to going down to F as it does on lines 1 and 3. Again, this subtle variation keeps the section from becoming overly monotonous.
Simplicity After the “oo,oo,oo….” segment, the balance of the line continues on in a monotone F delivery
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Top 10 Assessment Back to Top
Benchmark Analysis Compares One More Night to the 21 songs that landed in the Billboard Pop Songs top 10 during Q3-2012.
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All of the compositional characteristics and attributes present in One More Night are in line with Q3-2012 top 10 Pop hits EXCEPT:
The first chorus occurs 0:11 / 4% farther into the song than the top 10 hit Pop song average. This is primarily due to the fact that the song contains a 0:10 intro AND a 0:20 pre-chorus. This in turn pushes back when the first chorus hits.
The tempo is 15 bpm slower than the average top 10 Pop hit. This is because it’s a Pop/Reggae influenced song. There’s no dance element to be found, which would increase the bpm.
One More Night is sung by a male lead vocalist where a small majority of Pop hits are sung by women.
The lyrics consist of both a love/relationship AND hooking-up theme, while most top 10 hit Pop songs are pretty much purely love/relationship themed (plus inspiration when there is another theme mixed in with love/relationships).
A&R Hit Factor Assessment Back to Top
Artist/Group Career Factor: 10/10 (Maintenance), 2/10 (Growth) Does the song have what it takes maintain or grow the artist’s clout in the Pop mainstream?
One More Night is right up there with Maroon 5’s other recent hits such as Moves Like Jagger and Payphone, so as far as maintaining their position as a leaders in the mainstream Pop scene when it comes to delivering infectious, memorable hits, One More Night did its job.
Now, does this song have what it takes to bring their clout to a whole new level? I would have to say that the answer is no. Yes, the song went in a different direction with its dominant Reggae vibe, and they might have picked up a handful of new fans in the process, but aside from that it really didn’t chart any new territory, still adhering to the same general “formula” that they use time and time again to make their songs so infectious and memorable (not that that’s necessarily a bad thing). They know what works, and they stick with it.
Originality Factor: 7/10 Does the song push genre boundaries and possess a unique nature or have you heard it all before? Does it stand out in the Pop mainstream?
It’s a combination of the two. If you strip the song down into its individual Pop and Reggae components, then yes, you’ve heard it all before. On the Pop side, the “Maroon 5 formula” sounds very familiar (i.e. an infectious intro ala “Moves Like Jagger,” Adam’s clever, infectious vocal delivery, etc…). On the Reggae side, you’ve definitely heard it all before, including the nature of the bass, the drums and especially the reverb drenched electric rhythm guitars. Just put on Bob Marley, Burning Spear or Lee Scratch Perry and you’ll get the idea.
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Now – when you put the individual components together, you wind up with something unique that stands out in the current Pop mainstream. Aside from Bruno Mars’ “The Lazy Song” which possesses a lighter acoustic Reggae vibe, there hasn’t been a heavily Reggae influenced song like One More Night landing in the Pop songs top 10 for some time. That coupled with the fact that no one else sounds like Maroon 5.
Social & Controversy Factors: 7/10 Were there any social aspects surrounding the release of the song or within the song itself that could help increase its visibility, reach and success potential?
The primary external factor that really helped to accentuate the buzz around the song is the fact that it’s the follow-up to the massively successful “Payphone.” Maroon 5 are still very hot and in the public eye, and the fact that One More Night is a very strong song and possesses a Reggae vibe that stands out in the Pop mainstream definitely capitalized on the Payphone buzz, helping to launch it to the top of the charts.
One other factor worth mentioning is Adam Levine’s exposure on The Voice. When a member of a group is constantly in front of a large television audience, it’s sure to have an effect on the promotion and hype surrounding a new album or single (it was the same thing with Steven Tyler and American Idol, except for the fact that the AI audience wasn’t his core demographic).
Now – from a songwriting standpoint, yes, they charted new territory by incorporating Reggae into their sound, but it wasn’t anything as drastic or “controversial” as say Taylor Swift’s move into modern Pop with “We Are Never Ever Getting Back Together.”
The Demographic Reach Factor: 9/10 Is this a song that’s pigeonholed in one gender/age bracket or does it have mass reach?
One of the core strengths of One More Night is the fact that it has a vast demographic reach due to the nature of the music, melody as well as the lyrics.
Music: Modern Pop elements fused with Reggae and enveloped in an infectious groove. Here you capture both a woman and male Pop audience – early teen to as high as mid-forties (maybe even higher) with a core most likely landing in the late teen to mid- twenties. Additionally, the Reggae influence may help to acquire new fans who normally would have never felt inclined to listen to a Maroon 5 single. Whether or not they could hold onto those fans is another story.
Melody: The infectious nature of the vocal melody is primed to connect with both a male and female Pop demographic – combining elements that would appeal to both sexes. In regard to age, the nature of the melody would definitely be more appealing to a younger audience, but remember this – infectious melody is infectious melody – it can hook you in no matter who you are or how old you might be.
Lyrics: Again – the nature of the storyline translates both into a male and female demographic. First and foremost, the lyrics are universal in nature and have broad
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reach for that reason alone (I would assume that quite a few people have been involved in a dysfunctional relationship at some point in their lives but held on just because of the sex). Second, the lyrics play to both genders. It’s conveyed from the male perspective so men can obviously relate, but on the other hand women can really get into it because they’re the ones who have control in the story (i.e. he keeps crawling back to HER).
The “Holly Sh*t – You Gotta Hear This NOW” Factor: 5/10 Is this a song where someone would instantly call up their friend and say “drop what you’re doing – you gotta listen to this – NOW!!!”
Not really. On the plus side you have the Maroon 5 goes Reggae factor coupled with the fact that it’s a very strong song, so that will definitely drum up some excitement. That being said, it’s not so revolutionary and earth-shatteringly amazing where all things must come to a halt so you can take a listen. It’s more like someone would call up their friend and say, “hey – check out Maroon 5’s new single One More Night when you get a chance – it’s REALLY good!” And it is REALLY good. Good enough to send it to #1.
The “Multiple Listen” Factor: 8//10 Is this song engaging enough to warrant repeat listens?
Initially, yes. One More Night is definitively infectious and engaging enough where the listener would be quite satisfied with repeat listens (either on their own, on the radio, in a store, etc…). That being said, as with most mainstream Pop songs (and other genres as well), the law of diminishing returns eventually sets in due to overplay and the vast repetitive nature of the song. After a while, you just start to get sick of hearing it all the time. Once you take a break, however, One More Night is the kind of song that you would have no problem going back to.
The “Human Emotion” Factor: 7/10 Does this song exude a vibe that enables the listener to connect on a deep, emotional, HUMAN level?
There are three core factors that we need to look at when evaluating the “emotion” present in One More Night – Vocals, Backing Music and Lyrics
Vocals: For the most part Adams’s vocals are high on melody but low on emotion. Considering the emotional nature of the lyrics, he doesn’t really convey them in a convincing manner, instead seeming mostly concerned about nailing the infectious nature of the melody. That being said, he DOES change up his vocal style in the third pre-chorus (the breakdown where he sounds somewhat somber and exhausted) which does connect a bit more on an emotional level.
Backing Music: Traditional Reggae music is all about emotion and vibe, and its inclusion within the framework of One More Night definitely helps to provide a “human touch” – specifically via the nature of the bass and reverb drenched guitars (they’re definitely more “authentic” old school in nature than modern Pop).
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Lyrics: When it comes to the “human emotion” factor, this is where One More Night really shines. The entire scope of the story exudes emotion, enabling the listener to connect on a deep (and for some, familiar) level.
Memorability Factor: 9/10 How easy is it to remember the song’s lyrics & melody? Is each section of the song equally as memorable?
Overall, One More Night is an exceptionally memorable song due to a number of key factors as mentioned earlier within the report – repetition, simplicity and effective phrasing and segmenting (i.e. the “phone number” method). All of these factors work in conjunction with one another in getting the ultra-infectious melodies that occur in EACH SECTION of the song completely stuck in your head and hard to shake.
Now, in regard to the lyrics, the factors mentioned above also aid in getting the lyrics totally engrained in your head as well. It will probably take you numerous listens to remember most of the verse and pre-chorus sections, but the bridge and chorus are almost instantaneous.
Longevity Factor – Artist: 10/10 Will this song become a staple of the artist’s repertoire and catalog?
Absolutely. One More Night is definitely one of Maroon 5’s best for all of the reasons stated throughout this report, and will no doubt become a featured staple in their repertoire for the duration of their career.
Longevity Factor – Genre: 3/10 Does this song have what it takes to stand the test of time and rank amongst the all-time greats?
As far as standing the test of time in the overall Pop genre goes, I would have to say that One More Night will most likely be relatively short-lived. It’s a great song, no doubt, but it doesn’t possess any “special” or “timeless” qualities that will enable it to stand the test of time with the greats.
Conclusion Back to Top
Now that we have thoroughly explored Maroon 5’s One More Night, let’s review some of the core attributes that helped to make this song a hit:
Structure / Sectional:
Frequent sectional turnover aids in keeping the listener engaged throughout the song.
MTI level fluctuations accentuate the nature of each section in the song.
The short, memorable intro instantly hooks and engages the listener in the song.
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The third pre-chorus/chorus “role reversal” provides the song with an engaging twist (i.e. breakdown vs. full).
The complete changeup in the nature of the third pre-chorus vs. pre-choruses 1 and 2 (i.e. subtle change to the vocal melody, its breakdown nature, change in instrumentation and the change in Adam’s delivery) provides a key additional departure within the song.
Payoff:
The “breakdown” chorus provides a release of the tension/momentum that built throughout the verse and pre-chorus sections of the song.
Lyrical payoff in the chorus (it’s what the story had been building toward plus the repetition of the title).
The bridge also functions as sort of a payoff considering the reversion back to the infectious intro “oo,oo,oo…” vocal melody coupled with the repetition of the title.
Repetition:
Cross-sectional lyric repetition: (i.e. the chorus and pre-chorus don’t vary from section to section in regard to their lyrical content).
Sectional lyric repetition: (i.e. each line in the first verse starting with “you and I,” the repetition of phrases in the pre-chorus: “stopped using my head, stopped using my head,” etc…)
Cross-sectional vocal melody repetition: The general melodic nature of the verses, pre-choruses (except for part of the third pre-chorus) and choruses remain virtually the same in each section of the song.
Sectional vocal melody repetition: For the most part, each line in each section of the song is almost identical in nature from a vocal melody standpoint with just some minor differences that prevent the sections from becoming overly monotonous.
Backing music repetition: The nature of the reverb drenched electric “reggae” rhythm guitars as well as the drum pattern remains pretty much constant throughout the entire song and act as the “anchors.”
The “oo,oo,oo…” melody: The ultra-infectious “oo,oo,oo…” melody appears in 4 sections throughout the song (intro, verse 2, bridge and chorus 4), brought about via the vocals, synth and bass.
Backing Music
One More Night perfectly fuses modern Pop and Reggae to create a very engaging
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sonic landscape (instrumentation, production, progression and patterns, etc…)
The underlying groove of the song hooks you in, gets your head bobbing and doesn’t let go.
Vocals
The vocal melody is exceptionally infectious and memorable in EACH section of the song, accentuated via copious amounts of repetition, its overall simplicity, effective phrasing & line segmenting.
The harmony and secondary vocals throughout the song add increased color, texture and diversity.
Lyrics/Story
A good amount of imagery, action and emotion is utilized throughout the song, bringing the nature of the story to life.
The lyrics are universal in nature – anyone who has been involved in a dysfunctional relationship based on physical attraction can relate.
Pop Genre
The Pop/Reggae nature of the song enabled it to stand out amongst others currently topping the charts in the mainstream Pop scene.
Adam’s unique vocal style provides the song with the “Maroon 5 sound,” which also enables it to stand out in relation to other songs/artists in the genre.
Bottom Line Adam Levine, Max Martin, Shellback and Savan Kotecha. You want to know what a hit Pop songwriting “dream team” looks like? Well, look no further. These guys know how to craft a song that is so engaging, infectious and memorable that it’s almost pre-destined to reach the top of the charts. Why? It’s their job!
As we’ve seen throughout this report, each facet of One More Night was meticulously crafted – the lyrics, melody, fusion of genres, MTI level fluctuations, etc… all coming perfectly together to create a song with immense mass appeal.
They definitely had a tough act to follow with Payphone, but they certainly achieved what they set out to do with One More Night – score a #1 hit and enable Maroon 5 to remain as leaders in the mainstream Pop scene.
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Songwriter/Producer Take Aways Back to Top
Memorability If you REALLY want to get your song engrained in the listener’s head, there are two key factors that you need to employ to effectively get the job done – keep it simple, and repeat, repeat, repeat. The trick, though, is to do this in a manner that doesn’t become overly redundant, and this is an area where One More Night excelled. Lines repeated, sections repeated, but there was always some differential factor (subtle or pronounced) that kept things from becoming overly monotonous.
MTI Levels (Momentum, Tension, Intensity) Always remember that your song needs to “breathe.” If the MTI levels within your song are too linear, the engagement value for the listener is going to start to suffer. Some methods that were utilized in One More Night include:
Incorporating subtle MTI level variations between sections. This was done primarily by adding/detracting certain instrumentation from the mix, increasing/decreasing sonic levels, and by changing up the nature of the lead vocal melody.
Utilizing the “breakdown” MTI dive. Most people think that a chorus needs to be “explosive” in nature right off the bat to be effective. One More Night (as well as recent songs by Britney and Rihanna amongst others) proved that going into a breakdown following a verse/pre-chorus build can be just as effective and engaging. How do you do it? Start by pulling the drums from the mix and go bare bones with a vocal and sparse backing instrumentation. Then, follow it with a “full on” balance of the section to get the MTI level back up there. One More Night utilized the breakdown in the first two chorus sections as well as in the third pre-chorus that followed the bridge.
Reoccurring Themes One area that Maroon 5 excels at is establishing a song-defining theme and having it reoccur throughout the entire song. In Moves Like Jagger, it was the whistle. In One More Night, it was the “oo,oo,oo…” melody. This infectious melody not only provided the intro with a strong “identifying” factor, but it also reoccurred in various sections in various manifestations throughout the song (vocals, synth and bass), taking the infectious nature and memorability factor of the song to the next level.
This technique is definitely not warranted in every song that you’re going to write, but if you have a song that could really benefit from something like this, it’s guaranteed to put it over the top if incorporated in an effective manner. Remember, you want to do everything possible to stand out and get noticed.
Lyrics When writing your lyrics, you want to keep two primary things in mind:
The story should be primed to connect with the largest possible audience (i.e. universal appeal)
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The story should be conveyed in an interesting manner that keeps the listener engaged throughout the song.
This was a strong suit of One More Night. The writers conveyed a love/relationship, hooking up lyrical theme in a universal manner that connected with anyone who has been in a dysfunctional relationship that was continued just for the sex. Additionally, they provided the listener with an engaging storyline that utilized imagery, action and emotion to hold them from one section to the next,
Combining Genres One topic that we have been reporting on for a while has been the ever increasing number of mainstream Pop songs that fuse a combination of sub-genres into their overall sound. If you want to develop a unique sound that enables you to stand out amongst others in the genre, this is definitely the way to go. Maroon 5 did it with their previous #1 hit, Payphone (fusing straight- up Pop and Hip Hop/Rap) and did it again with One More Night. This time around the entire song was straight-up Pop fused with Reggae.
Emotion If you really want to maximize the effectiveness of your song and connect with the listener on a deep level, then you better incorporate a good amount of emotion into your song. Most people think that the emotional level is primarily brought about via the vocals. Not true. The nature of the backing music as well as the lyrical content are critical factors in establishing emotion. In One More Night, Adam’s vocals were low on emotion for the most part, but it was countered by the nature of the reverb drenched “Reggae” guitars plus the emotionally charged nature of the lyrics.
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