Locked Out of Heaven Deconstructed - Hit Songs Deconstructed

24/10/2016 LockedOutOfHeavenDeconstructedHitSongsDeconstructed
Bruno Mars
Locked Out Of Heaven

Deconstructed
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Audio/Video
AtaGlance
SongOverview
StructuralAnalysis
Momentum/Tension/Intensity(MTI)
Lyrics&HarmonicProgression
TheMusic
TheVocalMelody
PrimaryInstrumentation,Tone&Mix
CompositionalAssessment
HitFactorAssessment
Conclusion
WhyitsaHit
Songwriter/ProducerTakeAways
https://reports.hitsongsdeconstructed.com/2012/12/29/lockedoutofheavendeconstructed/ 1/57
Audio/Video BacktoTop
At a Glance BacktoTop
Artist: Bruno Mars

Song/Album: Locked Out Of Heaven / Unorthodox Jukebox
Songwriters: Bruno Mars, Philip Lawrence, Ari Levine
Producers: Mark Ronson, Je Bhasker, Emilie Haynie, the Smeezingtons (Mars, Lawrence, Levine)
Genre: Pop
Sub Genre: Pop/Rock, Electro, New Wave, Funk
Length: 3:53
Structure: A-B-A-B-C-B
Tempo: 144 bpm
First Chorus: 0:56 (24% into the song)
Intro Length: 0:16
Outro Length: 0:16
Electric vs. Acoustic: Electric
Primary Instrumentation: Electric Guitar, Synth
Lyrical Theme: Love/Relationships, Hooking Up

Title Occurrences: Locked Out Of Heaven occurs 6 times within the song, in 3 sections
Primary Lyrical P.O.V: 1st & 2nd
Song Overview BacktoTop
Some artists play it safe, and some throw caution to the wind and go for it. Thats exactly what Bruno Mars did with Locked Out Of Heaven, the lead single from his
sophomore album, Unorthodox Jukebox.
Asyoullsoonsee,LockedOutOfHeavenlivesuptothenameofthealbum,drawingonnumerousinfluencesincludingGuitardrivenPop/RockalaThe
Police&TheRomantics,80sNewWave,ModernSynthdrivenElectroPopandFunk.
Additionally,theevocativelove/relationship/sexthemedlyricsarecleverlyconveyedutilizingreligioussymbolism,allthewhilemanagingtoremain
relativelycleaninnature.
Aboveall,itwastheexceptionalcraftofthewritersinvolvedwhowereabletopulloffasongthatcomesacrosssofreshandoriginaldespiteits
influences,enablingittostandoutamongstallothersinthecurrentPopmainstream.
Todate,LockedOutOfHeavenhashaslandedinthetop5in15countries,hitting#1in4andsettingaBillboardchartrecordasthefirstsingletohit
#1ontheHot100,Radio,DigitalandOnDemandchartssimultaneously.
CLIMBTOTHERECORD
*ThedatesrepresenttheBillboardweekstartingonceLockedOutOfHeavenenteredthetop10onthecorrespondingchart.
Structural Analysis BacktoTop
At-a-Glance
SectionLength(Lengthofeachindividualsectionwithinthesong)
I=Intro,V=Verse,Chr=Chorus,Turn=Turnaround,Brg=Bridge,IB=InstrumentalBreak
LockedOutOfHeavencontains13individualsectionswithinitsframework,withthelongestlandingat0:27(theprimarysectionsVerse,Chorus
andBridge),followedbytheIntro,OutroandTurnaroundwhichlandat0:16,0:10and0:13,respectively.Theshortestlengthsectionswithinthesong
arePreChorusesAandB,whichlandat0:07and0:06,respectively(moreonthatlaterinthereport).
NowletsseehowLockedOutOfHeavenssectionlengthcomparedtothe21songsthatlandedintheBillboardPopSongsCharttop10duringQ3
2012:
LockedOutOfHeaven/Top10HitPopSongAverages
Intro:0:16/0:09
Verse:0:27/0:20
*PreChorus:0:13/0:14
Chorus:0:27/0:27
Bridge:0:27/0:23
Asyoucansee,withtheexceptionoftheIntro(whichisalmostdoublethelengthoftheaverage)LockedOutOfHeavenisclosetoorrightonparwithtop
10hitPopsongaverages.
*Note:The0:13PreChorusincludesthebacktobackPreChorusAandBsections.
Timeline(Showswheneachsectionhitswithinthetimelineofthesong)
TotalSectionAnalysis(Totaltimeconsumedbyeachsectionanditspercentageofthetotalsong)
LockedOutOfHeaveniscomprisedof7fullsectionswithinitsframework(i.e.allChoruses,Verses,PreChorusesplustheIntro,Outro,Turnaround
andBridge),accountingfor35%ofthesongstotalcompositionallthewaydownto6%.Asyouwouldexpect,themajorityoftimewithinthesongwas
allocatedtotheChorus(i.e.thepayoff),withall3occurrencesaccountingfor35%ofthetotalsong.
LetsnowseehowthesectionalbreakdownofLockedOutOfHeavencomparedtothe21songsthatlandedintheBillboardPopSongsCharttop10
duringQ32012:
Intro
LockedOutOfHeaven:Comprises7%ofthetotalsong.
Q32012Average:Comprises4%ofthetotalsong.
Comparison:LockedOutOfHeavenallocated3%moretimetotheIntrocomparedtotheQ32012average.
Verse
Comparison:LockedOutOfHeavenallocated3%moretimetotheVersecomparedtotheQ32012average.
PreChorus
Comparison:LockedOutOfHeavenallocated3%lesstimetothePreChorusesthantheQ32012average.Noteonceagain,however,thatthefull
PreChorusconsistsof2individualsections(i.e.PreChorusAandB)thataccountfor6%and5%ofthetotalsong,respectively).
Chorus
Comparison:LockedOutOfHeavenallocated10%lesstimetothechorusthantheQ32012average.
Bridge
Comparison:LockedOutOfHeavenallocated2%moretimetothebridgethantheQ32012average.
Summary:
Asyoucansee,thesectionsabovewere+/2%3%fromtop10hitPopsongaveragesEXCEPTfortheChorus,whichaccountedfor10%lesstime.
Now,youmightbeaskingthequestion,dontyouwanttostayinthePAYOFFofthesongforaslongaspossible?Inmostcasestheanswerwouldbeyes,
butwhenyouhaveasongwhereeachindividualsectionisequallyinfectiousandmemorable,itdoesnthurttospreadthetimeallocationaround.
Alsorememberthatinthiscaseanadditional6%ofthesongwasdedicatedtotheTurnaroundand7%wasallocatedtotheOutro.Thattimehadto
comefromsomewhere.Alsokeepinmindthatthevastmajorityoftop10PophitsDONOTcontainanOutroorlengthyTurnaroundwithintheir
framework.
Music,Instrumentation&MTI(Momentum/Tension/Intensity) BacktoTop
(Evaluation of the intensity of each section within the song timeline on a scale of 1 10, 10 being the most intense)
WhenwetalkaboutasongsMTIlevel,werereferringtohowfluctuationsinmomentum,tensionandintensitylevelsareutilizedineachsectionof
thesong.
MTILevelKeyPoints:
SectionalBuild&Release
OneareawhereLockedOutOfHeaventrulysucceedsishowittakesthelisteneronasonicjourneyviaMTIlevelshiftsthroughouttheentiresong.As
youcanseeinthegraphabove,thereare4primarybuilds/releasesthattakeplace:
Build/Release#1:TheMTIlevelincreasefromtheIntrothroughthesecondhalfofthefirstChoruswhichthenreleasesintotheTurnaround.
Build/Release#2:TheMTIlevelincreasefromthefirsthalfofthesecondVerse(breakdown)throughthesecondhalfofthesecondChorus.Thereleaseis
quickthesecondtimearound,thistimegoingintoaquick0:02transitionallullbeforeexplodingintotheBridge.
Build/Release#3:ThebrieftransitionallullasmentionedaboveisfollowedbyanexplosiveBridgewhichthenreleasesintothebreakdownfirsthalfofChorus3.
Build#4:TheMTIlevelincreasefromthefirsthalfofthethirdChorus(breakdown)intothesecondhalfofthechorus.Noticethatthereisntanypronounced
releasethistimearound,however.Instead,itsfollowedbytheOutrowhichhasanMTIlevelprettymuchonparwiththatofthesecondhalfofthechorus(thoughits
differentinnatureasdescribedbelow).
DifferentTypesOfIntensity
Asyouvenodoubtnoticedbynow,thereare2distinctvibesthatdefineLockedOutOfHeaven.First,wehavethelighterPop/RockPolice
vibethatdefinestheIntro,Verse,PreChorusA,TurnaroundandOutrosections.Second,wehavethethick,fuzzedsynthdrivensectionsthat
definePreChorusB,thefullChorusaswellastheBridge.Eachofthose2distinctvibeshasitsownwayofshiftingtheMTIlevelfromonesectiontothe
next:
Vibe1(GuitarDriven)
NoticethattheMTIlevelincreasefromtheVersetoPreChorusAisachievedbythechangeupinMarssvocaldeliveryCoupledwiththeadditionofthequarternote
snare/perchitsthatenterthemix.
NoticethataftertheTurnaround(whichisessentiallythesameastheIntro)thatthekickandsnareaswellastheelectricguitararepulledfromthemix,decreasingthe
MTIlevelduringthebreakdownfirstquarterofthesecondVerse.TheMTIlevelisthenkickedbackupwhenthekick,snareandelectricguitarreenterthemixfor
thebalanceofthesection.
Vibe2(Synth)
FirstwelllookatPreChorusBmovingintothefirsthalfoftheChorus.Thereare3keyfacetsthattaketheMTItothenextlevel,withthefirstbeingthechangeover
toafastpacedquarternotebeatthatreallygetsthemomentumcooking.Second,thefuzzsynthbecomesmoreprominentinthemix,givingthesectionamoreintense,
heaviervibe.Last,butcertainlynotleast,isthenatureofMarssvocaldelivery.Itsmoresoaringinnature,reachingforahigherregisterthathelpstotaketheoverall
intensitytothenextlevel.
Next,movingfromthefirsthalfoftheChorusintothesecondhalf(withtheexceptionofthethirdchorusoccurrenceofthesong,whichisadifferentstorymoreon
thatlater),the2keyfacetsthattaketheintensitytothenextlevelarethechangeupinthedrums(specificallythevariationinthepatternviatheadditionofthetomsand
BIGhits)coupledwiththepulsingsyntheffectthatcontinuestoincreaseinpitchandlevelasthesectionprogresses,accentuatingthetensionbeforereleasingintothe
Pop/RocksecondVersethatfollows.
UltimateRelease
MostChoruses(payoffs)provideareleasefromthetensionthathadbeengrowingthroughtheVerseandPreChorus(ifapplicable)sectionsofthe
song.Interestingly,inthiscaseeventhoughthepayoffdoesoccurintheChorus,thetensionandintensitycontinuestogrowthroughoutthesection.
FollowingthefirstChorusoccurrence,thetensionrelieffinallycomesoncethesongentersintothelighternatured,guitardriven(Vibe1)sectionofthesonginthe
Turnaround.
FollowingthesecondChorus,thereisnorelief.InsteadthesongreachesanMTIlevelclimaxintheBridgebeforereleasingintothebreakdownChorusthat
follows.
JibingWithTheTitle&NatureOfTheLyrics
ItwasverycleveronthepartofthesongwriterstoutilizeMTIbuildsandreleasestojibewiththesexualnatureofthelyrics.Asweneedtokeep
thereportPG,Illjustassumethatyougetit.
IntensityPeak
TheMTIlevelofthesongpeaksintheBridge,butnotethatitsnotthatmuchmoreintensethantheprecedingsecondhalfoftheChorus.
TransitionalLull
The0:02lullthatoccursinbetweentheendofthesecondChorusandthestartoftheBridgeisexceptionallyimportantwithintheframeworkofthe
songon2keylevels:
First,itprovidesaquicksonicbreakbetween2ofthemostintensesectionswithinthesongthesecondhalfoftheChorusandtheBridge.Withoutit,itjustmightbe
toomuchconstantintensityforthelistenertobare.
Second,thebrieflullprovidestheBridgewithmuchgreaterimpactwhenithits.Withoutthatlull,itwouldnthavehadthesameeffect.
Verse2Breakdown
Typically,whenwethinkofsectionsthatcanpossessabreakdownnature(i.e.sparseinstrumentation,drumspulledfromthemix,lowerMTIlevelin
relationtotheprecedingsection),wethinkoftheIntro,ChorusorBridge.Rarely,ifever,doweseeitoccurringattheonsetofasecondVerse,but
thatsexactlywhathappensinLockedOutOfHeaven.InthiscaseitprovidesanadditionaldipintheMTIlevelcomingoutoftheChorus(followingthe
decreasethatoccurredintheprecedingTurnaround).SeetheMusic/Instrumentation/Vocalsectionbelowfordetails.
MTILevelFluctuationRecap
IntrointoVerse1:MTIConstant
Verse1intoPreChorus1:MTIIncrease
PreChorus1AintoPreChorus1B:MTIIncrease
PreChorus1BintofirsthalfofChorus1:MTIIncrease
FirsthalfofChorus1intosecondhalfofChorus1:MTIIncrease
SecondhalfofChorus1intotheTurnaround:MTIDecrease
TurnaroundintoVerse2(Breakdown):MTIDecrease
Verse2(Breakdown)intoFullVerse2:MTIIncrease
Verse2intoPreChorus2A:MTIIncrease
PreChorus2AintoPreChorus2B:MTIIncrease
PreChorus2BintofirsthalfofChorus2:MTIIncrease
FirsthalfofChorus2intosecondhalfofChorus2:MTIIncrease
SecondhalfofChorus2intotheTransition:MTIDecrease
TransitionintotheBridge:MTIIncrease
BridgeintofirsthalfofChorus3:MTIDecrease
FirsthalfofChorus3intothesecondhalfofChorus3:MTIIncrease
SecondhalfofChorus3intotheOutro:MTIConstant
Waveform
Lookingatthewaveformgraphicabove,youcaneasilyseehowsoniclevelsandtheuseofcompressionvarythroughoutthesong.
SoniclevelsareattheirlowestpointduringtheGuitardrivenPop/Rocksectionsofthesong(Intro,Verse,PreChorusA,TurnaroundandOutro)
Soniclevelsareatapeakduringthesynthdrivensectionsofthesong(PreChorusB,ChorusandBridge).
Overall,LockedOutOfHeavenisafairlyloudsong(whichisnotsurprisingintheageoftheloudnesswars).Thatbeingsaid,itDOESstillprovidesonic
diversitywithinthesongtohelpaccentuatespecificsections.
TheGuitardrivensectionsarelighterandlooserinnaturethanthethick,Synthdrivensections,andasyoucanseeinthegraphicabovetheoverall
levelsareloweraswell.Thisdiversitywasparamounttothesoniceffectivenessofthesonganddidafantasticjobofprovidingthelistenerwithan
exceptionallyengagingsoniclandscape.
MUSIC/INSTRUMENTATION/VOCALSSECTIONBYSECTION
Note:Panisrepresentedonascalefrom9:00to3:00(i.e.lefttoright,with12:00beingrightupthemiddle).Keepinmindthatinmostcasesan
instrumentwillbleedthroughouttheentiremix,butthepandepictedhererepresentsitsprimaryplacementinthemix(i.e.wherethelevelismost
pronounced).
Overview
AspreviouslymentionedintheMTIsectionabove,musicallyLockedOutOfHeavenissplitinto2distinctvibes:
Vibe1:Light/looseGuitardrivenPop/RockalathePoliceortheRomanticsWalkingInYourSleep.
Intro
Verse1&2
PreChorusA
Turnaround
Outro
Vibe2:Thick,SynthdrivenmodernElectroPopwithsomeretro(NewWave)elements
PreChorusB
Chorus
Bridge
Combined,theymakeforanexceptionallyengaginganduniquesongthatstandsoutamongstallothersinthecurrenttopchartingmainstreamPop
pack.
Intro(0:010:16)
Vocals&PrimaryInstrumentationFeaturedInTheMix:
Drums(AcousticKitKick,Snare,HatsslightreverbHatsandSnarearefurthestupinthemix,Kickismidlevel)12:00
ElectricGuitars(RhythmPolicestylemostlycleanwithatouchofoverdrive,brightinnaturesignificantreverbmid/upinthemix)10:00/2:00
ElectricBass(Compressed,Mid/Upinthemix)12:00
Effect1(Oo,oo,oosyntheffectprimarilyquarternotedeliverylowlevelinthemix)11:00/12:00
Effect2(Synthbright,airy,moderatereverbanddelayupfrontinthemix)Pansfromlefttorightandthenrighttoleftinthemixeachtimethatitoccurs
LeadVocal(BrunoMarsUpfrontinthemixreverbandatouchofdelay)12:00
BackgroundVocal(OO!Upfrontinthemixmultitrackedmoderatereverb)9:00/3:00
ThefirstthingthatyounoticewhenhearLockedOutOfHeavenistheliveinthestudiovocal/stickcountoff(1,2,1,2,3).Clockinginatjust0:02,
itsultraimportanttothesongforthefollowingreasons:
Itinstantlyletsthelistenerknowthatthisisnotapurelysynthdriven,computerproducedsong.Theresaliveaspecttoit.
Italsoletsthelistenerknowrightoffthebatthattheyreinstoreforsomethingnewandunorthodox(aptlynamedtitle)thatgoesagainstthegrainoftwoofhis
otherbiggesttopchartinghitsGrenadeandJustTheWayYouAre.
Itactsasauniqueidentifierforthesong,whichenablesittostandoutamongstalloftheothersongsthatarecurrentlytoppingthePopSongschart(andotherchartsas
well,forthatmatter).Thesecondyouhearit,youknowexactlywhatsongitis.IcanonlyrememberoneotherrecentcasewhereatopchartingPopsongkickedoffwitha
count,butthatonewasinSpanish(HotChelleRaeTonightTonight).
Afterthecountoff,wereinfullGuitardrivenPop/Rockterritory,butyouinstantlyknowthatitsnottypicalrunofthemillPop/Rockforthe
followingreasons:
FirstwehavetheundeniablePoliceinfluenceoftheguitars,drumsandbass.Thisisapparentbothinthenatureoftheinstrumentation(specificallytheguitarand
bass)aswellastheoverallprogression/melody.
ButjustwhenyouthinkitmaybeastraightupPop/Rocksong,thesebizarresyntheffectsstartpanningthroughthemix.Nowyouknowyoureinforsomething
interestinganddifferent.ItalsoletsthelistenerknowthatthisisntgoingtobeastraightupGuitardrivensong(i.e.theElectronatureisestablishedtoadegree).
NextwehavethemultitrackedOO!vocalsenteringthemixwhichaddanexclamationpointtothesection(andwillbeutilizedthroughoutthesong).Sonowwe
haveanIntrothatsPop/Rock,ElectroandFUNKinnature.
Last,butcertainlynotleast,wehaveMarssOhyeah,yeahvocals.Simplistic,infectiousandmemorableitseverythingthatyouwouldexpectfromhim(moreon
thisinthevocalmelodysectionofthereport).
NowputalloftheseelementstogetherandyouwindupwithanIntrothatisbothretroandmodern,GuitardrivenandElectro,Pop,Rockand
Funk,ultrainfectiousandmemorableandoveralljustVERYeffective.
Additionally,alsonotethatthelengthoftheIntroisalmostdoublethatoftopchartingPopsongaveragesasdiscussedearlierwithinthereport.It
justgoestoshowthattheChorusisntalwaystheonlysectionthatwarrantsbeingthefocalpointofasong.RememberthatthisIntroalsooccursinpretty
muchthesameexactmannerintheTurnaroundandtheOutroaswell.
TransitionPointIntrointoVerse1:Seamlessturnsonadime(theOO!actsasadivider,though)
Verse1(0:160:43)
Effect2(SynthBright,airy,moderatereverbanddelayupfrontinthemix)Pansfromlefttorightandthenrighttoleftinthemixeachtimethatitoccurs
LeadVocalEcho(Occursonthelyricspiritallowfiinnatureheavyonthereverblowerlevelinthemixthanthelead)Startsaround12:00andendsaround
1:00/2:00
ThefirstVerseutilizesthesameexactelementsthatdefinedtheprecedingIntrowiththeonedifferencebeingthatMarssleadvocalhasbeenadded
tothemix.
Noticetheinterplaybetweentheinstrumentation.Thedrumsprovideasteadygroovewhiletheguitarandbassengageinaveryinteresting,
infectiousinterplayalmostlikeacallandresponse:
Guitar2chordhit:C5D5
Directlyfollowedby:
Bassrun:CDCDCABflat
Thenwehave:
Guitar2chordhit:C5Bflat5
Directlyfollowedby:
Bassrun:ABflatAFG
ThentheybothcometogetherandworkinunisoninthekeyofGtoconcludetheline.
*Note:ReferencetheVocalMelodysectionofthereportforcommentaryandanalysisonMarssvocals.
TransitionPointVerse1intoPreChorus1:QuickdrumfillcoupledwiththevocalOO!
PreChorus1A(0:430:50)
Drums(AcousticKitKick,SnareandSnare/Percmid/upinthemix)11:00/12:00
HarmonyVocal(BrunoMarsmid/upinthemix,rightunderthelead)12:002:00
HerethegeneralGuitardrivennaturethatdefinedtheprecedingIntroandVersesectionsremainsintact,thoughtherearesomenoticeable
differentialfactorsthatchangedthingsup(andincreasedtheMTIlevelaswellaspreviouslymentioned):
ThemostnoticeabledifferencefromtheprecedingVerseisthechangeupinthenatureofthedrumsspecificallythequarternotepattern.Thisworkstocrankupthe
propulsionandintensityofthesection.
Nextwehavethechangeupinthevocals.NotonlyhasthemelodychangedfromtheVerse,buttheresalsoavocalharmonythatprovidesdifferentiationand
increasedcolor.WelldiscussthisfurtherintheVocalMelodysectionofthereport.
TransitionPointPreChorus1intoChorus1:Seamlessturnsonadime
PreChorus1B(0:500:56)
Drums(AcousticKitKickandSnarenoticethatthissectionincludes2snarestheonefromtheVerseandtheonefromPreChorusAmid/upinthemix)12:00
ElectricBass(Compressed,growsfromlowtomid/upinthemixasthesectionprogresses)12:00
SynthBass(Low,thickfuzzsynthmidlevelinthemix)Startsat9:00andthenprogressestoward12:00
Effect1(Hightohigherpitchedpulsingbrightalarmsynthsmid/upinthemix)Alternate9:00/3:00inthemixduringthesection(2occurrencesoneachside)
Effect2(Airysynthswellstartsduringthesecondhalfofthesectionlowtomidlevelinthemix)Pansfromlefttorightandthenrighttoleftinthemixeach
timethatitoccurs
HereinPreChorusBiswherethenatureofthesongshiftsovertoVibe2aspreviouslydiscussed.Thiswillcontinuerightthroughtheendofthe
Chorus.
Thefirstthingthatyoullnoticeisthattheelectricguitarsthatdefinedtheprecedingsectionsarenowgonefromthemix.Intheirplacewenowhavethat
deepfuzzysynthbasscoupledwiththepulsinghigherregistersynthalarmsthatarealternatingleft/rightinthemix.
NoticehowthebeatremainedvirtuallyconstantgoingfromPreChorusA(Vibe1)intoPreChorusB(Vibe2).Thiswasessentialinordertoprovideforaseamless
transitionbetween2sectionsthatcompletelydifferedinnature.Thatbeingsaid,tonallythenatureofthedrumshaschangedspecificallythesnare.InPreChorusA
theperc/snarewasprettymuchupfrontandcenter.InPreChorusBnoticethattheprimarysnareisnowupfrontandcenteronceagainandtheperc/snarehasnow
takenabackseat.
Noticehowtheelectricbasschangesupduringthesecondhalfofthesection,bothprovidingincreasedcoloraswellasworkingintandemwiththeother
instrumentationtoincreasetheMTIlevelaswemovetowardthechorus.DuringthefirsthalfitwasprettymuchridingaquarternoteFdelivery.Duringthesecond
halfitfollowsanAAGAprogression.
Noticetheswellthatoccurstowardthetailendofthesection,bothviatheairysynthandthealarmsynththatcontinuouslyincreasesinregister,takingthe
intensityofthesectiontoacrescendoasweenterintothechorus.
TransitionPointPreChorus1intoChorus1:TheswellsthatstarttowardthetailendofthePreChoruspeakatthetransitionpointbetweenthe
2sections,dissipatingacoupleofsecondsintotheChorus.
Chorus1(0:561:23)
Drums1stHalfOfSection(AcousticKitKick,bothSnares,Hatsallhittinginunisononthequarternote)12:00
Drums2ndHalfOfSection(AcousticKitKick,Snare,Toms,HatsBIGboominghitwithlotsofreverb)12:00
SynthBass(Low,thickfuzzsynthmid/upinthemix)Primary9:0011:00
Synth(80sNewWavesynththatoccursaroundthelyricstoolongmid/upinthemix)Primaryaround1:002:00
ElectricGuitar(Cleanlowlevelinthemix)2:003:00
ElectricBass(Compressed,Low/Midlevelinthemix)12:00
Effect1(Oo,oo,oosyntheffectprimarilyquarternotedeliverygrowsinlevelandgoesupinpitchtowardtheendofthesection)10:0011:00
LeadVocal(BrunoMarsUpfrontinthemixreverbanddelay)12:00
Firsthalfofthesection
ThefirstthingthatyoullnoticewhenwehittheChorusisthatthesynthdrivennature(Vibe2)thatwasestablishedintheprecedingPreChorusB
sectioncontinuesonwithafewkeydifferences(besidesthenatureofthevocalmelodywhichisdiscussedintheVocalMelodysectionofthereport):
Noticethatthesnareandkickarenowworkingintandemwithoneanother,bothencompassingaquarternotedelivery.Thisresultsinamoreintense,drivingvibe
thanwhatwasdefiningtheprecedingPreChorusBsection.
NoticethatthedeepfuzzsynthbassfromPreChorusBisnowmoreprominentinthemix,providingtheChoruswithaheavierandmoreintense,thickvibe.
Tocounterthedeepfuzzsynthsothatthesectiondoesntbecomeoverlysaturated,noticethatabright,cleanelectricguitarpatternhasbeenaddedintothemix,
pannedright(whichisoppositethefuzzsynth).Thisprovidesthemixnotonlywithsonicdiversity,butitalsoopensitupsothatitfeelsmorespacious(cleanand
fuzzworkreallywelltogether).
Noticetheoooooosyntheffectthatispannedleft,lowtomidlevelinthemix.Thisbothgivesthesectioncolorandworkstosubtlyincreasetheintensityasit
goesupinpitchasthesectionprogresses.
Lastlywehavethe80snewwavesynththatispannedrightinthemix,occurringaroundthelyricstoolongwhichdropsfromEtoAandthenfromEtoG.This,
probablymorethananythingelse,reallyhammershomethe80snewwavevibeofthesection(listentoAFlockofSeagulls,earlyBerlin,Devo,etcforreference).It
alsodoesagreatjobofprovidingmelodicdiversitytothesectionaswell.
TransitionPointFirsthalfintothesecondhalf:Cymbalswell(thesamethatisindicativeofotherBrunoMarshits)
Secondhalfofthesection
Thereare2primarydifferencesbetweenthefirsthalfoftheChorusandthesecondhalf,bothofwhichaidintakingtheintensityandtensionto
apeakbeforereleasingintotheTurnaroundthatfollows.
Thebiggestdifferencethatyoullnoticeresidesinthenatureofthedrums.First,itsnolongerastraightupquarternotepound.Theresvariationtothebeatthis
timearound(i.e.itslooser).Second,noticethatupfront,reverbdrenchedhitthatprovidesthesectionwithaBIG,atmosphericvibe.
Next,noticethatthealarmsynththatspannedleftisnowatanincreasedlevelwithinthemix,andgoesupinpitchasthesectionprogresses.Thisdoesagreatjobof
helpingtotakethetensionandintensitylevelofthesectiontoaclimax.
TransitionPointChorus1intotheTurnaround:Turnsonadime.
Turnaround(1:231:36)
Effect1(Oo,oo,ooSyntheffectprimarilyquarternotedeliverylowlevelinthemix)11:00/12:00
HerethesongrevertsbacktotheGuitardriven(Vibe1)PolicePop/RocknatureoftheIntro.Noticehowitprovidesagreatsonicreleasefromall
ofthetensionandintensitythatdefinedtheprecedingsynthdrivenPreChorusBandChorussections.Theoverallsoundandvibeislight,looseand
liveonceagain.
TransitionPointTurnaroundintoVerse2:Seamless(drumsandguitararepulledattheonsetofVerse2)
Verse2(1:362:03)
SameasVerse1EXCEPT:
Drums:Thefirstquarterofthesectionconsistsofjustthehatsnosnareorkick.
VocalHarmony:Addedduringthe2ndhalfofthesectionBrunoMarsundertheleadvocalandpanned12:001:00
Asmentionedearlier,onethingthatyouneverreallyseeisasecondVersethatstartsoutasabreakdown.Inthiscaseitsjustthebassandhatsthat
drivethefirstquarterofthesectionalongwithMarssvocal.Whatitdoes,though,iscatchyouoffguard,providingsomebriefmusicaldiversity
fromthenatureoftheprecedingTurnaroundbeforerevertingbacktothemannerthatdefinedthefirstVerse.Withoutthisbreakdown,therewouldbe
toomuchsimilaritybetweentheprecedingTurnaroundandtheVerse,andmightcausethelistenersattentiontostarttowanderabit.
Additionally:
Noticethatthetransitionfromthebreakdownintothefullportionoftheverseisaccentuatedby2cymbalhitsthatoccurinunisonwiththeC5D5guitar
progression.
Alsonoticehowadditionaldiversityisprovidedinthethirdandfourthlinesofthesection,bothviathenatureofthevocaldeliveryandvocalharmony(which
doesntoccurduringthefirstVersesection).ReferencetheVocalMelodysectionofthereportfordetails.
TransitionPointVerse2intoPreChorus2:Quickdrumfill.
PreChorus2A(2:032:10)
SameasPreChorus1A
Noticethatnothingnewisintroducedhere.ItsexactlythesameasthefirstPreChorusAoccurrenceofthesong.
TransitionPointPreChorus2intoChorus2:Turnsonadime
PreChorus2B(2:102:16)
SameasPreChorus1B
AswasthecasewithPreChorusA,nothingnewisintroducedinPreChorusBthesecondtimearound.Itsexactlythesameasthefirstoccurrencewithinthesong.
TransitionPointPreChorus2intoChorus2:SameasPreChorus1BintoChorus2
Chorus2(2:162:43)
Vocals&PrimaryInstrumentation&VocalsFeaturedInTheMix:
SameasChorus1
AswasthecasewithbothPreChorussections,thesecondChorusisidenticalinnatureofthefirstChorusoccurrencewithinthesong.
TransitionPointChorus2intotheBridge:TheDrumsanddeepfuzzbasssyntharepulledfromthemix.Noticethatthealarmsynthisstill
activeandincreasinginpitch.Aquickkick/snarehitfollowswithacymbalswellthatleadsintotheBridge.
Bridge(2:433:10)
Drums1stHalfOfSection(AcousticKitKick,Snare,HatsandRideSnareandRidearethemostprominentandupfrontinthemix)12:00plusridearound
1:00/2:00
ElectricBass(Compressed,Low/Midlevelinthemix)12:00
Background/HarmonyVocal(Mid/Upinthemix)Envelopestheentiremixwiththeprimarypan10:00/2:00
AsmentionedintheMTIsectionofthereport,hereintheBridgewereachtheapexofintensitywithinthesong(thoughnotbymuch).Essentiallyit
containsthesamecharacteristicsastheChorus(i.e.itsSynthdriven,notguitardriven),butdoespossesssomekeydifferences:
First,noticehowthenatureofthedrumshaschangedfromtheprecedingchorus.Nolongeristhereaquarternotepoundingdeliveryorchangeduppatternwithbig
hits.Instead,wehaveaprettymuchstraightupRockbeatthatsdrivenbythehats(whicharequitelowinthemix)andespeciallytheupfrontridethatpropelsthe
sectionalong,providingincreasedmomentumandintensity.
Theotherkeydifferenceresidesinthevocals,specificallytheharmonyladenOh,oh,oh,yeah,yeah,yeahwhichisthenfollowedbyMarsshigherregister,pleading
emotionalvocalwhichalongwiththeinstrumentationtakestheMTIlevelofthesongtoaclimax.ReferencetheVocalMelodysectionofthereportfordetails.
TransitionPointBridgeintoChorus3:Quickcymbalswell
Chorus3(3:103:37)
1stHalfOfTheSection
ElectricGuitar(Cleanmidlevelinthemix)2:003:00
TransitionPointfirsthalfintothesecondhalf:Quickcymbalswell.
2ndHalfOfTheSection
Add:
Drums(AcousticKitKick,Snare,Toms,HatsBIGsoundwithlotsofreverb)12:00
SynthBass(Low,thickfuzzsynthswellsandmorphsmid/upinthemix)Primary10:0012:00
Effect1(Oo,oo,oosyntheffectprimarilyquarternotedeliverygrowsinlevelandgoesupinpitchtowardtheendofthesection)10:0011:00
AsmentionedintheMTIsectionofthereport,thethirdChorusstartsoutasabreakdown,providingthelistenerwithabreatherfromallofthe
intensitytheyjustexperiencedinthebacktobackChorusandBridgesections.Thisisinitiallyachievedbypullingthedrumsfromthemix.
Thesecondhalfofthesectionaddsthedrumsbackintothemix,butnoticethatalltracesofthequarternotepoundingdeliveryfromtheother
Chorussectionsaregone.Insteadwehavethisslowerpacedplodding/simmeringvibegoingon,primarilyledbythechangedupdrumpattern
(plusbighits)thatdefinedthesecondhalfofthepreviousChorussectionscoupledwiththemorphing,swellingsynths.
TransitionPointChorus3intotheOutro:Briefkickdrumflurry.
Outro(3:373:53)
Effect1(Oo,oo,oosyntheffectprimarilyquarternotedeliverylowlevelinthemix)11:00/12:00
DirectlyfollowingthesimmeringintensitythatdefinedtheprecedingChorus3section,thesonggoesoutonalighternote,onceagainrevertingbackto
Vibe1viathesamenatureoftheIntroandTurnaround.
End
LockedOutOfHeavencutsoffabruptlywithafalseendingonaD5guitarchord,whichisthenfollowedby0:01ofadelay/reverbtrailoff.
Rememberfalseendingsdontprovideafirmresolvetoasongandareapsychologicaltoolutilizedtoleavethelistenerwantingmore.
Song Title / Lyrics / Harmonic Progression BacktoTop
SONG TITLE
When gauging the eectiveness of a songs title, there are a number of factors that you need to consider:
1. Is it unique & clever?

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?
Isitunique&clever?
Yesbothasastandalonetitleandespeciallywhenyoufindouthowitrelatestotheoverallpremiseofthestory.
Doesitstandout?
Absolutely.ItsuniquenatureenablesittostandoutamongsttheothersinthemainstreamPoppack.
Isitmemorable?
Yes,again,specificallyduetoitsuniquenature.
Doesitpiqueyourinteresttotakealisten?
Absolutely,andin2keyways.First,takethetitlealone,LockedOutOfHeaven.ItpiquesyourinteresttofindoutwhatthedealisbehindbeingLocked
OutOfHeaven.Isitspiritual?Didsomeonedosomethingwrong?Isitsomethingelse?Second,whenyoutakeintoaccountwhotheartistis(i.e.Bruno
Mars),youcouldprobablyassumethattheremustbesomeclevertwisttoit,soitpiquesyourinterestevenmoretotakealisten.
Doesitworkwithinthelyricalframeworkofthesong?
AsyoullseeintheStoryFlow/Meaning/Timelinesectionbelow,itworksperfectly.
TitleOccurrences:
LockedOutOfHeavenoccurs6timeswithinthesong,twiceineachofthe3fullChorussections.Noticethatitsthelastphraseonthefirstlineduringall
occurrences.
Causeyoumakefeellike,Ivebeenlockedoutofheaven
Fortoolong,fortoolong
Yeahyoumakefeellike,Ivebeenlockedoutofheaven
STORYFLOW/MEANING/TIMELINE:
LockedOutOfHeavenisaLove/RelationshipthemedsongwithaHookingUppremiseconveyedwithReligioussymbolism.
Verse1(THEPAST,PRESENT&FUTURE)
Verse1setsthescene,givingusaglimpseintothispersonsviewswhenitcomestoloveandrelationships(lines1and2).Thefocusisthenshiftedtoa
specificwomanonlines3and4wherewelearnthatthoughhemaynotbeintolove,hesdefinitelyintolovemakingwiththisparticularwoman.
Lines1&2
HereonthefirstlinewelearnthatLOVEissomethingthatthisguyneverreallytrustedin(i.e.neverhadmuchfaithinloveormiracles).Maybe
hehadhisheartbrokenonetoomanytimesandasaresultlosthisfaith.
Onthesecondlinewelearnthatbecausehehasnofaithinlovethathehasnodesiretoputhisheartonthelineforfearthatitmightgetbroken
again.
Lines3&4
Herewefindoutthatalthoughhedoesnthaveanydesiretofallinloveasdepictedonlines1and2,hehasnoproblematallwithmakingit.Line3is
nodoubtsexualinnature,andletsusknowthatitsonaveryhighlevelviathelyricspiritual(butswimminginyourwaterissomething
spiritual).
Line4letsusknowhowgooditreallyisforhim,specificallyviathelyricsImbornagain.(Imbornagaineverytimeyouspendthenight).
*ReligiousLyrics:Faith,miracles,spiritual,bornagain.
PreChorusA:(THEPRESENT)
ThePreChorusletsusknowWHYhesbornagaineverytimeshespendsthenight:
Causeyoursextakesmetoparadise.
Notmuchtointerpretthereitsprettymuchselfexplanatory.
*ReligiousLyrics:Paradise(itsnotasreligiousinnatureasmiraclesorfaithintheprecedingverse,butitdoesthetrickinPreChorusA).
PreChorusB:(THEPRESENT)
PreChorusBconsistsofjustoneline,butitsimperativeinbridgingthelyricalcontentbetweenPreChorusAandtheChorus.
Anditshows
InPreChorusAwelearnthathersextakeshimtoparadise.PreChorusBthenbuildsonthis,tellingusthatitshows.Howdoeshersextaking
himtoparadiseshow?Ourinterestnowpiqued,wefindoutintheChorusthatfollows.
*ReligiousLyrics:None.
Chorus(THEPRESENT)
Herewefindouthowitshows:
Causeyoumakemefeellike,IvebeenlockedoutofHeaven,forsolong.
Herewehavefantasticuseofsymbolismandemotion.WealreadyknewthathersextakeshimtoparadiseasestablishedinPreChorusA,butnowwe
findouttheLEVELofthatparadisebylearninghowitREALLYmakeshimFEEL.Heavenisashighandblissfulasonecanpossiblyget.Thefact
thathavingsexwithhermakeshimFEELlikehesbeenLOCKEDOUTofHeavenforSOLONGletsusknowthatupuntilher,hesneverexperienced,or
hasntexperiencedforquiteawhile,sexasgoodasthis.
*ReligiousLyrics:Heaven.(Youcanalsomakethecaseforlockedoutaswell,sinceitreferstobeinglockedoutoftheGATESofHeaven.
Verse2(THEPRESENT&FUTURE)
AswiththefirstVersethesecondVerseisdividedintotwodistinctthemes:
Theme1(lines1and2)
Thefirst2linesofthesectionletusknowthedegreetojusthowgoodsheisatwhatshedoes.Line1relatesdirectlytohimandhisreaction,
whileline2referstoathirdperson.Bothareverypowerfulinnatureandareconveyedwithreligioussymbolismthatagainperfectlyjibewiththe
titleLockedOutOfHeaven:
Youbringmetomykneesyoumakemetestify
Youcanmakeasinnerchangehisways
Theme2(lines3and4)
HereMarsdoesagreatjobofgettinggraphicWITHOUTgettinggraphickeepingthingssemiPGallthewhileutilizingmorereligiousmetaphors
thatjibewiththetitle.
OpenupyourgatescauseIcantwaittoseethelight
AndrightthereiswhereIwannastay
Ithinkitsprettyselfexplanatory!
NoticethatwehavealotmorereligioussymbolismhereinthesecondVerse:
Youbringmetomykneesyoumakemetestify
OpenupyourgatescauseIcantwaittoseethelight(noteIthinkthatitssafetoassumethatitsnotthegatesofHeaventhathesreferringto).
BRIDGE(THEPRESENT&FUTURE
These2linesperfectlysumuptheeffectthathavingsexwiththiswomanhasonhim:
CanIjuststayhere
Spendtherestofmydayshere
BottomlineitsjustTHATGOOD.Itsallthathewants.
*ReligiousLyrics:Therestofmydays(itsnotovertlyreligious,butitjibeswiththereligionbasedthemeutilizedthroughoutthestory).
**Asasidenote,noticethattheBridgedoesntprovideadepartureoratremendoustwistinthestoryasmanyBridgesdo.Thisismorelikea
summationofwhatwealreadyknew.
Ifitwasgoingtobeadeparturefromtherestofthestory,theBridgewouldhavereadmorelikeIneedtorethinkthismaybeIdowantloveanda
relationshipafterallandthesexisjustshallowwithoutthat.
Lyrics/HarmonicProgression/Word&SyllableCount:
Key
(*):Indicatesachordthatoccursbeforethebeginningoftheline
BlueFontOnLyric:Indicateswherethechordchangetakesplace
(Parethesis):Indicatesachordthatcarriesoverfromthepreviousline
*Note:Thesyllablecountincludesstretchedoutsinglesyllablelyrics
VERSE1
(C5/D5)/C5/Bflat5/Dm/A/G5(8words/11syllables)
Neverhadmuchfaithinloveormiracles
Neverwannaputmyheartontheline
Butswimminginyourwaterissomething*spirital
Imbornagaineverytimeyouspendthenight
PRECHORUSA
C/Dm/C5/Bflat(7words/9syllables)
Causeyoursextakesmetoparadise
Dm/A/Gm(7words/9syllables)
Yeahyoursextakesmetoparadise
PRECHORUSB
F(3words/9syllables)
Anditshows
A(3words/5syllables)
Yeah,yeah,yeah
CHORUS
Bflatmaj7/Gm7(11words/14syllables)
Causeyoumakefeellike,Ivebeenlockedoutofheaven
F/C(6words/15syllables)
Yeahyoumakefeellike,Ivebeenlockedoutofheaven
F/C/Dm(6words/20syllables)
Fortoolong,fortoolong,ohohohohoh
VERSE2
(C5/D5)/NC(10words/12syllables)
Youbringmetomyknees,youmakemetestify
BRIDGE
Ohohohoh,yeah,yeah,yeah
F(5words/5syllables)
CanIjuststayhere
C(7words/10syllables)
*Note:Marschangedspiritualtospiritalinordertomakeitworkwithinthevocalmelody.
LYRICTYPES
Thissectionhighlightsthetypesoflyricsandphrasesusedthroughouteachsectionofthesong.Noticethatsomeofthelyricsandphrasesappearin
morethanonecategory.
Imagery,Place&TimeBasedLyrics&Phrases:
(Theselyricspaintapictureinyourheadandestablishtheplaceandtimewithinthestory)
Verse1
Butswimminginyourwaterissomethingspiritual(Imagery/Place)
Imbornagaineverytimeyouspendthenight(Time)
Verse2
OpenupyourgatescauseIcantwaittoseethelight(Place/Imagery)
AndrightthereiswhereIwannastay(Referstotheplaceonline3ofthesection)
PreChorus
Causeyoursextakesmetoparadise(Place)
Chorus
Causeyoumakefeellike,Ivebeenlockedoutofheaven,fortoolong(Place/Time)
Bridge
CanIjuststayhere,spendtherestofmydayshere(Place/Time)
EmotionalBasedLyricsandPhrases:
(Theselyricsandphrasesconveyemotioneitherdirectlyorindirectlyenablingyoutoconnectwithwhatthecharactersarefeelingorgoingthrough
onanemotionallevelwithinthestory)
Verse1
Neverhadmuchfaithinloveormiracles(Theentirelinehasanemotionalcontext)
Neverwannaputmyheartontheline(Theentirelinehasanemotionalcontext)
Butswimminginyourwaterissomething*spirital
Verse2
Youbringmetomyknees,youmakemetestify(Theentirelinehasanemotionalcontext)
Youcanmakeasinnerchangehisways(Theentirelinehasanemotionalcontext)
PreChorus
Causeyoursextakesmetoparadise(Theentirelinehasanemotionalcontext)
Chorus
Causeyoumakefeellike,Ivebeenlockedoutofheaven,fortoolong(Theentirelinehasanemotionalcontext)
Bridge
None
ActionBasedLyrics&Phrases:
(Theselyricsgetyouintowhatthecharacterswithinthestoryhavedone,aredoingorwilldo)
Verse1
Butswimminginyourwaterissomethingspiritual
Verse2
PreChorus
Causeyoursextakesmetoparadise(i.e.theactionofdoing)
Chorus
None
Bridge
None
Character/PersonBasedLyrics&Phrases(IncludingPronouns):
(Theselyricsshowhowallofthecharacterswithinthestoryaredefined)
RedFont:1stPerson
BlueFont:2ndPerson
GreenFont:3rdPerson
Verse1
Neverhadmuchfaithinloveormiracles(Notetheentirelineisconveyedinthe1stperson)
Neverwannaputmyheartontheline(Notetheentirelineisconveyedinthe1stperson)
Butswimminginyourworldissomethingspiritual
Verse2
PreChorus
Causeyoursextakesmetoparadise
Yeahyoursextakesmetoparadise
Anditshows,yeah,yeah,yeah
Chorus
Causeyoumakemefeellike,Ivebeenlockedoutofheaven
Yeahyoumakemefeellike,Ivebeenlockedoutofheaven
Bridge
CanIjuststayhere
The Vocal Melody BacktoTop
GRAPHICAL KEY
Blue Line: Lead Vocal Melody
Purple Line: Harmony Vocal Melody
Red Diamond: Rest
Black Diamond: Half & Dotted Half
Blue Diamond: Quarter & Dotted Quarter
Green Diamond: Eighth & Dotted Eighth
Flats:B
INTRO/TURNAROUND/OUTRO
AsdiscussedintheMusic/Instrumentation/Vocalsectionofthereport,LockedOutOfHeavensIntroisverystrongonnumerouslevels.Notonlydoesit
functionasanIntro,butitsalsotheTurnaroundafterthesecondChorusandfunctionsastheOutroaswell.Summedup,itsthefirst,middleandlast
thingyouhearwithinthesong,soitbetterbestrong!
SohereweretakingacloselookspecificallyatMarssvocalmelody.Notethefollowing:
Noticethattherearentanyreallyricshere.ItonlyconsistsofOhsandYeahs,whichmakesitveryeasytorememberandsingfromalyricalstandpoint.
Noticethesimplicityandlimitedrangeofthemelodyandhowitbasicallyfollowsthesameprogressionduringbothsegments(withacoupleoftackonsaddedatthe
endofthesecondsegment).Again,thismakesiteasytosingalongtoandremember.
Tocompletelygetitengrainedinyourhead,theentirelinerepeatstwiceinarow.Yes,aspreviouslydiscusseditsalongerIntrothanmost,butwhenitsthat
infectiousitactuallyworksinthesongsfavor.
Ifitwasntengrainedinyourheadalready,staytunedforthevirtuallyidenticalrepeatintheTurnaroundandOutro.Thatshoulddothetrick.
Last,butnotleast,wehavetheexclamationpointattheendoftheline,thefunkyOO!Thisalsoisareoccurringthemethroughoutthesong.
Noticethatthereare3distinctsegmentstothesection:
Segment1:Ohyeah,yeah
Progression:FBflatA
Timing:Eighth/eighthrest/eighth/eighthrest/dottedquarter/eighthresettiming
Segment2:Ohyeah,yeah,yeahyeah
Progression:FBflatAFG
Timing:Eighth/eighthrest/quarter/quarter/quarter/dottedquarter/halfrest
Segment3:OO!
Note:D
Timing:Eighthnote
TurnaroundandOutroVariation
TheonlydifferencebetweentheIntroandTurnaround/OutrooccurrencesisthatthefirstOhyeah,yeahisomittedfromthosetwosectionsand
isinstrumentalinnature.Otherwise,itsexactlythesame.
VERSE
Verse1
Line1
Line2
Line3
Line4
Verse2
Line1
Line2
Line3
Line4
LineReference:
Verse1
Line1:Neverhadmuchfaithinloveormiracles
Line2:Neverwannaputmyheartontheline
Line3:Butswimminginyourwaterissomethingspiritual
Line4:Imbornagaineverytimeyouspendthenight
Verse2
Line1:Youbringmetomykneesyoumakemetestify
Line2:Youcanmakeasinnerchangehisways
Line3:OpenupyourgatescauseIcantwaittoseethelight
Line4:AndrightthereiswhereIwannastay
VocalRange(LeadVocal)
High:C
Low:D
VocalRange(HarmonyVocalVerse2)
High:A
Low:Bflat
LineSimilarities&Differences
Lines1and3
Lines1and3arenearlyidenticalinnatureexceptforsomeminortimingandprogressiondifferences.Oneofthekeycharacteristicsthatthese2lines
shareisthemannerinwhichcertainlyricsandsyllablesaresungtoprovidethemwithincreasedemphasisandtoaddincreasedcolortothemelody:
Verse1,Line1:
Muchfaith(quarternote/dottedquartergoesupslightlyinregisterfromtheprecedinglyricaswell:AtoBflatinmuch,thenbackdowntoAonfaith).
Miracles(dottedquarter/eighth/dottedquartergoesupinregisterfromtheprecedinglyric:DtotheAinmir,thenGonthelast2syllables).
Verse1,Line3:
Thesamecharacteristicsmentionedaboverepeatonthelyrics/syllablesyourwa(thefirstsyllableinwater)andspirital.(notethatspiritalisnt
evenaword.Heshortenedupspiritualtomakeitwork).
Verse2,Line1:
Itsthesamestorywithmykneesandtestify.
Verse2,Line3:
Thefirstpartofthelinediffersinnature(moreonthatsoon),butseethelighttowardtheendhasthesamegeneralcharacteristicsasmira
cles,spiritalandtestify.TheprimarydifferenceisthatthelasttwolyricsdropdowntoD,comparedtotheothersthatonlydroppeddowntoG.
Line2
Noticethatline2inbothVersesectionsisalsoverysimilarinnaturetolines1&3exceptforsomeminortimingandprogressiondifferencesand
mostnotablyhowthelineends(whichisdiscussedintheLineEndingssegmentlaterinthissection).
Line4
Now,noticewhatsgoingonwithline4inbothVersesections.Notonlydoesitprovidevariationfromtheother3linesofthesection,butitalsoaddsa
lotofcolortothemelodyandenhancestheoverallengagementvalueforthelistener.Additionally,italsowrapsupthesectioninamemorable,
infectiousmanner.
Initiallyline4followsasimilarprogressiontotheother3linesofthesection(exceptforline3inthesecondVersemoreonthatsoon),butthen
deviatesonthelastlyric.NoticethatinBOTHVersesectionsthatlyricissplitinto2segments,bothfollowingaGAGAprogressionand
encompassingeighthnotetimingexceptforthelastsyllablewhichisadottedquarter.
Verse1:
Night
Nieeieeight,eeieeight
Verse2:
Stay
Stayeeayeeay,eeayeeay
TheThirdLineChangeUpInTheSecondVerse
DuringthesecondVerse,Marsbreaksfromrepetitionandthrowsthelisteneracurveballonthethirdline:
Progression
Theprogressioniscompletelydifferentfromtheotherlinesofthesectionupuntilthetailendoftheline(seethelight,asmentionedearlier).
Noticethatitslikegoingupanddownahilltwice,withthefirstprogressionstartingoutonenotehigherthanthesecond:
1stProgression(segment):ABflatCBflatA
2ndProgression(segment):GBflatAG
Soasyoucanseeabove,thefirstprogressionstartsonA,peaksonC(whichbtwisthehighestvocalregisterwithinthesong),andendsonA,while
thesecondprogressionstartsonG,peaksonBflatandendsonG.
Youcanalsolookatitlikethistogetanotherview:
Firstsegment:StartsonAandendsonA(openupyourgates)
Secondsegment:StartsonGandendsonG(causeIcantwait)
Thirdsegment:StartsonFandendsonadoubleD(toseethelight)thissegmentissimilarinnaturetotheendingoflines1and3inthefirstverseandline1inthe
secondverseaspreviouslymentioned).
Timing
Inregardtothetimingonline3,whatyoullsoonnoticeisthatithasmoreincommonwiththetimingnatureofPreChorusA(causeyoursextakes
metoparadise)thananyoftheotherlineswithinbothversesections.Withtheexceptionofthelyricsee,allofthelyricsonthelineconsistofeighth
notesfollowedbyeighthrests,whichgivesthemmoreofachoppyfeel.
LineEndings
Noticethesubtledifferenceinhoweachofthefirst3linesinVerses1and2end(withtheexceptionofVerse1,line1and3,whichareidentical).Itsjust1
note,butitbothprovidesvariationandaccentuatesthememorabilityfactorbecauseitestablishesapattern.
Verse1:
Line1:Miracles(AGG)
Line2:Theline(AGA)
Line3:Spirital(AGG)
Verse2:
Line1:Testify(AGG)
Line2:Hisways(AGA)
Line3:Seethelight(ADD)
Harmony
Noticethatthelast2linesinVerse2aretheonlytimeswithinbothVersesectionswhereavocalharmonyoccurs(seethegraphsfordetails).
Simplicity
Noticehowtheoverallthevocalmelodyisquitesimplisticinnature,whichmakesiteasytosingalongtoandremember(i.e.therearentany
vocalacrobaticsgoingon).
PRECHORUS
PreChorusA
Line1
Line2
PreChorusB
Line1
PRECHORUSA:
LineReference
Line1:Causeyoursextakesmetoparadise
Line2:Yeahyoursextakesmetoparadise
VocalRange(Lead/Harmony)
High:F/D
Low:D/A
PRECHORUSB:
LineReference
Line1:Anditshows,yeah,yeah,yeah
VocalRange(Lead)
High:A
Low:A
PRECHORUSA
Repetition
Noticethatbothlinesofthesectionareidenticalinnature,lyricallyandmelodically.
Harmony
NoticethatbothlinesinPreChorusAaresungwithavocalharmony.DuringthefirstPreChorusoccurrencethisprovidesadditionaldiversityover
theprecedingverseconsideringthatitdoesntutilizeaharmony.Thesecondtimearound,however,itfollowstheharmonythatdefinedthelast2linesof
Verse2.
Timing
Thefirsttwothirdsofthelinearedeliveredviaaneighthnotedeliveryfollowedbyaneighthresttogiveitthatchoppytypeeffect(sameaswas
thecaseonline3ofVerse2).Thelastthird(i.e.paradise)issimilarinnature,bututilizesaquarternotedelivery(soitsnotaschoppyastheeighth
note/restprogression).
SimplicityRange
Noticethatonly3notesareutilizedontheentireline(DEF),andforthemostpartfluctuatejustbetweenEandF(exceptatthestartandendofthe
line).Thisisthesamecasewiththeharmonyaswell.
ThePatternSimple,Effective,Memorable
Theentirelineconsistsof3individualsegments:
Segment1:DEF(thisistheinitialpickupintothesectiononthelyricscauseyoursex.
Segment2:EFE(thisisthebodyoftheline:takesmeto).
Segment3:FED(noticethatthisisareverseprogressionofsegment1,whichconcludesthelineonthelyricparadise)
Nownoticehowthesesegmentsdontjustmakeforanengaging,memorablemelody.Theyalsodoagreatjobofbreakingupthelyricalcontentas
well:
Segment1:Causeyoursex
Ok,causeyoursexwhat?
Segment2:takesmeto
Wheredoesittakeyou?
Segment3:toparadise
PRECHORUSB
Aspreviouslymentioned,PreChorusBiswherethesongshiftsoverfromVibe1(Guitardriven)toVibe2(SynthDriven).Essentially,theprimary
functionofPreChorusBistosetupthechorusthatfollows,bothmusicallyandviathevocalmelody.
ItsShort
Thefirstthingthatyoullnoticeisthatthesectionconsistsofjust1line(itdoesntrepeataswasthecasewithPreChorusA)andthatitconsistsofjust4
lyrics(Anditshows,yeah).
LineSegmentation
Thefirst2lyricsofthelineAnditfunctionastheleadinorpickupoftheline,sunginamonotoneFdeliveryutilizingeighthnotetiming.
Whatitessentiallydoesissetupthenext2lyricsofthesection,showsandyeah,bothofwhichareextendedinnaturepasttheirnormalsyllable
count(i.e.1)andfollowadescendingplatformprogression.
PlatformProgressions
Whenyoulookatthevocalmelodygraphabove,youllseethatastheprogressiondescendsonthelyricsshowandyeahthattheybasicallylooklike
platforms,witheachconsistingof2syllables.
Shows(1kickofffollowedby3platforms)
Noticethatthelyricisbrokendowninto4segments,eachdeclininginregister:
Segment1:Show.Thiskicksofftheprogression,sunginthekeyofFandpossessesdottedquartertiming.
Segment2:ooow.Thisisthefirstplatform.BothofthesesyllablesareinthekeyofC,withaneighthfollowedbydottedquartertiming.
Segment3:ooow.Thisisthesecondplatform.Itutilizesthesametimingassegment2,butdropsdowntoBflat.
Segment4:ooows.Thisisthethirdplatform.Itutilizesthesametimingassegments2and3,butdropsdowntoA,andisfollowedbyaneighthrest.
Yeah(1kickofffollowedby2platforms)
HereMarsinitiallyjumpsupanoctavefromwheresegment4aboveleftoff(AtoA)beforeembarkingontheseconddownwardplatform
progression:
Segment1:Yeah.Aswasthecasewithshowatthebeginningoftheline,yeahkicksofftheprogression,thistimesunginthekeyofAandpossessesdotted
quartertimingaswell.
Segment2:eyeah.Thisisthefirstplatform.Insteadofooowaswehadbebefore,nowwehavethesamethingexceptwitheyeah.Herebothsyllablesarein
thekeyofFandutilizethesameeighth,dottedquartertiming.
Segment3:eyeah.Thisisthesecondplatform.Itutilizesthesametimingassegment2exceptthatbothsyllablesaresunginthekeyofC.
TheFullProgression
Whenyoulookatshowsandyeahtogether,youcanseehowtheybothfollowsimilarprogressions,withtheprimarydifferencebeingthatyeahis
sunginahigherregisterandpossesses2platformsasopposedto3.
Additionally,noticehowbystartingatthehigherregisteronyeahasopposedtoshowsdidagreatjobofbuildingtheexcitementandintensity
levelmovingintothechorus.Ifitwastheotherwayaround(i.e.higherregisteronshowsfollowedbyalowerregisteronyeah),itwouldnthave
hadthesameeffect,beingmoreofadowner.
CHORUS
Line1
Line2
Line2(thesecondtimearoundChorus1&3
LineReference
Line1:Causeyoumakefeellike,Ivebeenlockedoutofheaven
Line2:Fortoolong,fortoolong
VocalRange
High:Bflat
Low:C#
SectionalRepetition
NoticethatbothlinesofthechorusrepeattwiceineachChorusoccurrence.
LINE1
Segmentation
Noticethatthelineisdividedinto2segmentswhichareseparatedbyahalfrest,bothofwhichareessentiallythesameexceptforthefactthatthe
firstsegmentstartswithaC#DFleadinandthesecondstartswithamonotonedeliveryinD.
Segment1:Causeyoumakemefeellike
Segment2:IvebeenlockedoutofHeaven
Peaks
Lookingatthegraphofline1,youcaneasilyseehowthelinerevolvesaroundsettingupthe2peaksofthesection:
Peak1:Feellike
Peak2:Heaven
Letsnowseewhatwasdonetoenablethese2lyricstoreallyjumpoutandsoar:
Segment1
ItstartsoffwiththeC#DFleadinprogression,butwhatfollowsiswhatreallyenablesthelyricfeelsoar.Insteadofcontinuingtoclimb,itdrops
downtoDonthelyricme.Thisprovidesthepeakthatfollowswithmuchmoreemphasisandemotionbecausenowthevocalsneedtojumpfrom
DonmetoBflatonthefirsthalfoffeel.Now,hecouldhavecontinuedtoclimbanditwouldhaveworkedjustfine,butthiswayreallyturnedthe
Chorusintoatruepayoff.
Segment2
Herewebasicallyhavethesamestoryassegment1,exceptforthefactthattheresnoinitialupwardprogression.ItsmonotoneDonIvebeen
locked,followedbythejumptoF,thenbackdowntoDtosetupHeaveninthesamemannerasfeellikeinsegment1.
PeakTiming&Progression
Noticethatthe2peaksonthelinealsopossessthelongestnoteduration,furtheraccentuatingtheirsoaringemotionalnature:
FeelLike:Quarter/Eighth/Quarter
Heaven:Quarter/Eighth/Quarter
Additionally,noticethatbothlyricsfollowaBflatAAprogression.Thisenablesthetoppeaktoreallystandout(i.e.thefirstsyllable).
Repetition
Eventhoughbothsegmentsstartoffinadifferentmanner(i.e.theleadins),thebalanceofbothsegmentsareidentical,followingaDFD
BflatAprogressionwiththesametiming:
Segment1:Youmakemefeellike
Segment2:Lockedoutofheaven
LyricalJibing
Noticethenatureofthelyricswherethepeaksoccur.Thepeakonfeellikeessentiallysetsuptheemotionalpeakonheaventhatfollows.
Asasidenote,canyouimaginewhatthelinewouldhavesoundedlikeifMarsinsteaddroppeddowninregisteronheaveninsteadofgoingup?It
wouldhavelostallofitsemotionalvalue.Additionally,heavenisUPtowardthesky,notdown.Keepthisinmindwhenyouwriteyourlyricsthe
registerneedstoreflectthelyricalmeaning.
Emotion
Aboveallelse,thenatureofthevocalmelodyonthefirstlineoftheChorusexudesEMOTION.Thiswasachievedbothviathenatureofthe
progressionandthroughMarssvocaldelivery.Hesingsitlikehemeansit!
LINE2
Consideringthatlines1and2repeattwicewithinthesection,notethatline2thesecondtimearoundconcludesinadifferentmanner.Wellgetto
thatsoon.
Segmentation
Aswasthecasewithline1,hereonline2wealsohave2segments(phrases)whicharedividedbyaquarter/halfrest:
Segment1:Forsolong
Segment2:Forsolong
Repetition
Noticethatbothphrasesfortoolongaresungintheexactsamemanner(fromaprogressionandtimingstandpoint).
TheLeadIn&FocalPoint
Noticethatthefirst2lyricsfortooessentiallyprovidetheleadinandbuildtothefocalpointoftheline,long.TheyfollowanFG
progressionutilizingaquarter/eighthnotedelivery.
Nowasweveseenwithlyricsonotherlineswithinthesong(nieeieeight,stayeeayeeay,bothofwhichfollowaGAGAprogression),we
haveasimilarcaseintheChoruswiththelyriclong.ThistimearounditsstretchedouttofollowanABflatABflatprogression.Notonlyis
thisthemostartsylyricontheline,butitisalsoresidesinthehighestregisteraswell.
SegmentEnding
NoticethatthefirstsegmentendsonanAonthesyllableong.ThesecondsegmentconcludesonaG,whichprovidessomeslightvariationtoavery
repetitiveline.
TheLastTimeAround
Consideringthatthe2linesoftheChorusrepeatintheexactsamemannerthesecondtimearound,athirdsegmentistackedontothesecondlinein
ordertobringthesectiontoaconclusionbeforegoingintotheturnaroundthatfollows:
FinalSegment:Oh,ohohhoh
Noticethatthisisinalowerregisterthantheprecedingthepreceding2segmentsandfollowsadifferentprogressionandtiming:
EEGED(QuarterQuarterEighthEighthQuarter)
NotethatthisprogressiononlyoccursattheendoftheFIRST&THIRDChorusoccurrencesinthesong(leadingintotheTurnaroundandOutro).
Incontrast,thesecondChorushas1Ohattheend(inthekeyofE)thatisfollowedbythetransitionallullbeforelaunchingintotheBridgethat
follows.
BRIDGE:
LineReference
Line1:Ohohohoh,yeah,yeah,yeah
Line2:CanIjuststayhere,spendtherestofmydayshere
VocalRange(Lead)
High:Bflat
Low:G
VocalRange(Harmony)
High:G
Low:C
Repetition
Noticethatbothlinesofthesectionrepeattwice.
LINE1
LineSegmentation
Aswasthecasewithotherlineswithinthesong,onceagainwehave2distinctsegments:
Segment1:Ohoooh
Segment2:Yeaheeyeah
NoticethedescendingplatformingprogressionsimilaritythatoccursonthefirstlineoftheBridgewiththenatureofPreChorusB.The
primarydifferencebetweenthetwosectionsisthatthesecondsegmentintheBridgedoesntstartonahigherregisterthanthefirst,aswasthecaseinPre
ChorusB.Otherthanthat,theprogressiontechniqueisvirtuallythesame.
Repetition
BothsegmentsfollowthesameBAAGGdownwardplatformprogressionandutilizethesametiming.Theonlydifferenceisthatthefirst
segmentgoesdownonelevelfurtherviaFF.
LINE2
LineSegmentation
Onceagainwehave2segmentsontheline:
Segment1:CanIjuststayhere
Segment2:Spendtherestofmydayshere
Herewealsohaveaplatformprogressionaswasthecaseonthepreviousline,butthistimearounditsextendedoutvia2monotonenatured
deliveries:
Platform1:CanIjuststay
ThisplatformiscompletelysunginthekeyofBflatwitheachnotepossessingaquarternotevalue.
Platform2:here,spendtherestofmyda
ThisplatformdropsdownfromBflatonthepreviousplatformandissungexclusivelyinthekeyofA.
Noticethatthisplatformstartsonthelastlyricofthefirstsegmentandcontinuesthroughthefirstsyllableinthestretchedoutlyricdays.
Noticethatthefirst2lyricsofthesegmentspendthefunctionasthepickuplyricsandareconveyedutilizinganeighthnotedelivery.Thebalanceofthe
segmentrestofmydautilizesaquarternotedeliveryaswasthecasewiththeprevioussegment.
Platform3:yshere
Herewehaveaquickplatform,wheretheysindaysdropsfromAdowntotheG,andisthenfollowedbythefirstpartoftheextendedhere,
whichisalsointhekeyofG.Theyfollowaneighthdottedquartertiming.
TheRise
NowthatwevebottomedoutonGinplatform3,Marsclimbsbackuptowhereitallbeganonthelyrichere.ItstartsonG,possessingadotted
quartertimingaspreviouslymentioned,andthenascendsuptoA(quarternote),finallytoppingoutonBflatwhichpossessesawholenote
value.Whatfollowsisaquarterrestbeforerepeatingthesectionasecondtimearound.
Emotion
Noticethe2aspectsofthesectionthatreallydoagreatjoboftakingtheemotionalnatureofthelyricstothenextlevel.
CanIjuststayThislineisbasicallyBrunopleadingtothiswomantostay.Byhavingthephrasesunginthesecondhighestregisterofthesonginamonotone
delivery,ittakestheemotionalcontexttoapeak.
Thesecondphrase,spendtherestofmydaysbringsthingsdownanotchastheregisterdropsfromBflattoA,thoughitdoescontinueoninthesamepleading
mannerasthefirstphrase.Thisdropwasnecessarytosetupthefinalclimbofthelastlyricofthesection,here.
Theascendingprogressionofthelyricheredoesafantasticjoboftakingtheemotionalnatureofthesectiontoanapex.
Top 10 Assessment BacktoTop
Benchmark Analysis
Compares Locked Out Of Heaven to the 21 songs that landed in the Billboard Pop Songs top 10 during Q3-2012.
AllofthecompositionalcharacteristicsandattributespresentinLockedOutOfHeavenareinlinewithQ32012top10PophitsEXCEPT:
LockedOutOfHeavenis0:13longerthantheaverage
ItsIntrolengthisalmostdoubletheaverage
ItcontainsanOutrowheremosttop10hitPopsongsdont
ItsfirstChorushits0:16/5%furtherintothesongthantheaverage
Itstempois36bpmfasterthantheaverage
LockedOutOfHeavenissungwithamaleleadvocalwhereasmallmajorityoftop10Pophitshaveafemalelead
Itfeaturesbothalove/relationshipANDHookingUplyricaltheme.Mosttop10Pophitsarejustlove/relationshipinnature
A&R Hit Factor Assessment BacktoTop
Artist Career Factor: 10/10 (Maintenance), 10/10 (Growth)

Does the song have what it takes maintain or grow the artists clout in the Pop mainstream?
LockedOutOfHeavenisproofpositivethatsometimesgamblesreallydopayoff.Priortothesinglesrelease,Marswasquotedassayingthathesgoing
todowhatHEwantstodoonthisalbum.Thismusthavereallyscaredhislabelandalotofpeoplethathadalotridingonhim,whomImsurewould
ratherheplayitsafeandfocusonrepeatingthesuccessfulformulaofJustTheWayYouAreandGrenade.
Insteadofgoinginthatdirection,MarsgaveusLockedOutOfHeaven.Thisnotonlywentagainstthegrainofhis2biggesthits,butitalsowentagainst
thegrainofeverythingthatdefinesthecurrentPopmainstream,fusingretro,guitardrivennewwavePop/Rock/FunkwithmodernElectroPop.
Theresultisthatnotonlydidthesongresonatewithhisexistingaudience,butitalsonodoubtwonhimfansthatwerentintohisstyleonGrenadeand
JustTheWayYouAre.Mostofall,itsolidifiedhisstandingasaTRENDSETTERinthePopmainstreamandnotaTRENDFOLLOWER.Thisishowyou
takeyourcareertothenextlevelandprovideyourselfwiththatrarecommoditycalledLONGEVITY.
OriginalityFactor:8.5/10
Doesthesongpushgenreboundariesandpossessauniquenatureorhaveyouhearditallbefore?DoesitstandoutinthePopmainstream?
WeneedtolookatthisinanumberofdifferentwaystogetatruesenseastohoworiginalLockedOutOfHeavenis.
Vibe1:TheGuitarDrivenSections(Intro,Verse,PreChorusA,TurnaroundandOutro)
TherehavebeenmanyaccountssincethereleaseofLockedOutOfHeavencomparingthenatureofVibe1ofthesongtothePoliceandTheRomantics
(specificallyTalkingInYourSleep).Ifyourefamiliarwiththesebandsthenyouwouldhavetoagreethatthereisadistinctsimilarityspecificallyinthe
soundandprogressionsoftheguitarandbassandtheirinterplaywiththevocalsasdescribedearlierwithinthereport.Sointhissense,thesongdoesnot
comeacrossinanoriginalmanner.
Thatbeingsaid,besidesMarssvocals(whichareuniqueandallhisown),itstheembellishmentswithinthesesectionsthatprovideitwithitsunique
nature,mostspecificallytheFunkorientedvocalOOs!attheendofeachlineintheIntro,Verse,TurnandOutroandtheSyntheffectsthattraversethe
mixasdescribedintheMusicandInstrumentationsectionofthereport.
Vibe2:TheSynthDrivenSections(PreChorusB,Chorus,Bridge)
HeretheentirenatureofthesongshiftsawayfromthePolice/RomanticsGuitardrivenvibeovertoSynthdrivenmodernPop.Eventhoughtheoverall
natureofthesesections(specificallytheinstrumentationandcorrespondingsounds)arentallthatunique,whenyoufactorinMarssvocalsalongwiththe
embellishmentsintothemixyouwindupwithsomethingthatcomesacrossfreshandoriginal.
OneotherfacettonoteistheEA/EGsynthprogressionthatspannedleftinthemixduringtheChorusandBridgesections.ItsNewWavenature
isntallthatoriginalonitsown,butwhenyoufuseitintothesectionasawholeitprovidestheoverallvibewithauniquespin.
TheLyrics
Thelyricsare100%fresh,uniqueandengaging,conveyingaLove/Relationship,HookingUpthemedstoryinaclevermannerthatnooneelseiscurrently
doinginthePopmainstream.
CombinedTogether
Whenyoucombineallofthedifferentfacetsmentionedaboveintoonework,youwindupwithasongthatcomesacrossveryuniqueandfreshcompared
toeverythingelsecurrentlyoutthere.NooneelseisdoingwhatBrunoisdoing.Yes,thereareelementsthatyouveheardbefore,butmorethancoming
acrossasaripofftheyworktoprovidethesongwithafamiliaressence,whichintheendmakesitmucheasierforthesongtoconnectandresonate
withitsaudience(asopposedtoeverythingbeingcompletelynewandinnovative,whichcouldcausetheinitialengagementfactortosuffer).
Social&ControversyFactors:9/10
Werethereanyexternalsocialaspectssurroundingthereleaseofthesongthatcouldhelpincreaseitsvisibility,reachandsuccesspotential?
Therewere2keyfactorsthathelpedfacilitatethehypesurroundingthereleaseofLockedOutOfHeaven.
FirstSingleHype
ConsideringthatLockedOutOfHeavenwasslatedasthefirstsingletobereleasedoffofMarsssophomorealbum,UnorthodoxJukebox,thebuzzwas
definitelyinhighgearsurroundingitsimpendingrelease.Hisfanswereclamoringforatasteofsomethingnew,andtheywerereadytoreceive.
ThisIsMeRecording&WritingWhateverIWant
InaninterviewwithBillboard,Marsstatedthatonthisalbumhewasbasicallygoingtodowhateverhewantedtodo,andthatitwasgoingtoeitherbea
disasterorsomethingincredible.Whenyoumakeastatementlikethat,youdefinitelytakethecuriosityandanticipationfactortothenextlevel
surroundingtheimpendingreleaseofthefirstsingle.
Remember,though,afterallthehypeandpromotionitstheSONGITSELFthatwillneedtodeliverintheend!
TheDemographicReach/AccessibilityFactor:9/10
Isthisasongthatspigeonholedinonespecificgender/age/genrebracketordoesithavemassreach?
ThebrillianceofLockedOutOfHeavenisthatithassomethingforeveryone,andasaresultpossessesaverywidereach.
TheYoung
MarssyoungeraudiencewhowereintothesafernatureofGrenadeandJustTheWayYouAre,bothonamusicalandlyricallevel,wereinforabitofa
shockwithLockedOutOfHeaven.EventhoughheonlyoutrightmentionssexinthePreChorus(yoursextakesmetoparadise),itsprettymuchobvious
thatunderlyingmeaningofthesongisnotPGinnature.Thatcoupledwiththeharderedgednatureofthemusicmighthavealienatedsomeofthosefans,
butprobablynotmany(withtheyoungerfansitsusuallymoreaboutbeingenamoredwithanartistthanaparticularsong,thoughthesongisstillvery
important,nodoubt).
TheOlder
ForacrowdthatlovedandgrewupwithNewWaveinthe80sanddontparticularlycareformodernPop(orBrunospastofferings),LockedOutOf
Heavenistheperfectsongtowinthemoverasconverts.Notonlydoesitprovidethemwithsomethingfamiliarthattheyusedtolove,butitalso
introducessomethingnewthattheymightlearntoloveandasaresultbecomedevotedfans.
Style
Again,usingGrenadeandJustTheWayYouAreasexamples,thosewholoveBrunoMarsspecificallyforthatstyleofmusicandlyricalcontentmayhave
beenturnedoffbyhisnewdirectionwithLockedOutOfHeaven(andsomeoftheothersongsonthealbumforthatmatter).Itprobablywontbemany,
butitsadefinitepossibility.
Women&Men
IthinkitssafetosaythatMarsscoreaudienceinthepastwasprimarilyfemale(specificallyduetothemassivesuccessofsongslikeGrenadeandJustThe
WayYouAre).LockedOutOfHeaven,however,makesitsafeforthemaleaudiencetoreallygetintobasedonitsracylyricalcontentandharderedged
musicalleanings.Andeventhoughthelyricshavethewomaninfullcontrol,menwontmindasmuchwhenitcomestosex.
TheHollySh*tYouGottaHearThisNOWFactor:8.5/10
IsthisasongwheresomeonewouldinstantlycalluptheirfriendandsaydropwhatyouredoingyougottalistentothisNOW!!!
LockedOutOfHeavenisasclosetoayesasyoucanpossiblygetinthiscategory.
First,aspreviouslymentioned,itwasthefirstsongreleasedoffofhisnewalbum.Theanticipationandcuriosityfactorwashigh,sochancesarethatyou
wouldthrowitonassoonasyoucould.
Additionally,consideringthesongsuniquenature(bothinrelationtohisprevioushitsaswellasthecurrentPopmainstream)coupledwithhowgooditis
woulddefinitelypromptsomeonetocallupafriendandsayyouneedtocheckthisoutNOW!
TheMultipleListenFactor:9/10
Isthissongengagingenoughtowarrantrepeatlistens?
Initially,yes.Itisexceptionallyinfectiousanddoesprovideenoughdiversitythroughoutthesongtowarrantrepeatlistens.Thatbeingsaid,Popsongsof
thiscalibermoreoftenthannotgetoverplayedtothepointwherethelawofdiminishingreturnssetsin.Bottomlineyougetsickofhearingit.Aftera
break,however,LockedOutOfHeavenisastrongenoughsongthatyoucouldeasilygetrightbackintoandappreciatelisteningtomultipletimesallover
again.
TheHumanEmotionFactor:8.5/10
Doesthissongexudeavibethatenablesthelistenertoconnectonadeep,emotional,HUMANlevel?
Thereare3corefactorsthatweneedtolookatwhenevaluatingtheemotionpresentinLockedOutOfHeavenVocals,BackingMusicandLyrics
Vocals
BrunoMarsdoesafantasticjobofconveyingemotionthroughhisvocals.Firstandforemost,theyrenotasprocessedassomeoftheotherPopstarsof
theday,soundingmorelikeaHumanthananoverlyAutoTunedrobot.Now,couplethatwiththenatureofthevocalmelody(specificallythepeaksin
theChorusandthenatureoftheBridgeaswelookedatearlierwithinthereport)andyouBUYintowhathessingingabout.WhenhepleadsCanIjust
stayhere,spendtherestofmydayshere,youFEELtheemotioninhisvoice,anditperfectlyaccentuatesthenatureofthelyrics.
BackingMusic
Justaseffectiveasthevocals,thenatureofthebackingmusic,associatedinstrumentationandMTIlevelshiftsdoesafantasticjobofaccentuatingthe
emotionwithinthesong.Itsallaboutthefeelingandthevibe,andthemusicmostcertainlydelivers.
Lyrics
Thelyricsdealwitharelationshipandsexthemeinanevocative,clevermanner.Emotionexudesthroughout,andthereligioussymbolismhelpstotakeit
tothenextlevel.
Nowcombinethe3factorsaboveandwhatyougetisamodernPopsongthatconnectsonanevocative,human,emotionallevel,drawingthelistener,
keepingthemengagedandwantingmore.
MemorabilityFactor:9/10
Howeasyisittorememberthesongslyrics&melody?Iseachsectionofthesongequallyasmemorable?
OverallLockedOutOfHeavenisequallyinfectiousandmemorableineverysectionofthesong.
TheIntro(musicallyandlyrically)issimplisticandultrainfectiousinnature.Thefactthatitoccurs3timesthroughoutthesong(intheTurnaroundandOutroas
previouslymentioned)reinforcesthethemeandgetsitcompletelyengrainedwithinyourhead.
Therepetitionofsectionsthatdontchangethroughoutthesong(PreChorusAandB,Chorus1and2).
Melodicrepetitionwithinindividualsectionswithslightornovariation(e.g.Verse1,PreChorusAandB)
Therepetitionofbacktobacksections(i.e.theChorusrepeatstwiceinvirtuallythesamemanner,asdoestheBridge,Intro,TurnaroundandOutro).
ThecurveballsthatoccurinthesecondVersethatstickinyourhead(becausetheystandoutrelativetotheotherlinesandarealsoexceptionallyinfectiousinnature).
Themannerinwhichvocalmelodylinesaresegmentedthroughoutthesongmakesthemmucheasiertoremember(i.e.thephonenumbermethod).
LongevityFactorArtist:10/10
Willthissongbecomeastapleoftheartistsrepertoireandcatalog?
Thatgoeswithoutsaying.Itsbothuniqueinrelationtotheothersongswithinhiscatalogandisexceptionallystrongaswell.
LongevityFactorGenre:8/10
Doesthissonghavewhatittakestostandthetestoftimeandrankamongstthealltimegreats?
ComparedtomanyotherrunofthemillcurrentPopsongsouttherethatcomeandgowiththetide,LockedOutOfHeavenisdefinitelystrongand
uniqueenoughtosurviveforquitesometime.
Remember,weliveinatimewheremostartists(andpublishers,andlabelsforthatmatter)areafraidtopushtheenvelope.Theywanttoplayitsafe(and
withgoodreasonconsideringthestateoftheindustry).However,Marsputhisfootdown,gambled,anditpaidoff.Inadditiontothesongstandingthe
testoftime,theresnodoubtthatMarswillaswell.
Conclusion BacktoTop
Now that we have thoroughly explored Locked Out Of Heaven, lets review some of the core attributes that helped to make this song a hit:
TheUnorthodox
(UniqueelementsthatenabledLockedOutOfHeaventostandoutamongstothersinthemainstreamPopPack)
ThefusionofGuitardrivenPop/RockalaThePolice&TheRomantics,80sNewWave,ModernSynthdrivenElectroPopandFunkunderoneroof.
2distinctvibesthatencompassdifferentsectionsofthesong:Light/looseguitardrivenPop/RockandThick,fuzzdrivenElectroSynthPop.
CleverLove/Relationship,Sexthemedlyricsthatutilizereligiousimageryandmanagetostayrelativelycleaninnature.
Thecountoffthatkicksoffthesong.
TheOO!vocalthatoccursattheendofcertainlinesthroughoutthesongthatbringstheFunk.
Marsstrademarkcymbalswellsthatbreakupcertainsectionsofthesong.
Exceptionallyclevervocalphrasing(platformprogressions,nieeieeight,stayeeayeeay,etc)
TheuniqueSynthembellishmentsthatpanthroughoutthemix,providingdiversityandcolortospecificsections.
Thebreakdownfirstquarterofthesecondverse.
Thevocalmelodychangeuponline3ofthesecondverse(itsunlikeanyotherlineintheversebreaksuptherepetitionbythrowingthelisteneracurveball)
2backtobackprechorussections,onethatjibeswithVibe1ofthesongandonethatjibeswithVibe2.
TheNotSoUnorthodox
(Justreallystrongcrafttechniques)
Aninfectious,memorableIntrothemethatalsofunctionsastheTurnaroundandOutro(gettingreinforcedinyourheadatthebeginning,middleandendofthesong).
LockedOutOfHeavenmakesgreatuseofMTIlevelshiftsthroughoutthesong,accentuatingthenatureofeachsectionwhichresultsinaveryengaginglistening
experience.
ThesongtitleLockedOutOfHeavenisunique,memorableanddoesagreatjobofpiquingyourinteresttotakealistentothesong.
Marsdidagreatjobofelicitingemotionviahisvocaldelivery,enablingthelistenertoreallyconnectwiththelyricsandBUYintowhathessingingabout.
Thevocalmelodywasexceptionallyinfectiousineachsectionofthesong,utilizingabundantrepetitionandsegmentingtohelpgetitengrainedinthelisteners
head.Additionally,thesimplistic,easytofollowprogressionsmadeiteasytosingalongto.
Marsalsoutilizedclevervocalphrasingoncertainlyricsthroughoutthesongthataddedcolor,diversityandincreasedengagementvalue(e.g.nieeueeight,the
platformprogressions,etc..).
Thewritersprovidedjustenoughvariationwithinthesong,beitinthevocalmelodyorbackingmusictohelpkeepthingsfreshandengaging(i.e.thevocalmelody
curveballonline3ofthesecondverse,forexample).
ExternalfactorsincludingthefactthatitwasthefirstsinglefromthemuchanticipatedUnorthodoxJukeboxalbumcoupledwithMarssstatementthisismerecording
andwritingwhateverIwantincreasedthehypeandanticipationsurroundingLockedOutOfHeavensrelease.
Overall,LockedOutOfHeavenasaTOTALCOMPOSITIONpossessesauniquenatureandstandsoutamongstallothersinthecurrentmainstreamPoppack.
BottomLine
BrunoMarsgambledanditpaidoff.HecouldhavejustaseasilystuckwiththeGrenade/JustTheWayYouAreformulathatmadehimaninternational
superstaronhislastalbum,andImsurethathewouldhavefoundmassivesuccess.
Instead,hethrewcautiontothewindonhisSECONDALBUManddidwhathewantedtodo.Andyouknowwhat?Hesearnedtherighttodoit.
Remember,notonlydoesPeterHernandez(akaBrunoMars)writeforhimself,butheandhisteamofhitmakers,TheSmeezingtons,havealsocowritten
topchartinghitsforotherartistsincludingCeeLoGreen(F**kYou)andBadMeetsEvil(Lighters).Heknowswhathesdoing,andheproveditbeyonda
shadowofadoubtwithLockedOutOfHeaven.
HopefullythesuccessthatBrunoishavingwillinspireotherartists,labelsandpublisherstotakeachanceandpushtheenvelope.
Regardless,MarshassolidifiedhisstanceasaleaderinthePopmainstream,andIforonelookforwardtoseeinghowhiscareerandmusicaldirection
continuestoevolve.Ithinkwecanexpectsomeamazing,innovativemusictocome.
Songwriter/Producer Take-Aways BacktoTop
Innovate
If weve learned anything from Locked Out Of Heaven, its the fact that being innovative and going against the grain can really pay o. The writers fused Guitar driven
Pop/Rock ala The Police & The Romantics, 80s New Wave, Modern Synth driven Electro Pop and Funk seamlessly under one roof, resulting in a song that stood out from all
others in the mainstream Pop pack. Remember, though, this wouldnt have been possible if they werent masters at their cra!
CleverLyrics
Nothinggetsmoreboringthanrunofthemilllyricalthemesthatareconveyedinthesamemannertimeaftertime.Ifyoureallywanttostandout,engage
thelistenerandincreaseyourchancesforsuccess,takethetimetoputauniquespinonyourlyrics.LockedOutOfHeaventookatypical
Love/Relationship/Sexthemedstorylineandgaveitauniquetwistbyutilizingreligioussymbolismtohammerthepointhome.Andremember,they
wereabletodothiswhilekeepingtheoveralltonerelativelycleaninnature,resultinginabroaderdemographicreach.
MTIBuilds&Releases
Thisisonetopicthatcomesupineverydeconstructedreport,andforgoodreason.Ifyoursongistoolinearinnature(i.e.limitedmomentum,
tensionandintensitybuilds/releasesfromsectiontosection),youregoingtostarttoborethelistenerandchancesarethattheyregoingtotuneout.You
needtotakethemonasonicjourneytomaximizethelisteningexperienceandkeepthemengaged.ThisisanareawhereLockedOutOfHeavenreally
succeeded.
Clever,EngagingSongTitle
Thebestwaytogetyoursongnoticedandpiquesomeonesinteresttotakealistenwithouteverhavinghearditistogiveitauniquetitle.Itsatthevery
frontlineofyourmarketinginitiativewhensubmittingyourmusicforconsideration.IfLockedOutOfHeavenwassimplytitledIveNeverFeltThisWay
Before,itwouldnthavehadnearlythesameimpact.Takethetimetocomeupwithsomethingcleverandtieitintothestorylineinanengagingmanner.
CleverVocalPhrasing
Atsomepointwithinyoursong,tryincorporatingsomeunexpectedandcolorfulphrasingoncertainlyricsthatwillworkwondersattakingthe
engagementfactorofyoursongtothenextlevel.BrunoMarsdidthisonlyricslikeNieeieeight,eeieeightandStayeeayeeay,eeayeeay,for
example.
ReoccurringThemes
OneofthestrongestaspectsofLockedOutOfHeavenisthemannerinwhichtheultrainfectiousIntrowasutilizedthroughoutthesongtoreallyhelp
accentuatethememorabilityfactor.ItalsofunctionedastheTurnaroundaswellastheOutro,soitwasthefirst,middleandlastthingthatyouheard
withinthesong.IfyourIntroisthatstrong,thisissomethingthatyoumightwanttoconsidertrying.
MakeEverySectionCount
Aboveall,whatwelearnedfromLockedOutOfHeavenisthatEVERYSECTIONofthesongwasjustasinfectiousandmemorable.Alotof
timespeoplewillsaytomesomethinglike,justbarethroughtheVerse,becausetheChorusisAMAZING!Well,mostpeoplewontbarethroughanon
engagingsectionofasongandwillneverfindoutjusthowamazingtheChorusis!Sotakethetimetomakeeachsectioncount.Youllbehappyyoudid!

Locked Out of Heaven Deconstructed - Hit Songs Deconstructed

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Locked Out of Heaven Deconstructed - Hit Songs Deconstructed

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24/10/2016 LockedOutOfHeavenDeconstructedHitSongsDeconstructed

Locked Out Of Heaven

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Artist: Bruno Mars

Lyrical Theme: Love/Relationships, Hooking Up

Song Overview BacktoTop

Structural Analysis BacktoTop

Song Title / Lyrics / Harmonic Progression BacktoTop

1. Is it unique & clever?

The Vocal Melody BacktoTop

Top 10 Assessment BacktoTop

A&R Hit Factor Assessment BacktoTop

Artist Career Factor: 10/10 (Maintenance), 10/10 (Growth)

Songwriter/Producer Take-Aways BacktoTop

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