One More Night Deconstructed

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One More Night Deconstructed

Skip to: Audio/VideoAt a GlanceSong OverviewStructural AnalysisMusic, Instrumentation & MTISong Title, Lyrics & Harmonic ProgressionThe Vocal MelodyTop 10 AssessmentA&R Hit FactorsConclusionSongwriter/Producer Take Aways

Audio/Video Back to Top

At a Glance Back to Top

Artist/Group: Maroon 5Song/Album: One More Night / OverexposedSongwriters: Adam Levine, Johan Karl Schuster (Shellback), Martin Sandberg (Max Martin),Savan KotechaGenre: PopSub Genre: Reggae, Straight-Up PopLength: 3:39Structure: A-B-A-B-C-BTempo: 93 bpmFirst Chorus: 0:51 (23% into the song)Intro Length: 0:10Outro Length: n/aElectric vs. Acoustic: Electric (plus some acoustic guitar)Primary Instrumentation: Electric Guitar, SynthLyrical Theme: Love/Relationships & Hooking UpTitle Occurrences: One More Night occurs 12 times within the songPrimary Lyrical P.O.V: 1st & 2nd

Song Overview Back to Top

Released as the second single from their fourth studio album, Overexposed, One More Nightsaw Adam Levine and company teaming up with three of today’s hottest hitmakers – MaxMartin, Shellback and Savan Kotecha to compose a song that they hope will keep theirmomentum 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 sevenweeks 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 theU.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 thegraph above is quite linear in regard to section length. Aside from the intro and brief vocalsegment 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 helpingto 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 inthe 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 varyonly 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 totalsong)

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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 allthe way down to just 5%. As you would expect, the majority of time within the song wasallocated 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 secondmost 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 opposedto 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 songsthat 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


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Comparison: One More Night’s verse sections are right in-line with the Q3-2012average.

Pre-Chorus



Comparison: One More Night allocated 13% more time to its pre-choruses than theQ3-2012 average. This was due to 3 pre-chorus occurrences as opposed to 2 versesas mentioned earlier.

Chorus



Comparison: One More Night allocated 7% less time to choruses than the Q3-2012average.

Bridge



Comparison: One More Night allocated exactly the same amount of time to its bridgeas 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 thechorus 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 prettyclose to Q3-2012 Pop Song averages, with the key exception being the pre-chorus asmentioned earlier.

In regard to the chorus, yes, 7% less time was devoted to it than the average, but keep this inmind – EVERY section of the song is exceptionally infectious, memorable and stands on its

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own. It doesn’t need to rely on the chorus to carry it as some other hit Pop songs do.

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, 10being the most intense)

When we talk about a song’s MTI level, we’re referring to how fluctuationsin momentum, tension and intensity levels are utilized in each section of the song.

MTI Level Key Points:

Linear In NatureFor the most part, One More Night doesn’t possess any tremendous shifts in MTI levels fromsection to section (like the transition into the explosive chorus in Kelly Clarkson’s Stronger, forexample). It’s more linear in nature, which jibes with and accentuates the traditional Reggaevibe and groove.

Sectional FluctuationsEven though there aren’t any tremendous MTI level shifts, notice that with the exception ofchoruses 3 and 4 (which are basically on par with each other from an intensity standpoint) thateach section does fluctuate somewhat in order to enable the song to “breathe.” This isprimarily 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 PeakNotice 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 thebreakdown chorus that follows hits), as well as during choruses 3 and 4, which takes theenergy of the song to its climax before concluding.

The Breakdown / Full Chorus ComboNotice that the first half of choruses 1 and 2 start out as “breakdown” choruses – meaning

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that they have a lower MTI level than the preceding section specifically due to certaininstrumentation being pulled from the mix (specifically the drums & bass). What we’re left withare the reverb drenched “reggae” guitars coupled with the vocals (plus the synth pad during thesecond chorus). Notice that the overall feel of the section is quite “light” compared to thepreceding and following sections.

The second half of choruses 1 & 2 then brings the power back up via the reintroduction of thedrums and bass back into the mix. Overall, the breakdown / full chorus combo greatlyenhances the dynamic variation within a song that has a pretty linear MTI level nature asmentioned earlier.

The Pre-Chorus / Chorus Roll ReversalAs previously mentioned, during pre-choruses 1 and 2 we saw a slight MTI level build fromwhat was defining the preceding verse sections which was then directly followed by abreakdown chorus, which took the MTI level back down.

Now – in the third pre-chorus and chorus occurrences within the song we see a reversal ofroles from an MTI level standpoint. The third pre-chorus is now a breakdown, while the thirdchorus that follows kicks off full in nature (i.e. not a breakdown – the drums and bass have NOTbeen pulled from the mix as was the case during the first two occurrences in the song). We’lllook 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 ofcompression vary throughout the song.

Sonic levels are at their lowest points during the intro, pre-chorus 3 (breakdown) aswell as in the brief lull that occurs in between vocal lines in the breakdown chorussections.

Sonic levels reach their peak during the second half of chorus 1 and 2, the bridge andespecially during choruses 3 and 4. You can see how there’s basically no breathingroom – 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 tosucceed in a Radio/Digital environment. Remember – there’s a loudness war going on – thosethat are the loudest have the best chance of capturing the listener’s attention amongst theothers. Unfortunately, though, dynamics suffer in the process.

MUSIC / INSTRUMENTATION / VOCALS – SECTION BY SECTIONNote: Pan is represented on a scale from 9:00 to 3:00 (i.e. left to right, with 12:00 being right upthe middle). Keep in mind that in most cases an instrument will bleed throughout the entiremix, but the pan depicted here represents its primary placement in the mix (i.e. where the levelis 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 inthe 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 instantlyestablished as soon as the intro starts. On one hand, we have Adam’s “oo,oo,oo…” vocal thatprovides the modern Pop element, and on the other hand we have the reverb drenched guitarswith subtle wha-wha effect that provides the Reggae vibe. This is all packaged in asubtle 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 anydrums 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 isexceptionally 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. Itinstantly engages and hooks the listener in and is really tough to shake once it’s in yourhead (not to mention the fact that it reoccurs throughout the song in variousmanifestations – more on that later…).

It serves as a “unique identifier” for the song. The second you hear it, you knowexactly what song it is. There’s no mistaking it for something else. The result is that itcuts through all of the clutter that you hear on the airwaves.

Considering that the “Reggae” guitar progression is also utilized in the verse thatfollows, it provides for a seamless transition between sections.

Its breakdown nature enables the verse that follows to have much greater impact whenit hits (i.e. the drums entering the mix on the lyric “hard” – notice how that specific lyricand 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 theintro before hitting with verse on the lyric “hard.”

Verse-1 (0:10 – 0:31)

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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 drumswith 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 thepreceding 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 iskicked way up via the addition of the drums in the mix. This provides good contrast tothe breakdown nature of the intro. The intro hooked you into the song, and the versecarries 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. Theelectronic drums encompass a modern Pop sound, while the nature of the beat issteeped 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. Noticehow he brings some unique character into the section with the manner in which hisvoice 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 toaccentuate 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 partenables it to possess increased significance later on considering that it ties directly intothe 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 thereverb – 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)



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 themix) 9:00 – 3:00


Harmony Vocal (Low/mid level, right under the lead vocal – occurs on the last two linesof the section) 12:00

Here the backing music remains pretty much the same as it was in the preceding verse, with themain differential factor stemming from the nature of Adam’s vocal delivery coupled with theaddition 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 virtuallyidentical to that which defined the preceding verse. The result is that the transitionbetween 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 thepreceding verse and possesses a “traditional” reggae nature. First, we have the deepbass slide that occurs at the onset of each line in the section (basically mimicking thenature 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 ofthe section.

Next we have the addition of the synth “blips” into the mix, which both adds color tothe 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 thepreceding 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 levelhas increased a notch above that of the preceding verse, providing for a build that willenhance the impact of the breakdown chorus that directly follows.

Notice the background harmony vocal that enters the mix during the last two lines ofthe section (similar in nature to the first phrases in the preceding verse), resulting inincreased color and diversity.

Transition Point – Pre-Chorus 1 into Chorus 1: Quick synth swell followed by an “airydispersal” into the chorus section that follows, lasting about eight seconds before it completelyfizzles out.

Chorus-1 (0:51 – 1:12)


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


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 themix) 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 hadbeen 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 buildingthrough 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 andthen explode into a powerful, soaring chorus. It’s more in line with some recent Britneyand 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 drumsbeing brought back into the mix coupled with low-level bass (except at the beginningwhere you have the quick bass riff and slide that’s at a higher level). Notice that thebass 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 anotherappearance which add additional color to the section.

Notice that for the most part the nature of the backing music is right on par with thatwhich defined the preceding verse and pre-chorus sections – there’s really not muchnew going on. The main differential factor of the section stems from the nature ofAdam’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 tobring the section to a crescendo before being abruptly cutting off before the soloharmony 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 bythe 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)



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 vocalprogression throughout the section – mid/up in the mix ) 11:00 – 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 thesecond verse, brought about via the bass, synth and background vocals which all mimicits nature.

The nature of Adam’s lead vocal is pretty much on par with that of the first verse. Theharmony vocal, however, combines characteristics that defined both the first verse aswell as the first pre-chorus of the song (harmony on the first phrase on each line plus fullline 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 transitionfrom verse 1 to pre-chorus 1.

Pre-Chorus-2 (1:33 – 1:53)




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 definedthe preceding verse section - mid level in the mix ) 9:00 – 3:00


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 muchidentical to that of the first pre-chorus occurrence within the song. The primarydifference stems from the addition of the more prominent vocal harmony that occurs oneach line of the section (as opposed to just the last two lines during pre-chorus 1) plusadditional 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 differentmanner 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, whichenables 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 firstpre-chorus as opposed to the way that it was mimicking the intro vocal melody in thesecond 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 thenit 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 whichmimics the vocal melody for part of each line in the section (e.g. “yeah I stopped usingmy head, using my head” has the bass line mimicking it. The bass then drops out forthe rest of the line “let it all go”). The manner in which the bass pops in and out of themix 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 whichprovides a subtly increased intensity to the section.

Transition Point – Pre-Chorus 2 into Chorus 2: Quick synth swell followed by an “airydispersal” into the chorus section that follows, lasting about eight seconds before it completelyfizzles 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 atthe 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” afterline 3. This gives increased color and differentiation to the section. Additionally, noticethe 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 withincreased color and texture as well as differentiating it from the first chorus occurrencewithin the song.

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Transition Point – Chorus 2 into the Bridge: Drum fill coupled with a swell of the bright, airysynth that acted as the pad in the preceding chorus.

Bridge (2:14 – 2:35)


Electric Guitars (Rhythm – Vintage Reggae Style –reverb and wha-wha – low/midlevel in the mix) 9:00 – 3:00

Electric Guitar (Vintage Reggae Wha-Wha– individual note runs – starts low level in themix, becoming more prominent toward the tail end of the section) 10:00 – 11:00


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 themix under the vocal) 9:00 – 3:00



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 thinkit’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 beenoccurring in the song up until this point (i.e. the exact nature of the section never occurredbefore 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 secondverse via the bass, vox and synth as previously mentioned), bringing us full circle andreinforcing that ultra-infectious melody in our head. Notice that there is an additionalvocal harmony on the “oo,oo,oo…” that occurs on the last two “oo,oo,oo’s” of thesection.

In each of the three lines of the section, Adam’s vocal “yeah baby give me one morenight” reinforces the title in your head.

The nature of the drums and “Reggae” guitars are continuing basically in the samemanner 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 thevocal (just as it did in the second verse).

Notice the additional “wha” guitar that occurs throughout the section – starting off verylow in the mix and becoming more prominent at the tail end, continuing right through thepre-chorus that follows. It’s this “wha” guitar that helps to further accentuate theReggae vibe of the song.

Transition Point – Bridge into Pre-Chorus: Quick drum fill followed by a downward bassslide.

Pre-Chorus-3 (2:35 – 2:55)


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 themix) 10:00 with the reverb trail panning over to around 2:00

Drums (Ride cymbal taps – low level in the mix) 11:00


Second Half (Add)

Electric Guitars (Rhythm – Vintage Reggae Style – the rhythm that defined thepreceding 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 halfof the section) 12:00

Synth Pad (Bright and “airy” in nature – low level in the mix except for the increase atthe tail end of the section) 10:00 – 2:00


Just as we had a “departure” from the rest of the song in the preceding bridge, the thirdoccurrence of the pre-chorus provides an additional change-up from the way things had beengoing up until this point. Considering that we just had two sections in a row where the MTI levelwas up there (second half of chorus-2 followed by the bridge), we now need to have a section

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that brings things back down before launching into the final chorus and out.

Now – normally if you have a higher MTI level chorus, it would be the job of the bridge to bringthings back down, or if that wasn’t the case it would DEFINITELY be the job of the followingchorus 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 abreakdown bridge OR a breakdown chorus that follows, there’s only one thing left to do – put ina breakdown pre-chorus.

Not only does this pre-chorus differ from all of the other pre-chorus occurrences considering it’sa breakdown (i.e. drums have been pulled and it’s sparse in nature), but it also differs on a fewother 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 strummingacoustic guitars coupled with the bright “wha” guitar notes that came into prominenceduring the tail end of the bridge.

Adams vocals are more subdued in nature than they were in the preceding chorussections. Additionally, gone are the two “oo, oo’s” at the end of every line, replaced withjust 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 viathe 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 thesection that leads into the chorus that follows. Also notice Adam’s hold on thelyric “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)



Electric Guitar (Vintage Reggae Wha-Wha– individual note runs – mid level in the mix) 10:00 – 11:00


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 atthe tail end of the section) 10:00 – 2:00



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 combinedunder 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 bridgesections. The result – more power and intensity (plus reinforcement of that infectiousmelody in the listener’s head).

The lead harmony vocals are utilized throughout the entire section, providingincreased color and texture as does the synth pad.

The additional “wha” guitar from the bridge and third pre-chorus is still in effect, utilizedin 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 thethird with the primary difference being that the synth and vocal “oo, oo,oo’s…” arebrought 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 withadditional “oh, oh, oh’s…,” the third line he then repeats the phrase “I said it a milliontimes,” and after the fourth line he states the title phrase “yeah baby give me one morenight.”

In chorus 4, he switches to a “yeah eh, yeah eh” after each line. This helps to furtheraccentuate the intensity of the section.

End

Talk about an abrupt false ending – the music is abruptly pulled at the tail end except for aquick downward bass slide. This is then followed by what sounds to be an unprocessed openmic 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 leadvocal being modified after the chorus to repeat the title and continuing on with the backing

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music and “oo,oo,oo” vocal melody as the song faded out. It would have worked great. Theproblem is, it’s definitely not the norm. The overwhelming vast majority of hit Popsongs have button endings or a quick reverb/delay trail off. Why? Fadeouts are an editingnightmare (think about it being used in a film/tv or commercial format) and also don’t work wellin radio.

You have to wonder, though, if the songwriters were being pressed to come up with ways onhow to end the song with a “proper” ending, and in the end they basically just said “f**k it – it’sover – this is how we’re ending it!”

Song Title / Lyrics / Harmonic Progression Back to Top

SONG TITLEWhen gauging the effectiveness of a song’s title, there are a number of factors that you need toconsider:

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 MoreNight.” 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 standout 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 yourhead, it is simplistic enough where it doesn’t take too much effort to remember plus the fact thatthe 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 theeffectiveness of the title. If you’re a Maroon 5 fan, then you’re accustomed to hearing songswith 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 willprobably think “One More Night – Hmmm, I wonder where they’re going with that !?!?” So inthat sense, it will pique some interest.

Bottom line – does the actual title make you curious? No. Does the fact that it’s a Maroon 5song 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 thesection.

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 morenight”).

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 twopeople – 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 whatthe 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 andthree – the fact that all of this intense fighting is making them “sick.” He knows that this is anextremely 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 theanimosity that these two people have for each other and the fact that they’re basically ready to

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kill one another, the attraction is still there, and it’s the nature of this attraction that serves ashis Achilles heel that keeps him coming back for more and time again.

Line 1 immediately establishes the fact that there is something about her that keeps himcoming back for more, making him “love” her (when you read the lyrics in the rest of thesection, you’ll notice that him “loving” her most likely has nothing to do with emotion – it’s allabout the sex).

Also notice that the phrase “baby there you go again” indicates that this is a reoccurringevent (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 topursue her, and the fact that he let all of his thoughts relating to the REAL nature of therelationship 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’sthe physical nature of the relationship – pure and simple. Notice how it’s implied (i.e. stuck onmy 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 blissassociated 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 senseevery 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 factthat he can’t resist her and goes crawling back only for the sex (pre-chorus), we’re nowprepared 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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die”) that it’s just going to be one more night and then THAT’S IT.

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 thepast- 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 somethinglike “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 thatthere WILL be ONE MORE NIGHT. It’s forward looking, and the cycle will repeat. So theentire section is one big contradiction. He wants it to end, but he’s always tacking on onemore night.

Verse-2 (THE PRESENT & FUTURE)In contrast to the first verse (which was all about the fighting), the second verse furtherdevelops the story in regard to how he can’t resist her and how it leads to him feeling satisfiedcoupled with regret.

Lines 1 & 2 relate directly to the physical attraction that he has for her, and the fact that eventhough 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), buthe WILL be feeling satisfied – which is the primary reason why he keeps going back to her timeand 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

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how much he knows it’s wrong, how it makes him feel guilty and hating himself, and how manytimes he says it’s going to end, the fact of the matter is that he’s going to keep crawling onback to her proclaiming “baby give me one more night!” The cycle is going to keep going onand 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 fighton an extreme level. (Verse 1)

Despite all of the fighting, he’s still very attracted to her, doesn’t think about therepercussions, 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 tosay no to her but again he just can’t resist. Despite him waking up the next morninghating himself and feeling guilty for hooking up with her, he’ll be feeling satisfied, whichseems 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 lineBlue 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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RHYMING LYRICSThe following lyrics “tie” lines together in certain sections of the song. The highlighted lettersare the “rhymers.”

Verse 1The last lyric on each line:

War

Doors

Score

More

Verse 2The 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-ChorusThe “oo,oo” that ends each line ties all of them together.

ChorusThe last lyric on each line:

Die

Night

Times

BridgeEach line is exactly the same.

LYRIC TYPESThis section highlights the types of lyrics and phrases used throughout each section of thesong. 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 connectwith 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 byimagery and action. Here are some key examples:

Verse 1


Verse 2


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 rough we keep throwing things and slammin’ the doors

Verse 2

Try to tell you no but my body keeps on telling you yes




Pre-Chorus

And now I’m feeling stupid, feeling stupid crawling back to you

Chorus


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




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


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



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 isa 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 eachsection of the song.

Sectional line repetition: For the most part, each line in each section of the song isalmost identical in nature from a vocal melody standpoint with just some minordifferences that prevent the sections from becoming overly monotonous.

The “oo,oo,oo…” vocal melody: The ultra-infectious “oo,oo,oo…” melody appears in 4sections throughout the song (intro, verse 2, bridge and chorus 4), brought about via thevocals, synth and bass.

Simplicity

As you’ll see below, for the most part there aren’t any “vocal acrobatics” going onwithin the song. On the contrary, the vocal melody in each section of the song isexceptionally simplistic in nature (yet effective), that not only helps to fostermemorability, 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 notonly 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 arephrased).

Notice how specific lines are “grouped” together, making it much easier for the listenerto 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 listenerto remember (i.e. “you and I go hard / at each other like we’re going to war”).

GRAPHICAL KEYBlue Line: Lead Vocal MelodyRed Diamond: RestBlack Diamond: Half & Dotted HalfBlue Diamond: Quarter & Dotted QuarterGreen Diamond: Eighth & Dotted EighthYellow 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 onenote that’s being stretched out, going up in register. This is done vocally in the intro andbridge, 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 andconcluding 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 throughoutthe song that makes it so infectious and memorable. Remember the whistle in “Moves LikeJagger?” Same premise.

Verse:

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Line Reference:

Verse 1Line 1: You and I go hard at each other like we going to warLine 2: You and I go rough we keep throwing things and slamming the doorsLine 3: You and I get so damn dysfunctional we start keeping scoreLine 4: You and I get sick yeah I know that we can’t do this no more

Verse 2Line 1: Try to tell you no, but my body keeps on telling you yesLine 2: Try to tell you stop but your lipstick got me so out of breathLine 3: I’ll be waking up in the morning probably hating myselfLine 4: And I’ll be waking up feeling satisfied but guilty as hell

Vocal RangeHigh: CLow: B-flat Key Ingredients:

Line Grouping / SegmentingIn verses 1 and 2, lines 1 and 2 make up one complete “group,” as do lines 3 and 4 (i.e. line 1ends on F, line 2 ends on E-flat, bringing the full “group” to a conclusion. This is then repeatedon 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 differentiationtakes 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

TimingNotice the timing/phrasing similarities on certain lyrics and phrases in verse 1 above (note thatverse 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 sectionVERY 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, thefirst two lines kick off in the same manner (try to tell you) as do the last two lines (I’ll bewaking up).

Simplistic, Effective Delivery

The third lyric in through the end of lines 1 and 3 are completely sung in a monotone Fdelivery

The third lyric in through the end of lines 2 and 4 start off in the key of F as was the caseon the preceding line, but then drops down to E-flat to conclude the line. It’s this dropdown to E-flat that brings the “group” (as mentioned earlier) to a conclusion and alsokeeps 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 thatprovides the section with character and color. The fact that it’s preceded and followedby a monotone delivery enables it to really stand out. Without that one “jump” thesection 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-ooLine 2: Yeah I stopped using my head using my head let it all go-oo-ooLine 3: Got you stuck on my body on my body like a tattoo-oo-ooLine 4: And now I’m feeling stupid feeling stupid crawling back to you-oo

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Vocal RangeHigh: B-flatLow: C

Key Ingredients:

RepetitionNotice that each line repeats in the same exact manner (progression and timing) except for thelyrics. Normally that would make for a very redundant section, but in this case it works due tothe reasons stated below.

ClevernessNotice 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 progressionthat’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 uniquenature 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 abacking 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 theline 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 jibeswith 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 itfollows a descending B-flat / B-flat / A-flat / G-flat / E-flat progression as opposed tothe ascending E-flat / E-flat / E-flat / E-flat / B -flat/ A-flat progression the first twotimes around. This change up provides the section with increased diversity – furtheraccentuating 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 entiresection to a climax before launching into the full chorus that follows.

Chorus:

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Line ReferenceLine 1: So I cross my heart and I hope to dieLine 2: That I’ll only stay with you one more nightLine 3: And I know I said it a million timesLine 4: But I’ll only stay with you one more night

Vocal RangeHigh: FLow: F

What makes the vocal melody so effective?

The AnchorNotice how C acts as the monotone anchor for each line, providing the jump up to F and E-flatwith more emphasis when it occurs (making for an engaging, memorable melody). Thelyrics/syllables that are highlighted in red shows where these jumps occur:


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-OffThe vocal “trail-off” on lines 2 and 4 provides diversity from lines 1 and 3. If the trail-offwasn’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 linesare identical from a melodic progression standpoint.

Bridge:

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Line ReferenceLine 1: Oo-oo-oo-oo-oo-oo-oo-oo Yeah baby give me one more nightLine 2: Oo-oo-oo-oo-oo-oo-oo-oo Yeah baby give me one more nightLine 3: Oo-oo-oo-oo-oo-oo-oo-oo Yeah baby give me one more night

Vocal RangeHigh: CLow: 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 thebridge, 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 thefact that the last lyric on the line (“night“) goes up to an A-flat as opposed to going downto F as it does on lines 1 and 3. Again, this subtle variation keeps the section frombecoming overly monotonous.

SimplicityAfter the “oo,oo,oo….” segment, the balance of the line continues on in a monotone F delivery

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until the tail end (“one more night”) where it initially climbs to G before concluding on A-flat or F. By keeping that part of the line “less adventurous” in nature, it enables the “oo,oo,oo…” partto shine even greater.

Top 10 Assessment Back to Top

Benchmark AnalysisCompares One More Night to the 21 songs that landed in the Billboard Pop Songs top10 during Q3-2012.

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All of the compositional characteristics and attributes present in One More Night are in line withQ3-2012 top 10 Pop hits EXCEPT:

The first chorus occurs 0:11 / 4% farther into the song than the top 10 hit Pop songaverage. This is primarily due to the fact that the song contains a 0:10 intro AND a 0:20pre-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 aPop/Reggae influenced song. There’s no dance element to be found, which wouldincrease the bpm.

One More Night is sung by a male lead vocalist where a small majority of Pop hits aresung by women.

The lyrics consist of both a love/relationship AND hooking-up theme, while most top 10hit Pop songs are pretty much purely love/relationship themed (plus inspiration whenthere 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 Jaggerand Payphone, so as far as maintaining their position as a leaders in the mainstream Pop scenewhen 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 haveto say that the answer is no. Yes, the song went in a different direction with its dominantReggae vibe, and they might have picked up a handful of new fans in the process, but asidefrom that it really didn’t chart any new territory, still adhering to the same general “formula” thatthey use time and time again to make their songs so infectious and memorable (not that that’snecessarily a bad thing). They know what works, and they stick with it.

Originality Factor: 7/10Does the song push genre boundaries and possess a unique nature or have you heard it allbefore? 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 Reggaecomponents, 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, infectiousvocal delivery, etc…). On the Reggae side, you’ve definitely heard it all before, including thenature of the bass, the drums and especially the reverb drenched electric rhythm guitars. Justput 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 uniquethat stands out in the current Pop mainstream. Aside from Bruno Mars’ “The Lazy Song” whichpossesses a lighter acoustic Reggae vibe, there hasn’t been a heavily Reggae influenced songlike One More Night landing in the Pop songs top 10 for some time. That coupled with the factthat no one else sounds like Maroon 5.

Social & Controversy Factors: 7/10Were there any social aspects surrounding the release of the song or within the song itself thatcould help increase its visibility, reach and success potential?

The primary external factor that really helped to accentuate the buzz around the song is the factthat it’s the follow-up to the massively successful “Payphone.” Maroon 5 are still very hot and inthe public eye, and the fact that One More Night is a very strong song and possesses a Reggaevibe that stands out in the Pop mainstream definitely capitalized on the Payphone buzz, helpingto launch it to the top of the charts.

One other factor worth mentioning is Adam Levine’s exposure on The Voice. When a memberof a group is constantly in front of a large television audience, it’s sure to have an effect on thepromotion and hype surrounding a new album or single (it was the same thing with Steven Tylerand 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 Reggaeinto their sound, but it wasn’t anything as drastic or “controversial” as say Taylor Swift’s moveinto modern Pop with “We Are Never Ever Getting Back Together.”

The Demographic Reach Factor: 9/10Is 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 reachdue to the nature of the music, melody as well as the lyrics.

Music: Modern Pop elements fused with Reggae and enveloped in an infectiousgroove. Here you capture both a woman and male Pop audience – early teen to as highas 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 normallywould have never felt inclined to listen to a Maroon 5 single. Whether or not they couldhold onto those fans is another story.

Melody: The infectious nature of the vocal melody is primed to connect with both a maleand female Pop demographic – combining elements that would appeal to both sexes. Inregard to age, the nature of the melody would definitely be more appealing to a youngeraudience, but remember this – infectious melody is infectious melody – it can hook youin no matter who you are or how old you might be.

Lyrics: Again – the nature of the storyline translates both into a male and femaledemographic. 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 involvedin a dysfunctional relationship at some point in their lives but held on just because of thesex). Second, the lyrics play to both genders. It’s conveyed from the male perspectiveso men can obviously relate, but on the other hand women can really get into it becausethey’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’redoing – you gotta listen to this – NOW!!!”

Not really. On the plus side you have the Maroon 5 goes Reggae factor coupled with the factthat 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 soyou can take a listen. It’s more like someone would call up their friend and say, “hey – checkout Maroon 5’s new single One More Night when you get a chance – it’s REALLY good!” Andit is REALLY good. Good enough to send it to #1.

The “Multiple Listen” Factor: 8//10Is this song engaging enough to warrant repeat listens?

Initially, yes. One More Night is definitively infectious and engaging enough where the listenerwould 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 ofdiminishing 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: 7/10Does this song exude a vibe that enables the listener to connect on a deep, emotional, HUMANlevel?

There are three core factors that we need to look at when evaluating the “emotion” present inOne 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 aconvincing manner, instead seeming mostly concerned about nailing the infectiousnature of the melody. That being said, he DOES change up his vocal style in the thirdpre-chorus (the breakdown where he sounds somewhat somber and exhausted) whichdoes connect a bit more on an emotional level.

Backing Music: Traditional Reggae music is all about emotion and vibe, and itsinclusion within the framework of One More Night definitely helps to provide a “humantouch” – specifically via the nature of the bass and reverb drenched guitars (they’redefinitely 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 Nightreally shines. The entire scope of the story exudes emotion, enabling the listener toconnect on a deep (and for some, familiar) level.

Memorability Factor: 9/10How easy is it to remember the song’s lyrics & melody? Is each section of the song equally asmemorable?

Overall, One More Night is an exceptionally memorable song due to a number of key factors asmentioned 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 ingetting the ultra-infectious melodies that occur in EACH SECTION of the song completely stuckin your head and hard to shake.

Now, in regard to the lyrics, the factors mentioned above also aid in getting the lyrics totallyengrained in your head as well. It will probably take you numerous listens to remember most ofthe verse and pre-chorus sections, but the bridge and chorus are almost instantaneous.

Longevity Factor – Artist: 10/10Will 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 statedthroughout this report, and will no doubt become a featured staple in their repertoire for theduration of their career.

Longevity Factor – Genre: 3/10Does this song have what it takes to stand the test of time and rank amongst the all-timegreats?

As far as standing the test of time in the overall Pop genre goes, I would have to say that OneMore Night will most likely be relatively short-lived. It’s a great song, no doubt, but it doesn’tpossess any “special” or “timeless” qualities that will enable it to stand the test of time with thegreats.

Conclusion Back to Top

Now that we have thoroughly explored Maroon 5’s One More Night, let’s review someof 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 instrumentationand 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 builtthroughout the verse and pre-chorus sections of the song.

Lyrical payoff in the chorus (it’s what the story had been building toward plus therepetition of the title).

The bridge also functions as sort of a payoff considering the reversion back to theinfectious 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 fromsection to section in regard to their lyrical content).

Sectional lyric repetition: (i.e. each line in the first verse starting with “you and I,” therepetition of phrases in the pre-chorus: “stopped using my head, stopped using myhead,” 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 thesame in each section of the song.

Sectional vocal melody repetition: For the most part, each line in each section of thesong is almost identical in nature from a vocal melody standpoint with just some minordifferences that prevent the sections from becoming overly monotonous.

Backing music repetition: The nature of the reverb drenched electric “reggae” rhythmguitars as well as the drum pattern remains pretty much constant throughout the entiresong and act as the “anchors.”

The “oo,oo,oo…” melody: The ultra-infectious “oo,oo,oo…” melody appears in 4sections throughout the song (intro, verse 2, bridge and chorus 4), brought about via thevocals, 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’tlet go.

Vocals

The vocal melody is exceptionally infectious and memorable in EACH section of thesong, accentuated via copious amounts of repetition, its overall simplicity, effectivephrasing & line segmenting.

The harmony and secondary vocals throughout the song add increased color, textureand 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 dysfunctionalrelationship based on physical attraction can relate.

Pop Genre

The Pop/Reggae nature of the song enabled it to stand out amongst others currentlytopping the charts in the mainstream Pop scene.

Adam’s unique vocal style provides the song with the “Maroon 5 sound,” which alsoenables it to stand out in relation to other songs/artists in the genre.

Bottom LineAdam Levine, Max Martin, Shellback and Savan Kotecha. You want to know what a hit Popsongwriting “dream team” looks like? Well, look no further. These guys know how to craft asong that is so engaging, infectious and memorable that it’s almost pre-destined to reach thetop 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 tocreate a song with immense mass appeal.

They definitely had a tough act to follow with Payphone, but they certainly achieved what theyset out to do with One More Night – score a #1 hit and enable Maroon 5 to remain as leadersin the mainstream Pop scene.

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Songwriter/Producer Take Aways Back to Top

MemorabilityIf you REALLY want to get your song engrained in the listener’s head, there are two key factorsthat 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, andthis is an area where One More Night excelled. Lines repeated, sections repeated, but therewas always some differential factor (subtle or pronounced) that kept things from becomingoverly monotonous.

MTI Levels (Momentum, Tension, Intensity)Always remember that your song needs to “breathe.” If the MTI levels within your song are toolinear, the engagement value for the listener is going to start to suffer. Some methods that wereutilized in One More Night include:

Incorporating subtle MTI level variations between sections. This was done primarilyby adding/detracting certain instrumentation from the mix, increasing/decreasing soniclevels, 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 recentsongs by Britney and Rihanna amongst others) proved that going into a breakdownfollowing a verse/pre-chorus build can be just as effective and engaging. How do youdo it? Start by pulling the drums from the mix and go bare bones with a vocal andsparse backing instrumentation. Then, follow it with a “full on” balance of the section toget the MTI level back up there. One More Night utilized the breakdown in the first twochorus sections as well as in the third pre-chorus that followed the bridge.

Reoccurring ThemesOne area that Maroon 5 excels at is establishing a song-defining theme and having it reoccurthroughout the entire song. In Moves Like Jagger, it was the whistle. In One More Night, it wasthe “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 manifestationsthroughout the song (vocals, synth and bass), taking the infectious nature and memorabilityfactor of the song to the next level.

This technique is definitely not warranted in every song that you’re going to write, but if youhave a song that could really benefit from something like this, it’s guaranteed to put it over thetop if incorporated in an effective manner. Remember, you want to do everything possible tostand out and get noticed.

LyricsWhen 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. universalappeal)

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The story should be conveyed in an interesting manner that keeps the listener engagedthroughout the song.

This was a strong suit of One More Night. The writers conveyed a love/relationship, hooking uplyrical theme in a universal manner that connected with anyone who has been in a dysfunctionalrelationship that was continued just for the sex. Additionally, they provided the listener with anengaging storyline that utilized imagery, action and emotion to hold them from one section tothe next,

Combining GenresOne topic that we have been reporting on for a while has been the ever increasing number ofmainstream Pop songs that fuse a combination of sub-genres into their overall sound. If youwant to develop a unique sound that enables you to stand out amongst others in the genre, thisis 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 entiresong was straight-up Pop fused with Reggae.

EmotionIf you really want to maximize the effectiveness of your song and connect with the listener on adeep level, then you better incorporate a good amount of emotion into your song. Most peoplethink that the emotional level is primarily brought about via the vocals. Not true. The nature ofthe 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 bythe nature of the reverb drenched “Reggae” guitars plus the emotionally charged nature of thelyrics.

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One More Night Deconstructed

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