Stereo Hearts Deconstructed

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Stereo Hearts Deconstructed

Skip to: Audio/Video General InformationAt a GlanceStructural AnalysisSectional AnalysisWaveformPrimary Instrumentation, Tone & MixBenchmark AnalysisOverall AssessmentHit Factor AssessmentConclusionWhy it’s a HitTake Aways

Audio/Video Back to Top

General Information Back to Top

Artist: Gym Class Heroes featuring Adam LevineSong/Album: Stereo Hearts/The Papercut Chronicles IISongwriter(s): T. McCoy, A. Levine, B. Blanco, B. Lowry, A. Malik, D. OmelioProducer(s): B. BlancoChart Position: #2 – Billboard Pop Songs ChartGenre: Pop / Hip HopSub Genre: Dance (only in first section of the chorus)

At a Glance Back to Top

Length: 3:32Structure: B-A-B-A-B-C-BTempo: Mid (~92 bpm)First Chorus: 0:01 (.1% into the song)Intro Length: n/aOutro Length: n/aElectric vs. Acoustic: Electric

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Primary Instrumentation: Synth, Electric Guitar, Electronic DrumsLyrical Theme: Love/RelationshipsTitle Occurrences: The actual title does not appear in the song (see lyric sections of the report)Primary Lyrical P.O.V: 1st & 2nd

Structural Analysis Back to Top

At-a-Glance

Section Length (Length of each individual section within the song)

In the graph above we see the first half of each chorus (the section preceding the “oh, oh oh”part), both verses and the bridge all landing at 0:21. The “oh, oh oh” section of the second,third and fourth chorus as well as both pre-choruses land at 0:11. The transitions between thechorus and verse sections are exceptionally short (landing at 0:01 and 0:02), as is the finalpause at the end of the song followed by the lyric “yeah” (landing at 0:04). Overall, eachsection is just the right length to keep the listener engaged without “overstaying its welcome.”

Structure Timeline (Shows when each section hits within the timeline of the song)

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Total Section Analysis (Total time consumed by each section and its percentage of the totalsong)

Looking at the chart above, it’s not very difficult to tell where the focal point of Stereo Heartslies. Totaled together, all of the chorus sections (including the “oh, oh oh” parts) total 55% ofthe songs total composition. This is followed far behind by the verses (totaling 20% of thesong) and the pre-choruses and bridge, each of which total 10% of the song.

What’s interesting to note is that in most Hip Hop/Rap influenced songs the verse sectionsaccount for much more than 20% of a songs total composition (i.e. the verses are deemed justas important as the choruses from a time allocation standpoint). Even though Stereo Heartshas a strong Hip Hop influence in the verse sections, the Pop nature of the song wins out interms of overall structure (i.e. Adam Levine’s ultra-infectious chorus).

Momentum/Intensity Factor (Evaluation of the intensity of each section within the song timeline

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on a scale of 1 – 10, 10 being the most intense)

Stereo Hearts makes great use of momentum and intensity shifts throughout the entire song,doing a fantastic job at both keeping the listener engaged and providing greater impact andcontrast to sections that precede and follow one another.

The song kicks off with the chorus in a mellow (sparse) manner, characterized by Adam’s vocalover a solo piano. At 0:10, the momentum is kicked up a notch with the introduction of theelectric guitar, which continues until we hit the “transition point” where Travie proclaims “GymClass Heroes, baby!” This is then followed by a brief pause before launching into the first verse.

At 0:24 we enter the first verse where the sparse Pop nature of the first chorus is now shifted toa more intense, low-down Hip Hop vibe. This is brought about by the nature of the beat, thesynth bass and Travie’s rapped lyrics. The momentum continues throughout the first half ofthe section, and increases just a bit with the introduction of the electric guitar “accentuations”during the second half of the section.

The pre-chorus lands at 0:45, where we see the intensity levels further increased due to theincreased tension brought about by the change-up in Travie’s vocal delivery coupled with swellthat ushers in the chorus.

At 0:56 we hit the first half of that super-infectious chorus, where we see the momentum andintensity levels being brought way up primarily due to the changeover from the hip hop beat thatdefined the verse and pre-chorus sections to a straight-up dance beat coupled with the return tothe guitar rhythm that was established during the first chorus (intro) section. The overallmomentum continues throughout the first half of the chorus, until we get to the transition pointwhere the music and drums are pulled from the mix during the lyrics “…along to my stereo.”

At 1:17 we hit the second half (“oh, oh oh”) section of the chorus, where the momentum takesa dip from that of the first half primarily due to the “stop/start” nature of the music and thevocals. This continues until we get to the last line of the section (to sing along to my stereo) andanother “transition point,” where the music and drums come to a halt in conjunction with theproclamation of the lyrics “let’s go!” that ushers in the second verse.

The momentum/intensity progression that was indicative of the first half of the song (verse

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through the second part of the chorus) repeats during the second half, until we hit the bridge at 2:35. Here we see the momentum and intensity levels taking a dip primarily due to the removalof the drums from the mix during the first half of the section coupled with addition of the melloworchestral strings and “lighter” vocal delivery.

At 2:45, (second half of the section), the momentum and intensity levels are increased when theelectronic drums enter the mix coupled with Adam’s “climbing” vocal delivery, and thiscontinues until we hit the drum fill at the end of the section that ushers in the final chorus of thesong.

The momentum/intensity progression that was established during the previous two chorussections repeats in the fourth (and last) chorus, until coming to the end at the lyric stereo. This isthen followed by a brief pause and the lyric “yeah,” which is then followed by some “vinylcrackle” before coming to a final conclusion at 3:32.

Sectional Analysis Back to Top

Intro: 9/10What’s great about the intro section to Stereo Hearts is the fact that there isn’t one. Instead,the song kicks right off with the chorus (albeit a “sparse” chorus), and instantly engages youwith the super-infectious melody and clever opening line My heart’s a stereo, it beats for you solisten close, hear my thoughts in every note.” The music is characterized by the lone piano,electric guitar (during the second half of the section) and the LP stereo “crackle” effect whichgives the section a retro “stereo turntable” vibe.

As the first chorus progresses, we see the tension and momentum start to increase via theinclusion of the electric guitar rhythm that enters halfway through the section, followed thebackground vocal accentuations from Travie before launching into the first verse with Traviedeclaring “Gym Class Heroes, baby!” All in all, the first chorus does a fantastic job ofimmediately engaging the listener, setting the scene for the entire song, and providing a greatsegue into the first (rap oriented) verse.

LYRICS & CHORD PROGRESSIONS IN THE FIRST (INTRO) CHORUS

Key:(Parenthesis): Carry-over chord from the end of the previous line

1st Stanza: F#m – D – AMy heart’s a stereo (A )– E – F#mIt beats for you, so listen close (F#m) – D – A – EHear my thoughts in every no-o-ote

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2nd Stanza: F#m – D – AMake me your radio (A) – E – F#mAnd turn me up when you feel low (F#m) – D – AThis melody was meant for you (A) – ETo sing along to my stereo

***Note: More on the melody and lyrics in the “Full Chorus” section that follows later inthe report.

GRAPHICAL REPRESENTATION OF VOCAL MELODY PRESENT IN THE FIRST THREESTANZAS OF THE (INTRO) CHORUS (listen to the section while you look at this):

Key:Red Diamond: Any note value longer in duration than an 8th note (including rests)Blue Diamond: 8th noteGreen Diamond: 16th note

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GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN EACHINDIVIDUAL LINE WITHIN THE FIRST (INTRO) CHORUS (listen to the section while you lookat this):

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Verses: 9/10

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Here we do a complete 180 from the Pop vibe that was established during the first chorus (intro)section of the song, where it’s now all about the low-down, dark Hip Hop oriented groove thatprovides the perfect backdrop for Travie’s memorable rapped lyrics.

THE MUSICA low-down groove brought on by a dark, gritty, morphing synth bass coupled with a kick, snareand hat driven Hip Hop beat. Reverb drenched electric guitars with a touch of “grit” enter intothe mix during the second half of the section, providing the verse with increased depth andatmosphere.

THE LYRICSAs with the chorus, the lyrics in the verse sections are exceptionally clever and engaging andmake great use of imagery. Here we see conversational “love/relationship” themed lyricsconveyed in a “musical” context. They do a great job of putting a fresh spin on a long worn outlyrical theme.

In verses one and two below you’ll see that there are 12 references to something “musical” innature – conveyed as either an individual word or phrase, appearing on 11 out of the 16 lines. These words and phrases are bolded below for reference.

Additionally, to help illustrate Travie’s phrasing, the lyrics below in red indicate either an eighthnote or a rest, and the lyrics in black indicate 16th notes.

Key:Red: 8th NotesBlack: 16th NotesBold: The lyric makes reference to something musical

CHORD PROGRESSION USED THROUGHOUT THE ENTIRE SECTION: F#m – D – A – E

1ST VERSE:If I was just an-oth-er dust-y rec-ord on the shelfWould you blow me off and play me like ev-‘ry-bod-y elseIf I asked you to scratch my back, could you man-age that(Unintelligible), Tra-vie, I can han-dle thatFur-ther-more, I a-pol-o-gize for a-ny skip-ping tracksIt’s just the last girl that played me left a cou-ple cracksI used to used to used to used to, now I’m o-ver thatCause hold-in’ grudge-es o-ver love is an-cient ar-ti-facts

2ND VERSE:If I was an old-school, fifty pound boom-boxWould you hold me on your shoul-der, wherever you walkWould you turn my volume up in front of the copsAnd crank it higher every- time they told you to stop

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And all I ask is that you don’t get mad at meWhen you have to purchase mad D batt-eriesAppreciate every mix-tape your friends makeYou never know, we come and go like on the inter-state

LIST OF THE MUSICAL THEMED LYRICS IN BOTH VERSE SECTIONS:

Dusty recordPlay meScratchSkipping tracksPlayed meCracks (as in a crack in vinyl)Fifty pound Boom BoxHold me on your shoulder (i.e. in relation to the Boom Box)Volume upCrank itD batteriesMix-tape

THE MELODYTravie’s “smooth,” “cool” and “confident” rapped delivery does a fantastic job of bringing thenature of the lyrics to life and perfectly jibes with the low-down vibe of the backinginstrumentation. His phrasing is spot on and memorable, and provides great contrast toAdam’s delivery in the chorus.

Pre-Chorus: 9/10Here we see a continuation of what was going on musically in the preceding verse section, withthe real difference stemming from the change in Travie’s vocal melody and lyrical theme.

THE MUSICMusically it’s virtually identical to the preceding verse section except for the fact that the basssynth briefly morphs a bit toward the treble end of the spectrum during the second half of thesection. The electric guitar remains pretty much the same as well, except for an additionalchord sequence that’s thrown in around 0:50 and panned to the 1:00 position.

THE LYRICSHere we continue with the “musical” based lyrical theme that defined the preceding versesections, with the main difference being that Travie is now trying to convince the girl to be withhim, as opposed to where he was primarily questioning, apologizing, making excuses andmaking requests in the verse sections. In a nutshell, this pre-chorus does a fantastic job ofcontinuing to develop the story and bridge the gap lyrically between the verse and chorussections of the song.

What’s really clever about these two pre-choruses is the difference in the lyrics on the first twolines of pre-chorus one and two (the last two lines remain the same in each):

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First Line in Pre-Chorus 1:If I could only find a note to make you understand

First Line in Pre-Chorus 2:I think finally found a note to make you understand

In pre-chorus 1, he’s searching. In pre-chorus 2, he found it.

Second Line in Pre-Chorus 1: I’d sing it softly in your ear and grab you by the hands

Second Line in Pre-Chorus 2: If you can hit it, sing along and take me by the hand

In pre-chorus 1, Travie’s talking about what he would do. In pre-chorus 2, it’s now what she hasto do (i.e. if you can hit it…)

LYRICS AND CHORD PROGRESSIONS IN BOTH PRE-CHORUS SECTIONS

Key:(Parenthesis): Carry-over chord from the end of the previous lineBold: The lyric makes reference to something musical

FIRST PRE-CHORUS E – F#m – D If I could only find a note to make you understand (D) – A – E I’d sing it softly in your ear and grab you by the hands (E) – F#m – D To keep me stuck inside your head, like your favorite tune (D) – A – F#m/E And know my heart’s a stereo that only plays for you

SECOND PRE-CHORUS E – F#m – D I think finally found a note to make you understand (D) – A – E If you can hit it, sing along and take me by the hand (E) – F#m – D T’ keep me stuck inside your head, like your favorite tune (D) – A – F#m/E And know my heart’s a stereo that only plays for you

LIST OF THE MUSICAL THEMED LYRICS IN THE PRE-CHORUS:

Note

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Sing it softlyFavorite tuneStereoPlays for youSing along

THE MELODYIn the first two lines of the section we see the vocals possessing more of a range than thealmost monotone delivery that was defining the verse. Overall it’s simplistic and memorable innature, ascending and descending via A – B – C# – B – A throughout the first two lines. Thisprogression can be equated to “walking up and down hills,” and is also indicative of the melodypresent in the chorus as well as part of the bridge.

The third and fourth lines of the section revert back to the more “monotonistic” natured rapdelivery that was present in the verse, primarily fluctuating from A to G# during the first two-thirds of the section, before going down to a G# – F delivery until resolving at G# with thelaunch into the chorus.

GRAPHICAL REPRESENTATION OF VOCAL MELODY PRESENT IN BOTH SECTIONS OFTHE PRE-CHORUS (listen to the section while you look at this):


Here we see the first (more melodic) section of the pre-chorus broken into two distinct phrases. Both are very similar in nature from a melodic and repetition standpoint (encompassing that“walking up and down a hill” nature as mentioned earlier) and utilize a 16th note deliverybroken up by an 8th note followed by a rest on the lyric stand and hands.

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Here we see a reversion back to more of a monotone rap delivery, similar to what was definingthe verse section that preceded it. As was the case with the first section of the pre-chorus,here we again have two distinct phrases, broken up by an 8th note followed by a rest on thelyric tune and you. The first two-thirds of the section basically fluctuates from A to G#, and thesecond fluctuates from G# to F#. By going down in pitch in the second-third of the section, itbetter sets up and makes Adam’s initial higher pitched delivery in the Chorus possess a muchgreater impact.

GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN EACHINDIVIDUAL LINE WITHIN THE PRE-CHORUS (listen to the section while you look at this):

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Chorus: 10/10Here we see the song taking another complete 180, switching from the Travie rapped verse andpre-chorus sections to the ultra-infectious, memorable Dance/Pop payoff delivered by AdamLevine. What’s really fantastic about the chorus in Stereo Hearts is that it’s split into twodistinct sections, and as a result provides listener with double the payoff.

THE MUSICFIRST HALF OF THE CHORUS:The first real noticeable difference from the pre-chorus to the chorus is the change from a HipHop oriented beat to a straight-up dance beat characterized by an upfront kick, snare and hat. Notice that the electronic drum levels are also higher in the mix than they were in the verse andpre-chorus sections. In addition to the change in beat, we also see the orchestral natured synthenter mid-level into the mix (adding texture to the section) plus the reversion back to the electricguitar rhythm that was present during the first (intro) chorus of the song. Also notice that thesynth bass isn’t as “gritty” as it was in the verse and pre-chorus sections. It’s low andcompressed.

SECOND HALF OF THE CHORUS:Here we see the music take a complete turn from what was going on in the first half of thechorus. First and foremost, it encompasses a stop/start rhythm as opposed to the straight-updance beat that was indicative of the first half of the section. Second, the orchestral synthstrings are way up in the mix as opposed to the preceding section. Overall, the music works inperfect unison in supporting Adam’s “oh, oh oh” vocal delivery, and provides the song with yetanother level of diversity and depth.

THE LYRICSOnce again, as with all of the sections that preceded it, the lyrics in the chorus encompass a“musical” theme. Overall, the lyrics are simplistic, exceptionally clever and memorable innature. In a nutshell, it’s the culmination to what the story had been building to throughout theverse and pre-chorus sections, with the male now professing his love to the woman in the story.

LYRICS & CHORD PROGRESSIONS PRESENT IN BOTH SECTIONS OF THE CHORUS

Key:(Parenthesis): Carry-over chord from the end of the previous line

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Bold: The lyric makes reference to something musical

1st HALF OF THE CHORUS:1st Stanza:F#m – D – A My heart’s a stereo (A )– E – F#m It beats for you, so listen close (F#m) – D – A – E Hear my thoughts in every no-o-ote

2nd Stanza: F#m – D – A Make me your radio (A) – E – F#m And turn me up when you feel low (F#m) – D – A This melody was meant for you (A) – E To sing along to my stereo

2ND HALF OF THE CHORUS:A Oh – Oh – Oh –Oh A/G# Oh – Oh – Oh –Oh A/D Oh – Oh – Oh –Oh D – E To sing along to my stereo

LIST OF THE MUSICAL THEMED LYRICS IN THE CHORUS:

StereoBeatsNoteRadioTurn me upMelodySing along

THE MELODYFIRST HALF OF THE CHORUS:Ultra-infectious and memorable – what more can be said? Once again, Adam’s vocal deliverycan be equated to “walking up and down hills” (see the melody graphs below for anillustration). It starts at the peak (A), then descending to C# at the end of the first phrase,

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dropping to A at the beginning of the second phrase before climbing back up to F# anddescending down to B and then up to C# at the end of the second phrase. The third phrasestarts at E, climbs to F#, before descending down to B at the end of the phrase. Overall, it’srepetitive and has a flow about it that easily gets engrained in your head.

Additionally, what’s interesting to note is that the first half of the chorus kicks off with adescending vocal melody line – very similar in nature to Adam’s vocal melody in Moves LikeJagger’s chorus.

SECOND HALF OF THE CHORUS:Repetitive, ultra-simplistic, singable, memorable and primed for audience participation during alive show. That just about sums up the second half of Stereo Heart’s chorus. The “oh, ohoh’s” are basically just an A – E – C# – E progression that goes down to G at the start of thesecond “oh” phrase. The section concludes with a descending melody that peaks at F# andends at A (during so sing along to my stereo).

GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN THE FIRST TWOSTANZAS OF THE FIRST SECTION OF THE CHORUS (listen to the section while you look atthis):


Here we see the two stanzas that comprise the first (Dance) section of the chorus. Each isbroken into three distinct phrases, and broken up by a changeover to an eighth note followed bya rest on the lyrics (or syllables) o, close, ote, o, low and you.

Notice how each stanza starts off with a descending melody line, going from A down an octave

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to A, and then proceeding on to that “going up and down a hill” progression for the balance ofthe stanza.

Notice that the two stanzas are virtually identical in nature from a repetitive melodic standpoint. In addition to the melodic flow, look at the first four words in each stanza, and how the fourthword is three syllables long and similar sounding in nature: ster-e-o and ra-di-o. All of thisdoes a fantastic job of fostering memorability within the section.

GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN THE SECONDHALF OF THE CHORUS (listen to the section while you look at this):

Here we see the repetitive “oh, oh oh” section utilizing both eighth and sixteenth notes to give itits distinct stop/start feel, followed by the another “climb up and down the hill” section duringthe last phrase So sing along to my stereo. This phrase is used to conclude both the first andsecond sections of the chorus.

GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN EACHINDIVIDUAL LINE WITHN THE FIRST HALF OF THE CHORUS (listen to the section while youlook at this):

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GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN EACHINDIVIDUAL LINE WITHN THE SECOND HALF OF THE CHORUS (listen to the section whileyou look at this):

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Bridge: 9/10Hitting immediately out of the second chorus (with no interlude or transition), the bridge in Stereo Hearts provides a great departure from the rest of the song musically, melodically andlyrically.

THE MUSICMusically, the bridge differs from every other section within the song (which any great bridgeshould). The first thing that you’ll notice is that the drums are pulled from the mix during thefirst half of the section. This in conjunction with the addition of the orchestral string synth does afantastic job of accentuating the heartfelt nature of the lyrical content present in the section, andis the perfect example of what prosody is all about. The momentum is then increased duringthe second half of the section where we see the electronic drums and synth bass reintroducedto the mix before hitting the fill that leads back into the final chorus.

THE LYRICSAfter the questioning, apologizing, making excuses and making requests in the verse sections,the “convincing” in the pre-chorus and the “professing” in the chorus, now we see the male inthe story feeling a bit insecure, ultimately hoping that this woman never leaves him. Notice thatonly one line in the entire section (the second line) utilizes a “musical” themed lyric(i.e. “music.”) What’s great about that lyric, though, is that it’s synonymous with “woman,” andties the whole premise of the story together.

Key:Bold: The lyric makes reference to something musical

F#m – D – A – EI only pray you’ll never leave me behind F#m – D – A – EBecause good music can be so hard to find F#m – D – A – EI’ll take your head and hold it closer to mine F#m – D – A – F#mThought love was dead, but now you’re changing my mind

THE MELODYAs with the preceding sections of the song, the melody in the bridge is simplistic, infectious andmemorable. During the first half of the section (i.e. the first two lines), you’ll notice that each lineis exactly the same from a melodic standpoint. The first four syllables are sung in C#, beforeproceeding into the “walking up and down a hill” natured melody that’s similar to what wasgoing on in the pre-chorus and chorus sections as discussed earlier in the report.

The second half of the section (last two lines), starts out like the first half (i.e. C#), but thenbegins to gradually increase by an octave throughout the section, starting at A on the lyric “pull”and winding up an octave higher, at A on the lyric “mind” at the end of the section. What’sgreat about this is that it brings the section to an emotional climax before hitting with the final

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chorus of the song.

GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN EACH STANZAWITHIN THE BRIDGE (listen to the section while you look at this):


Here we see the first stanza of the bridge broken up into two distinct phrases, once againseparated by a changeover to an eighth note plus a rest on the syllable hind and the lyric find. Each phrase starts out with a monotone delivery in the key of C#, followed once again by a walk“up and down the hill” during the second half of each phrase.

The second stanza starts off with the same monotone delivery that was present in the firststanza, but as you can see the section builds in pitch throughout until topping off at A on thelyric mind.

GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN EACHINDIVIDUAL LINE WITHN THE BRIDGE (listen to the section while you look at this):

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Waveform Back to Top

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As you can see in the waveform graphic above, Stereo Hearts is immensely compressed andthe levels are pushed to the max to achieve maximum sonic impact. There is a bit of breathingroom in the first chorus (intro) section as well as the bridge, however.

Primary Instrumentation, Tone & Mix Back to Top

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Benchmark Analysis Back to Top

Compares the song being analyzed to all Pop songs that have entered the Billboard Pop top 10,Q1 through Q2-2011

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The key elements present in Stereo Hearts are in-line with all year-to-date top 10 Pop hitsEXCEPT:

The song kicks off with the chorus as opposed to a “proper” intro.

The tempo is more “mid” than “mid-up” in nature (~92 bpm).

The song features guitar and up-front drums in addition to a synth.

It possesses a “love/relationship” lyrical theme as opposed to a “hooking up” lyricaltheme (though “love/relationship” themed songs are still popular amongst the very topcharting songs).

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Stereo Hearts basically has two “primary” genre influences (Hip Hop and Pop) with aDance sub-genre influence occurring in the first half of the chorus

Overall Assessment Back to Top

Structure: 9.5/10Does the song flow in a cohesive manner and keep the listener engaged? Stereo Hearts issuperbly structured; with each section of the song just long enough to keep the listener engagedand engrossed while being just short enough so that the listener doesn’t get “bored” or havetheir attention start to wander. Each section within the song compliments one anotherperfectly, and the idea to split the chorus into two distinct sections, each with their own “payoff,”was brilliant.

Production: 10/10How does the production stand up in maximizing the songs impact? The production value of Stereo Hearts is exceptionally strong. Each instrument is well panned and cuts through the mix,with both the nature of the Hip Hop oriented verse/pre-chorus sections and the Dance/Popchorus coming across distinct yet cohesive in nature within the sonic landscape of the song. Mixing two genres into one song in a seamless manner is no easy task. It was pulled offflawlessly in Stereo Hearts.

Instrumentation/Tone: 9/10Does the instrumentation and sound maximize the vibe of the song? As was the case with thenature of the production, another strongpoint of Stereo Hearts is how Dance/Pop is perfectlyfused with Hip Hop from an instrumental standpoint under one roof. This is brought aboutprimarily through the use of similar instrumentation throughout the entire song.

There are four key instruments that turn up in just about every section of the song, resulting in aseamless transition between each individual section. Those instruments are the electric guitars,the dark synth bass, the orchestral synth and most of all, the upfront electronic drums. It’s thechange in their levels and rhythm throughout the song that gives each section its distinct vibe (inaddition to the change in melody, of course). Additionally, the tones associated with eachindividual instrument jibe perfectly with one another in creating an engaging sonic landscape,and support the nature of the vocals as well.

Lyrics: 10/10Are the lyrics strong, fresh and original? Do they serve the song and jibe with the vibe of themusic? The lyrical content in Stereo Hearts does a fantastic job of taking a mundane“love/relationship” theme and putting a clever spin on it so that it comes across fresh, originaland engaging. See the “lyric” analysis in each section of the report for specifics, but overall,lyrically it’s one of the strongest songs to hit the charts in quite a while.

Vocal Delivery: 9/10Does the tonality and phrasing of the vocals maximize the songs impact? The lead vocal duties

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in Stereo Hearts are shared by Travie McCoy and Adam Levine. Travie’s delivery in the HipHop oriented verse and pre-chorus sections of the song jibe perfectly with the music inestablishing that “confident,” “low down,” “dark” natured vibe. Overall, his delivery has a greatflow to it, and he comes across in a convincing manner. Adam’s vocals are spot on inestablishing the soaring Dance/Pop nature of the chorus and bridge sections. Together, Travieand Adam perfectly complement one another in fusing these two distinct genre to create anexceptionally infectious, engaging song.

Hit Factor Assessment Back to Top

Memorability: 10/10How easy is it to remember this song after you hear it once? Overall, Stereo Hearts is anexceptionally memorable song due in part to phenomenal melodic phrasing and abundant useof repetition throughout the entire song – both on a vocal and instrumental level. Above all, it’sthe ultra-infectious nature of both sections of the chorus that really gets engrained in your headand is tough to shake.

Originality: 9/10Does this song have its own unique vibe when compared to other songs/artists in thegenre? From a lyrical perspective, Stereo Hearts is exceptionally unique and original. Asmentioned earlier, they took a mundane “love/relationship” lyrical theme and put a unique spinon it that enabled the song to stand out amongst others in the genre.

Musically, when you look at the song in its individual parts, there’s really nothing exceptionallyunique about the verse, pre-chorus, bridge or first half of the chorus. The stop/start nature ofthe second part of the chorus coupled with the “oh, oh oh” melody DOES come across in asomewhat fresh and original manner, though. What really makes this song stand out amongstits peers is the perfect fusion of the GCH Hip Hop and the Adam Levine Dance/Pop vibe underone roof. They pulled it off seamlessly, and as a whole enabled the song to stand out in thegenre.

Payoff: 9.5/10Does the song provide the listener with a strong payoff (i.e. a hot chorus)? What’s greatabout Stereo Hearts is that it provides the listener with TWO strong payoffs within the chorus. The first payoff comes during the first half (Dance/Pop) portion of the section, characterized byits infectious beat, vocal delivery, melody and lyrical content. It provides great contrast to thelow-down rap vibe that was defining the verse and pre-chorus sections of the song. Thesecond payoff comes during the “oh, oh oh” part of the chorus, which provides the listener witha complete change from the Dance/Pop nature of the first section, coupled with an ultra-infectious, memorable, chantable, “oh, oh oh…” lyrics. Together, both sections provide thelistener with double the bang for the buck.

Longevity: 10/10 (Artist), 5/10 (Overall genre Genre)Does this song have what it takes to stand the test of time? Will it become a staple of the

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artist’s repertoire? As far as GCH and Adam Levine are concerned, Stereo Hearts will definitelybe considered a top highlight in both their catalogs, and I’m sure it will be featured in liveperformances for years to come. As far as the overall Pop genre goes, Stereo Hearts is a greatsong but there isn’t anything “magic” about it that will enable it to stand the test of time withother proven hits that have. I am sure, however, that it will be featured on most Popcompilations that cover this point in time.

Conclusion: 9.5/10 Back to Top

The Good:

Stereo Hearts perfectly fuses two genres together (Hip Hop/Rap and Dance/Pop)resulting in a very rewarding listening experience with a lot of depth.

The song is exceptionally memorable, most specifically in both sections of the chorus.

The title and lyrics provide a clever spin on a long worn-out “love/relationship” lyricaltheme, enabling it to come across fresh, original and engaging.

The crafting of the song is spot on, with each section perfectly complimenting andbuilding upon the next. The length of each section is just right to keep the listenerengaged and not “overstay its welcome.”

Stereo Hearts makes great use of momentum and intensity shifts throughout the song

Exceptional phrasing and use of repetition throughout the song.

Prosody

Both Travie’s and Adam’s vocal deliveries are exceptional.

The production value and instrumentation used within the song do a great job of creatingand fusing together both the Hip Hop/Rap and Dance/Pop sections of the song.

The Bad:

There’s nothing negative to say about this song.

Why it’s a Hit Back to Top

There were a couple of primary factors that worked together in making Stereo Hearts a hit:

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1. The Music & Clever Lyrics: As mentioned throughout this report, Stereo Hearts isexceptionally infectious, memorable and well crafted. The lyrics are clever, original andengaging, and the seamless fusion of two distinct genres in one song provides thelistener with a lot of “bang for the buck.” Bottom line, the song stands out and shinesamongst others in the genre, and has obviously resonated with fans.

2. Cross-Genre Pollination: For those of you who read our previous report, Maroon 5’sMoves Like Jagger deconstructed, what follows is EXACTLY THE SAME as in thatreport, except for the fact that I’m going to swap “Christina Aguilera” for “AdamLevine.” It’s quite fitting as you’ll see:Why is it that when you look at a plethora oftoday’s hit songs you always see this: “Artist” featuring “Artist?” There are twoprimary reasons, with the first being that the additional artist can really add something ofvalue to the song (as was the case with Adam Levine’s contribution to the chorus andbridge sections within Stereo Hearts). The second reason is to expand the marketabilityand reach of the song. When you have two major artists featured on one song,everything increases – your audience, your promotional ability, marketability, etc… Thiswas definitely the case with the Gym Class Heroes/ Adam Levine partnership.

Take Aways From “Stereo Hearts” Back to Top

Providing your song with a unique title and putting a clever, original spin onmundane lyrics is a great way to get noticed and break from the pack. You’ll also findthat the “engagement factor” of your song will vastly increase with your listeners aswell. This is something that Stereo Hearts achieved in grand fashion.

Always keep an eye on the prosody factor within your song. Your lyrics and vocaldelivery should always jibe with the tone and nature of the music. This was one of thestrong points within Stereo Hearts. Travie’s delivery perfectly jibed with the hip hopnature of the verses, and Adam’s delivery perfectly jibed with the dance/pop nature ofthe chorus as well as the heartfelt nature of the bridge.

Incorporating and fusing two genres within your song in an effective manner will bothgive it a unique vibe amongst others in the genre and will also increase the marketabilitypotential of the song. Stereo Hearts perfectly pulled this off via the incorporation of HipHop/Rap and Dance/Pop elements into the framework of the song.

If your song does incorporate two distinct genres, make sure that each section of thesong flows seamlessly in and out of one another. Stereo Hearts achieved this byutilizing some of the same key instrumentation throughout the entire song, just changingup the rhythm patterns to transition from hip hop to dance and back.

Incorporating shifts in momentum and intensity levels throughout your song is a greatway to accentuate specific sections as well as aid in keeping the listener engaged.

Allocating just the right amount of time to each section within your song andchanging up nature of sections is exceptionally important in keeping your listenerengaged. There’s a fine line between “providing value” and not “overstaying your

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welcome.” You want to engage the listener , and keep them engaged.

GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN EACH INDIVIDUAL LINE WITHN THE FIRST (INTRO) CHORUS (listen to the section while you lookat this):

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Stereo Hearts Deconstructed

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